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0lmic  Hahtxs*  Cpclopetita 


Author  of 

** Contemporary  American    Composers"  ''  The 

Love  Affairs  of  Musicians"  ''Gyges' 

Ring"  "  The  Whirltoind" 

mc. 


Cpclopelim 

Containing  a  pronouncing  and  defining  Dic- 
tionary of  Terms,  Instruments,  &c.,  including  a 
Key  to  the  Pronunciation  of  sixteen  Languages ; 
many  Charts;  an  Explanation  of  the  Construc- 
tion of  Music  for  the  Uninitiated;  a  pronoun- 
cing Biographical  Dictionary;  the  Stories  of 
the  Operas;  and  numerous  biographical  and 
critical   Essays   by   distinguished  Authorities 


EDITED  BY 


Rupert  Hughes,  m.a. 


Garden  City  New  York 

DOUBLEDAY,  PAGE  &  COMPANY 

1912 


Copyright,  191 2,  by 

DOUBLEDAY,  PaGE  &  CoMPANY 


All  rights   reserved,   includmg   thai   of 

translation  into  foreign  languages, 

including  the  Scandinavian 


COPYRIGHT,  1903,  BY  MCCLURE,  PHILLIPS  &  CO. 


0lum  Eobers'  Cpclopetita 

PUBLISHER'S  PREFACE  TO  THE  REVISED 
EDITION 


WHEN  the  "Music  Lovers'  Cyclopedia"  was  first 
compiled,  it  was  the  editor's  effort  to  make  it  the 
most  nearly  complete  reference  work  of  its  kind 
in  existence.  That  this  effort  did  not  fail  is 
proved  by  a  comparison  of  the  original  edition  with  other 
works  since  issued.  A  careful  checking,  item  by  item,  proves 
that  where  other  musical  dictionaries  and  cyclopsldias,  how- 
ever voluminous^  contain  at  most  a  few  hundreds  of  bio- 
graphies and  definitions  omitted  from  this  work,  the  best 
of  them  omit  many  thousands  of  biographies  and  definitions 
contained  in  the  "Music  Lovers'  Cyclopedia." 

On  account  of  the  completeness  of  its  contents  and  their 
extremely  convenient  arrangement,  the  book  at  once  took 
its  place  on  the  reference  shelves  of  libraries,  public  and 
private,  large  and  small;  and  everywhere  the  worn  condition 
of  its  bindings,  and  the  testimony  of  its  readers  have  proved 
how  invaluable  it  has  been  found. 

Originally  published  in  two  volumes  at  six  dollars,  we  are 
now  able  to  issue  it  in  one  volume  at  one  dollar  and  a  half, 
and  the  editor  has  seized  the  opportunity  to  bring  it  down 
to  date  by  the  addition  of  several  thousand  biographies. 
Great  changes  have  taken  place  in  music  in  the  nine  years 
since  the  "Music  Lovers'  Cyclopedia"  was  published  in 
1903.  Two  widely  contrasted  instances  will  prove  this: 
Caruso,  and  "Parsifal." 

Caruso  swam  into  the  ken  of  London  and  New  York  just 


"^'^leis 


vi  THE  MUSICAL  GUIDE 

after  the  "Music  Lovers'  Cyclopedia"  went  to  press. 
"Parsifal"  was,  of  course  well  known,  but  its  libretto  was 
omitted  from  the  "Stories  of  the  Operas"  for  the  reason 
that  it  was  then  supposed  to  be  the  exclusive  property  of 
Bayreuth.  Only  a  few  months  later  it  was  produced  in  New 
York  City,  after  a  sensational  controversy.  The  story  of 
"Parsifal,"  therefore,  appears  in  this  new  edition  of  the 
"Music  Lovers'  Cyclopedia,"  along  with  the  stories  of  many 
other  operas  that  have  since  entered  the  repertoire  of  the 
leading  opera  houses.  This  means  that  the  "Music  Lovers' 
Cyclopedia"  now  contains  the  detailed  plots  of  sixty  operas. 

Attention  may  be  called  again  to  the  fact  that  the  stories 
as  told  here  give  the  places  and  dates  of  original  production, 
and,  where  discoverable,  the  names  of  the  creators  of  the 
roles,  the  pronunciation  of  the  names  of  the  characters,  and 
a  full  outline  of  the  plot  as  it  is  unfolded  on  the  stage  by  exits 
and  entrances,  with  the  titles  of  the  principal  musical  num- 
bers as  they  appear. 

We  beg  to  acknowledge  here  our  indebtedness  to  G. 
Schirmer  for  permission  to  give  the  plots  of  the  following 
operas  whose  American  copyright  he  controls:  "Louise," 
"Pelleas  et  Melisande,"  "Ariane  et  Barbe-Bleu,"  "Hansel 
und  Gretel,"  "I  Pagliacci,"  "Le  Cid,"  "Le  Jongleur," 
"Thais,"  "Manon,"  "I  Giojelli  della  Madonna"  and  "Le 
Donne  Curiose." 

The  phonetic  pronunciation  of  every  proper  name  and 
term  is  a  further  distinguishing  feature. 

Emphasis  should  also  be  laid  on  the  number  of  special 
contributions  by  the  most  eminent  musical  authorities  in 


PUBLISHER'S  PREFACE  vii 

America  and  England,  men  of  the  calibre  of  Sir  Hubert  H. 
Parry,  Ernest  Newman,  James  Huneker,  W.  J.  Henderson, 
Richard  Aldrich,  and  many  others  of  distinction. 

The  fault  to  be  found  with  dictionaries  in  general  is  that 
they  are  inclined  to  be  provincial;  those  published  in  Eng- 
land have  been  parsimonious  of  German,  French,  Italian, 
and  American  names;  and  those  published  in  these  other 
countries  have  returned  the  discourtesy.  It  has  been  the 
ambition  of  the  editor  of  the  "Music  Lovers'  Cyclopedia" 
to  avoid  this  disproportion  by  collecting  the  greatest  possible 
number  of  important  names  from  every  country. 

The  compactness  of  the  "Music  Lovers'  Cyclopedia" 
compels  a  decided  brevity  of  presentation,  but  this  in  itself 
is  rather  a  virtue  than  a  fault,  and  it  has  been  a  great 
source  of  gratification  to  be  constantly  informed  by  musi- 
cians, both  lay  and  professional,  that  the  "Music  Lovers' 
Cyclopedia  "  is  the  book  to  which  they  refer  first,  and  the 
one  in  which  they  are  least  often  disappointed. 

It  is  a  book  compiled  for  the  convenience  of  the  lover  of 
music  who  seeks  information  on  the  simplest  subjects,  as 
well  as  for  the  trained  musician  who  has  more  abstruse 
needs. 

Now  that  it  is  possible  to  issue  the  work  in  one  greatly 
enlarged  tome  at  one  dollar  and  a  half,  the  "Music  Lovers' 
Cyclopedia"  can  be  confidently  announced  as  a  musical 
reference  book  of  unapproached  completeness,  a  concise 
musical  library  in  itself,  an  invaluable  addition  to  any  musi- 
cal collection,  however  large. 

The  Publishers. 


%\ft  preface 


MUSIC    is,    indeed,    the    universal    language.     It 
passes  current  everywhere  like  gold.     But  none 
the  less  every  nation  puts  a  different  stamp  on 
its  coinage,  and  each  new  sovereign  of  the  realm 
makes    some    change    in    the   design    and    the   legend.     In 
consequence  a  musical  dictionary  becomes  largely  a  poly- 
glot affair. 

The  object  of  this  book  is  to  present  in  a  condensed  and 
convenient  form  all  the  essential  facts  that  may  be  required 
to  guide  the  student  of  music,  or  needed  as  a  reference  for 
the  professional  musician. 

To  fit  this  work  for  the  non-professional  mind  has  been 
no  easy  task,  but  it  has  been  the  chief  effort,  and  an  intro- 
duction into  the  mysteries  has  been  written  especially  for 
the  uninitiated,  who  wish  to  be  told  some  necessary  truths 
without  submitting  to  hard  study  or  teaching. 

The  marriage  of  completeness  with  conciseness  is  a  hard 
knot  to  tie.  The  present  work  cannot  hope  to  compete 
with  the  great  musical  encyclopaedias  in  certain  respects. 
Yet,  in  other  respects,  it  outdoes  even  the  greatest  of  them. 
It  has  more  biographies  and  more  definitions  than  any  of 
them.  Each  of  the  large  encyclopaedias  shows  a  distinct 
bias  toward  one  nation,  period,  or  idea.  The  Music  Lovers' 
Cyclopedia  has  practically  every  jname  and  definition  in 
each  of  them;  by  its  catholicity  it  covers  man>  fields  quite 
unnoticed  by  any  one  book,  and  it  has  many  names  and 
definitions  to  be  found  in  none  of  them. 

The  pronunciation  of  practically  every  name  and  term  in 
musical  use,  forms  a  unique  feature  of  the  Music  Lovers' 
Cyclopedia,  This  alone  makes  it  a  desirable  and  important 
supplement  to  any  musical  library,  however  large.  Not 
only  have  general  rules  of  pronunciation  for  sixteen  Ian- 


THE  MUSICAL  GUIDE 


guages  been  tabulated  in  a  novel  and  convenient  manner, 
but  the  pronunciation  of  names,  terms,  and  frequently  of 
phrases  has  been  represented  as  closely  as  possible.  Even 
the  "given  names"  have  been  pronounced,  for  it  is  of 
little  comfort,  for  instance,  to  be  saved  from  calling  "Bat'- 
hof-en,"  "Bee-tho'-ven,"  and  to  be  left  to  miscall  his 
first  name  "Lud-wig"  for  "Loot'-vikh." 

The  Definitions  are  given  as  plainly  as  is  compatible  with 
succinctness.  Space  has  been  greatly  saved,  not  by  sacri- 
ficing fulness  of  explanation,  but  rather  by  grouping 
together  words  of  similar  meaning  in  different  languages,  so 
far  as  this  could  be  done  without  undue  violence  to  alpha- 
betical arrangement.  So  far  as  possible  the  Music  Lovers'' 
Cyclopedia  avoids  that  exasperating  abuse  of  cross-reference, 
by  which  some  of  the  Dictionaries  bandy  the  reader  from 
one  term  to  another  in  a  wearisome  zigzag,  finally,  at 
times,  to  send  him  to  a  word  that  has  been  omitted. 

In  the  Biographies  the  scheme  has  been  to  crowd  the 
multitude  of  minor  personages  into  very  narrow  space  in 
order  that  a  hundred  or  more  of  the  greatest  should  find 
liberal  room.  The  major  dead  musicians  and  those  still 
living,  minor  as  well  as  major,  have  been  chiefly  favoured. 
The  work  is  particularly  rich  in  living  musicians,  and  the 
great  masters  are  given  biographies  which,  although  con- 
densed, are  quite  complete.  As  to  the  rest,  the  mere  list 
of  dates,  with  an  abbreviated  indication  of  special  activities, 
must  suffice,  compensation  being  found,  it  is  hoped,  in  the 
great  number  of  these  names. 

The  Contributed  Essays  are  in  many  respects  the  most 
valuable  part  of  the  work,  written  as  they  are  by  notable 
authorities  who  have  reviewed  certain  subjects  peculiarly 
their  own,  in  a  brief  yet  luminous  manner  especially  for  the 
Layman.  Nothing  is  a  more  valuable  mental  property  than 
a  somewhat  definite  and  decisive  summing-up  of  the  actual 


THE  PREFACE  xi 

meaning  and  the  true  proportions  of  the  great  personages, 
schools,  and  phases  of  a  subject;  such  a  summing-up  is 
rare,  largely  because  it  is  so  difficult.  As  one  contributor 
wrote:  "It  is  very  hard  to  compress  these  oxen  into  cups 
of  beef-tea."  That  these  prominent  scholars  have  ex- 
pressed themselves  so  definitely  and  with  such  rounded 
completeness  on  the  subjects  explained  here,  is  a  matter  of 
greatest  value  in  a  work  of  this  kind,  and  of  greatest  inter- 
est to  every  one  that  cares  for  music. 

The  Stories  of  the  Operas  are  told  here  in  the  only  way  in 
which,  surely,  they  should  be  told;  and  that  is  by  telling  the 
stor>-  as  it  is  unfolded  on  the  stage,  not  by  acts  and  by 
scenes  only,  but  by  the  entrances  and  exits  and  by  the 
principal  songs.  The  pronunciations  of  the  names  of  the 
operas  in  different  languages,  and  of  the  characters,  have 
also  been  given,  as  well  as  the  dates  and  casts  of  the  first 
productions. 

A  few  Charts  of  actual  value  have  been  preferred  to  the 
mere  ornaments  of  portraits.  These  latter  would  have  to  be 
ver}^  numerous  to  be  at  all  comprehensive,  and  their  intro- 
duction would  defeat  the  prime  purpose  of  the  book, 
which  is  to  be  informing  within  limited  compass. 

In  fact,  the  one  idea  of  the  work  has  been  to  present  as 
much  information  as  possible,  as  conveniently  as  possible 
—  andante  quasi  allegretto. 

That  mistakes  occur  is  inevitable.  Every  dictionary  the 
Editor  has  examined  has  abounded  in  them,  ranging  from 
what  scientists  call  the  personal  equation  to  what  they  call 
downright  blunders.  It  is  only  to  be  hoped  that  most  of 
the  errors  of  this  book  will  be  rather  amusing  than  exas- 
perating or  misleading.  In  any  case,  corrections  and 
suggestions  of  any  kind  for  future  editions  will  be  most 
gratefully  welcomed. 

The  code  of  pronunciation  as  used   in   the  book  is  ex- 


xii  THE  MUSICAL  GUIDE 

plained  on  the  top  line  of  the  Table  of  Pronunciations. 
It  cannot  hope  to  give  more  than  approximate  shades  of 
sound. 

The  Editor  is  indebted  to  Miss  Annie  C.  Muirhead  for 
many  valuable  suggestions  and  a  large  contribution  to  the 
accuracy  of  the  work.  The  stories  of  the  three  operas, 
"Louise,"  "La  Boheme,"  and  "The  Cid,"  are  from  her 
pen.  For  everything  else  not  specially  signed  or  credited, 
the  Editor  must  be  held  responsible.  He  wishes  here  to 
make  grateful  acknowledgment  to  his  publishers,  who  first 
suggested  the  idea  of  preparing  such  a  work,  and  to  the 
distinguished  gentlemen  who  have  lent  to  the  Music 
Lovers''  Cyclopedia  the  prestige  and  value  of  their  contribu- 
tions. 


%Mt  of  Contents 


PART  I 

PAGE 

Publisher's  Preface v 

Editor's  Preface  to  the  Original  Edition        .      .  ix 

List  of  Charts xix 

List  of  Contributors xxi 

Phonetic  Meaning  of  the  Letters  and  Symbols  xxiii 
An  Introduction  to  Music  for  the  Uninitiated     .  i 
A  List  of  Abbreviations,  Titles,  Dignities,   In- 
stitutions, Etc 53 

A    Pronouncing    and    Defining    Dictionary    of 

Terms 57 

Essays  by  Special  Contributors: 
The   National   Schools    of    Music,   E.    Iren^us 
Prime-Stevenson: 

Italian  Music 3° 

German  Music 34 

French  Music 37 

English  Music 4° 

Russian  Music 42 

American  Music.     The  Editor     ....  45 

The  Great  Instrumentalists.     Louis  C.  Elson     .  48 

The  Great  Singers.     Louis  C.  Elson      ....  50 

Acoustics.     J.  S.  Shedlock 60 

Altered  Chords.     Charles  W.  Pearce  ....  66 

Counterpoint.     Homer  A.  Norris 104 

Folk-Song.     H.  E.  Krehbiel 131 

Form.     John  F.  Runciman 133 

Fugue.     Homer  A.  Norris 140 

Grace.    The  Editor I47 

Modern  Harmony  in  Practice.     A.J.Goodrich   .  159 

xiii 


xiv  THE  MUSICAL  GUIDE 

PAGE 

Harmonic  Warnings  for  Composers.     A.  J.  Good- 
rich        164 

Hymnology.     H.  E.  Krehbiel 170 

Leading-Motives.     Gustave  Kobbe 184 

Modes,  Greek  and  Ecclesiastic.     The  Editor     .  199 

Notation.     The  Editor 211 

Opera.     Ernest  Newman 216 

Oratorio.     H.  E.  Krehbiel 220 

The  Orchestra  and  Orchestration.     W.  J.  Hen- 
derson         222 

Organ.     The  Editor 225 

Pianoforte.     The  Editor 231:; 

Piano  Studies.     James  Huneker 237 

Stories  of  the  Operas 309 

PART  II 

Pronouncing  Dictionary  of  Given  Names,  Titles, 

Epithets,  Etc iii 

Biographical  Dictionary 379 

Bach.     Sir  Charles  Hubert  H.  Parry    ....  395 

Beethoven.     H.  E.  Krehbiel 412 

Berlioz.     Ernest  Newman 422 

Bizet.     Edward  E.  Ziegler 427 

Brahms.     James  Huneker 438 

Chopin.     James  Huneker 460 

Franz.     Henry  T.  Finck 509 

Gluck.     Ernest  Newman 525 

Gounod.     Vernon  Blackburn 531 

Grieg.     Henry  T.  Finck 536 

Handel.     John  F.  Runciman 545 

Haydn.     August  Spanuth    .      .      .      ^     .      .      .      .  553 

Liszt.     Henry  T.  Finck       . 607 

Mendelssohn.     Vernon  Blackburn  .      .      .      .      .  628 


TABLE  OF  CONTENTS 


XV 


PAGE 


Meyerbeer.     E.  Iren^eus  Prime-Stevenson      .      .632 

Mozart.     Vernon  Blackburn 643 

Palestrina.     W.  J.  Henderson 661 

Purcell.     John  F.  Runciman 682 

Rossini.     E.  Iren^us  Prime-Stevenson      .      .      .     702 

Schubert.     H.  A.  Scott 722 

Schumann.     Richard  Aldrich 729 

Strauss.     James  Huneker 753 

Tschaikowsky.     Ernest  Newman 761 

Verdi.     W.  J.  Henderson 775 

Wagner.     Henry  T.  Finck 784 

Supplementary  Stories  OF  the  Operas         .      .      .811 
Supplementary  Dictionary  of  Musicians   .      .      .     845 

Necrology 943 

Pronunciation  Table  of  Sixteen  Languages    .      .951 


.J 


Stories  of  tl)e  #peras: 


PAGE 

Beethoven.     Fidelio 309 

Bellini.     Norma 310 

"          La  Sonnambula          311 

Bizet.     Carmen 312 

BoiTO.     Mefistofele 314 

Charpentier.     Louise 315 

Debussy.     Pelleas  et  Melisande 830 

Delibes.     Lakme 317 

DuKAS.     Ariane  et  Barbe-bleue 840 

Donizetti.     La  Favorita 318 

"             La  FiGLiA  DEL  Reggimento  .      .      .      .  319 

"             Lucia  di  Lammermoor 320 

Gluck.     Orfeo  ed  Euridice 322 

Gounod.     Faust 322 

"           Romeo  ET  Juliette 324 

Humperdinck.     Hansel  und  Gretel        ....  325 

I                   "                        KONIGSKINDER 8x6 

{Leoncavallo.      I  Pagliacci 326 

IvIascagni.     Cavalleria  Rusticana 327 

Massenet.     Le  Cid 328 

"             Manon 836 

"             Le  Jongleur  de  Notre  Dame   .      .      .  838 

"              Thais 811 

VIe-^erbeer.     L'Africaine 330 

"              Les  Huguenots 331 

"              Le  Prophete 333 

"               Robert  le  Diable 335 

"           Die  Zauberflote 341 


xvu 


xviii  THE  MUSICAL  GUIDE 


Paderewski.     IManru 343  ; 

Puccini.     La  Boheme 345  ! 

"  La  Tosca 825  ( 

"  Madama  Butterfly 823  ' 

"  The  Girl  of  the  Golden  West     .      .      .  827 

Rossini.     Il  Barbiere  di  Siviglia 346 

"  Guglielmo  Tell .  348 

Smetana.     The  Bartered  Bride 811 

Spinelli.     a  Basso  Porto 349 

Strauss.     Salome 813 

"  Elektra 815 

Thomas.     Mignon 350 

Verdi.     Aida 352 

Otello 353 

"  Rigoletto 355 

"  La  Traviata 356 

"  Il  Trovatore 358 

Wagner.     Der  Fliegende  Hollander     .      .      .      -359 

"  Die  Meistersinger 361 

"  Lohengrin 364 

"  Tristan  und  Isolde 365 

"  Tannhauser 367 

"  Das  Rheingold 369 

"  Die  Walkure 371 

"  Siegfried 373 

"  GotterdAxMmerung 375 

"  Parsifal 819 

Weber.     Der  Freischutz 377J 

Wolf-Ferrari.     I  Giojelli  della  Madonna      .      .  83 

"  Le  Donne  Curiose 83-4 


Eist  of  CJjarts 


!! 


PAGE 


The  Keyboard,  Scales,  and  Intervals    ....  4 

Dance-Rhythms 108 

Graces  and  Embellishments 148 

Greek  Modes 200 

Ecclesiastical  Modes 203 

Signs  and  Symbols 267 

Times  akd  Rhythms 285 

Absolute  Pitch,  and  Compasses  of  Voices  and  In- 
struments        949 


ziz 


Contributors  and  Subjects  of  Special  Essays 

Jll  Essays  luill  be  found  in  their   Alphabetical  Sequence 

Richard  Aldrich Schumann. 

Vernon   Blackburn Gounod,  Mendelssohn,  Mozart. 

Louis   C.    Elson Great  Instrumentalists,  Great  Singers. 

H.    T.    Finck Franz,  Grieg,  Liszt,  Wagner. 

A.  J.    Goodrich Modern  Harmony  in  Practice,  Harmonic 

Warnings. 
W.  J.    Henderson The  Orchestra  and  Orchestration,    Pales- 

trina,  Verdi. 
James   Huneker Piano  Studies,    Brahms,  Chopin,    Richard 

Strauss. 

GusTAVE   Kobbe' Leading-Motives. 

H.    E.    Krehbiel' Folk -Song,    Hymnology,   The    Oratorio, 

Beethoven. 

Ernest  Newman The  Opera,  Berlioz,  Gluck,  Tchaikovsky. 

Homer  A.    Norris Counterpoint,  Fugue. 

Sir   C.   Hubert  H.    Parry   .    .    The  Art  of  Johann  Sebastian  Bach. 

Dr.    Charles   W.  Pearce  .    .    .    Altered  Chords. 

E.  iRENiEus  Prime-Stevenson     .    The  National  Schools,  Meyerbeer,  Rossini. 

John   F.    Runciman Form,  Handel,  Purcell. 

J.    S.    Shedlock Acoustics. 

August  Spanuth Haydn. 

Edward   E.    Ziegler   .....    Bizet. 

The  Editor Music  for  the  LTninitiated,  The  American 

School,  Graces,  Modes,  Notation,  The 

Organ,  The  Pianoforte. 


Phonetic  Meaning  of  the  Letters  and  Symbols 
Used  /;/  the  Pronunciation   of  Names 


a  as  in  father  ;   a  as  in  fate  ;   a  as  in 

fat ;  an  and  au  as  in  French  clan  and 

fin ;  see  note  i,  vol.  I,  page  396. 

as  in  bob. 
c  used  only  in  ch,  as   in  church.     The 

Scotch  and  German  guttural  as  in  loch 

and  ich  is  indicated  by  kh  ;  see  note 

3,  vol.  I. 

as  in  deed  ;  ilh  as  th  in  these  ;  dj  as 

in  adjoin, 
/as  in  bean  ;  c  as  in  pet — at  the  end  of 

words  it  is  almost  like  I'l. 
/"as  in  fife. 
§•  as  in  gig. 
//  as  in  hate. 

i  as  in  fight  ;  /'  as  in  pin. 
^'  as  in  jug. 
k  as  in  kick  ;  kh  is  used  here  to  indicate 

the  German  or  Scotch  ch  or  g ;  see 

note  3,  vol.  I. 
/  as  in  lull. 


w  as  in  mum. 

n  as  in   nun  ;  n   indicates   the    P'rench 

nasal  »  or  m ;  see  note  i,  vol.  I. 
0  as  in  note ;  oi  as  in  noise  ;  00  as  in 

moon  or  foot ;  ^  as  in  wrong  ;  07u  as 

in  cow ;   oil  as  in   French  l>on ;    see 

note  I,  vol.  I. 
/  as  in  pop. 
r  as  in  roar. 
J-  as  in  sense. 
t  as  in  tot ;  th  as  in  think  ;  the  sound  of 

th  in  these  is  indicated  by  dh. 
a  always  with  the  sound   of  you  ;    the 

French  n  and  the  German  long  ti  are 

both    indicated   by   tij   see   note  2, 

vol.  I. 
7'  as  in  revive. 
7v  as  in  will. 
X  as  in  fix. 
y  as  in  yoke. 
2  as  in  zone. 


Jntroliuction 

to 

For  the  Uninitiated 

A  Free  Translation  of  its  Technicalities  into  Untechnical 
Language  (especially  for  those  who  do  not  Read  Music 
and  do  not  Care  to  Study  it). 

THERE  is  almost  as  much  humbug  about  the 
mysteries  of  music  as  there  was  about  the 
oracles  of  Delphi.  And  the  vast  majority  of 
music-lovers  have  as  meek  and  uninquiring  a 
dread  of  the  inner  art  and  science  of  composition  as  the 
old  pagans  had  of  priestcraft. 

There  is  no  deeper  mystery  about  the  tools  and  the  trade 
of  music  than  about  those  of  any  other  carpentry  and 
joinery.  It  is  far  easier  for  some  people  to  write  a  melody 
than  to  drive  a  nail  straight.  But  anybody  who  will  earn- 
estly try,  can  learn  to  do  the  one  as  easily  as  the  other. 
And  there  are  thousands  of  professional  composers  who 
ought  to  be  earning  honest  livings  driving  nails  home  instead 
of  starving  to  death  dishonestly  driving  audiences  home. 

The  one  mystery  of  music  is  the  one  mystery  of  all  art 
and  all  other  human  intercourse — personality.  Everybody 
can  write  a  novel  or  a  play.  Almost  everybody  does.  So 
everyone  can  write  a  sonata  or  a  string-quartet.  But  the 
number  of  those  who  possess  the  sparic  (divine,  prenatal, 
accidental  or  howsoever  secured) — the  spark  of  magnetism, 
felicity,  and  eloquence,  that  number  is  small  and  is  no  more 


THE    MUSICAL    GUIDE 


superabundant  than  on  the  day  when  little  Hermes  found 
the  old  tortoise-shell  and  made  the  first  harp  out  of  it. 

The  reason  the  Editor  is  desirous  of  taking  the  veil  from 
certain  of  the  arcana  of  music  is  not  that  he  wishes  to  in- 
crease the  number  of  composers — Heaven  forbid  !  The 
one  object  is  to  increase  the  number  of  those  who  will  lis- 
ten to  music  intelligently  and  know  just  what  they  are 
hearing,  and  pretty  well  why  they  like  this  and  dislike  that. 
For  like  and  dislike  by  pure  instinct  are  relics  of  mere 
animalism. 

The  open  highway  to  the  enjoyment  of  so-called  classic 
music  is  the  hearing  of  it  in  large  quantities.  There  is  a 
short  cut  for  those  who  lack  the  time  or  the  inclination  for 
this  long  training — and  it  is  by  way  of  learning  the  ele- 
ments of  musical  form.  For  it  is  the  crystallisation  ^f 
human  passion  into  some  graceful  and  powerful  form  that 
gives  music  long  life.  Many  wretched  pedants  think  that 
the  number  of  forms  is  limited ;  but  this  is  a  fallacy  that  is 
disproved  every  day. 

Some  form,  however,  is  as  necessary  in  music  as  in  sculp- 
ture. And  though  the  number  and  variety  of  forms  avail- 
able are  as  infinite  and  illimitable  in  music  as  in  sculpture, 
still  some  definite  shape  must  be  in  the  artist's  mind  and 
must  be  discoverable  by  an  unprejudiced,  attentive,  and 
educated  audience- 

•  If  you  do  not  already  know  the  skeleton  that  underlies 
the  shapely  contours  and  full,  fair  flesh  of  melody  and  har- 
mony, you  can  find  some  enlightenment  in  the  anatomical 
lecture  that  follows,  provided  you  will  use  your  own  scal- 
pel, and  carry  out  the  suggestions  made.  It  is  not  easy  to 
avoid  asking  the  reader  to  master  the  language  and  sym- 
bols of  music,  but  'much  that  is  important  can  be  learned 
from  the  following,  without  this  long  special  study,  if  an 
occasional  general  truth  will   be  allowed  to  stand  without 


AN  INTRODUCTION  TO  MUSIC    3 

stating  its  exceptions,  and  if  permission  be  granted  to  arrive 
at  certain  facts  in  a  homely  and  button-hole  manner. 

I 

FIRST,  turn  to  a  piano  or  organ — either  of  these  is 
more  convenient  for  illustration  than  a  bow  or 
wind-instrument.  The  highly-organized  instru- 
ment before  you  is  the  result  of  centuries  of  blind  groping 
in  the  dark,  of  unnumbered  great  failures  for  every  little 
triumph.  This  is  true  not  only  of  the  mechanism  of  strings, 
hammers,  keys,  shape,  size  and  materials  of  wood  and 
metal,  but  of  the  very  music  the  instrument  is  intended  to 
send  out  upon  the  air. 

If  you  will  simply  glide  your  finger-nail  along  the  white 
keys  you  will  produce  a  scale  which  in  itself  is  the  result 
not  only  of  ages  of  experiment  but  of  the  bitterest  conflict 
between  scholarly  musicians, — a  conflict  still  raging.  But 
this  cannot  be  discussed  here.  Let  us  for  the  present  take 
the  instrument  as  we  find  it. 

On  the  opposite  page  will  be  found  a  picture  of  the 
middle  portion  of  the  key-board,  with  the  letter-names  that 
have  been,  for  convenience'  sake,  given  to  the  tones  marked 
on  it.  They  are  easily  recognisable  by  the  alternation  of 
the  black  keys  in  groups  of  twos  and  threes.  For  con- 
venience it  might  be  well  to  transfer  the  letter-names  to  the 
white  keys  with  ink,  which  will  be  easily  washed  off^  with  a 
wet  cloth. 

The  first  thing  noteworthy  about  the  diagram  is  that  this 
series  of  letter-names  is  made  of  only  seven  letters  and  be- 
gins over  again  at  every  eighth  tone.  This  is  because  the 
eighth  tone  (or  octave)  is  produced  by  a  string  or  a  col- 
umn of  air  making  just  twice  as  many  vibrations  as  the 
original  tone  ;  the  15th  tone  by  4  times  as  many,  etc.,  and 
because  each  group  of  seven  steps  plus  the  octave  or  8th 


THE    MUSICAL    GUIDE 


step.  Is  built  on  a  uniform  model  of  ratios.  The  series 
from  one  letter-name  to  its  reappearance,  as  from  c  to  c',  is 
subdivided  into  12  half-steps  or  semitones. 

This  extended  series  of  tones  thus  divided  into  octaves 
is  the  material  from  which  all  European  and  American 
music  is  made.  Save  for  a  few  changes  and  choices  made 
for  convenience,  this  scale  is  based  on  human  nature  and 
physical  law,  and  is  not  likely  to  be  materially  altered  in 
our  generation.  Other  fundamental  facts  will  be  discov- 
ered on  studying  this  array  of  whole-steps  (white  keys — ex- 
cept e  to  f  and  b  to  c)  and  half-steps  (from  a  black  key  to 
the  next  white — also  from  b  to  c  and  e  to  f). 

You  will  observe  that  the  black  keys  carry  the  same 
names  as  the  w^hite  keys  they  interpose  between,  except 
that  the  letter-name  carries  the  symbol  %  ("  sharp  ")  for  the 
key  next  below  or  the  symbol  t?  ("  flat ")  for  the  key  next 
above.  The  same  black  key  represents  two  w^hite  keys. 
If  you  are  advancing  from  f  to  g,  for  instance,  the  black 
key  between  is  a  half-step  above  f ;  it  is  said  to  "sharpen  " 
the  note,  by  a  half-step  (or  a  "  chromatic "  degree)  ;  if, 
however,  you  are  moving  down  the  scale  from  g  to  f  the 
black  key  is  said  to  "  flatten  "  the  note  g  by  a  half-step  (or 
a  "  chromatic  "  degree).  The  same  black  key  serves  con- 
veniently then  both  as  {%  (f "  sharp  ")  and  ^  (g  "  flat  ")  in 
our  system  of  music.  Tones  not  thus  "  chromatically  al- 
tered "  by  a  sharp  or  flat  are  said  to  be  "natural."  If 
you  have  struck  g^  or  f-  and  wish  to  reassert  the  white 
key,  the  tone  is  now  called  gi:  (g  "natural")  or  f 
natural. 

The  signs,  S's,  b's  and  t's  are  called  "  sharps,  flats  and 
naturals,"  or  in  genergil  "chromatics." 

Put  your  finger  at  random  on  any  of  the  white  keys  and 
move  downwards  on  the  white  keys  in  strict  succession. 
You  will  find  (if  you  have  a  normal  ear)  that,  whatever  the 


AN  INTRODUCTION  TO  MUSIC  5 

tone  you  sounded  first,  you  do  not  feel  a  willingness  to 
stop  till  you  reach  a  certain  tone  or  one  of  its  octaves. 
That  tone  will  invariably  be  one  of  the  notes  lettered  C. 

If  now  you  begin  at  random  on  any  note  and  move  up- 
ward keeping  to  the  white  keys  except  in  the  case  off,  for 
which  you  substitute  fS,  you  will  find  that  the  letter  c  no 
longer  gives  a  sense  of  repose,  but  that  you  unconsciously 
desire  and  demand  one  of  the  letters  marked  g. 

If  vou  run  a  scale  on  all  the  white  keys  except  b,  and 
substitute  for  this  note  the  W,  you  will  find  no  resting-place 
except  upon  one  of  the  letters  marked  f. 

It  is  a  physical  fact,  then,  that  a  scale  with  neither  sharps 
nor  flats  finds  its  end  on  the  note  c;  a  scale  with  one  sharp 
(which  is  always  f)  is  based  on  the  note  g ;  a  scale  with 
one  flat  (b  flat)  is  based  on  the  note  f.  Hence  one  speaks 
of  the  scale  of  C,  or  of  G,  or  of  F. 

If  you  try  the  substitution  of  some  other  single  sharp 
or  flat  for  the  f  sharp  or  b  flat,  you  will  get  no  satisfactory 
point  of  repose  at  all.  But  by  keeping  b  flat  and  adding 
e  flat  you  will  find  b  flat  a  comfortable  pausing-place  ;  by 
adding  a  flat  to  the  htr  and  et>,  you  will  find  a  pleasant  scale 
ending  on  et^.  By  adding  flats  in  the  following  order  (and 
only  in  the  following  order),  b,  e,  a,  d,  g,  c,  you  will  con- 
struct symmetrical  scales  reposing  always  on  the  next  to 
the  last  flat  added. 

By  substituting  sharps  for  the  natural  tones  of  the  origi- 
nal scale  of  C,  you  build  scales  satisfactorily  only  by  heap- 
ing up  sharps  in  the  following  order,  f,  c,  g,  d,  a,  e,  which 
scales  are  based  respectively  on  the  notes  g,  d,  a,  e,  b,  f, 
the  point  of  repose  being  in  each  case  a  half-tone  above  the 
last  sharp  added. 

The  scales  take  their  names  from  the  note  of  repose.  A 
scale  together  with  all  the  chords  that  can  be  built  upon  its 
notes  is  called  a  key.     The  word  "key"  is  often   loosely 


6  THE    MUSICAL    GUIDE 

used  (and  has  been  used  in  this  essay  thus  far)  to  indicate 
a  finger-lever  which  causes  a  string  to  sound ;  this  is  better 
called  a  "  digital."  From  now  on  the  word  "  key"  will  be 
used  only  to  designate  a  group  of  harmonies  and  a  scale 
belonging  to  some  series  of  progressions  ending  on  a  cer- 
tain note,  as  the  "  key  of  C,"  the  "  key  of  G  "  (which  con- 
tains f  sharp),  the  "  key  of  D  "  (which  contains  f  sharp  and 
c  sharp),  the  "  key  of  E  flat "  (which  contains  b  flat,  e  flat 
and  a  flat),  and  the  others. 

Since  practically  every  musical  composition  has  some  principal  key  to  which 
it  harks  back  as  its  home,  however  far  or  often  it  may  wander  away,  so  you 
will  find  at  the  beginning  of  every  new  line  of  a  composition  a  list  of  the 
sharps  or  flats  in  that  key  which  predominates,  and  these  sharps  or  flats  affect 
every  tone  not  otherwise  marked  throughout  the  composition.  This  group  is 
called  the  key-signature. 

A  convenient  trick  of  deciding  the  key  from  the  number  of  sharps  or  flats 
is  as  follows  :  where  there  are  flats  the  key  is  next  to  the  last  flat  ;  where 
there  are  sharps  the  key  is  always  the  next  letter-name  above  the  last  sharp. 
This  is  true  of  every  key  except  three  which  are  easily  remembered,  F  with 
one  flat,  G  with  one  sharp,  C  with  neither  flats  nor  sharps. 

Before  studying  chords,  it  will  be  necessary  to  have  an- 
other look  at  the  diagram  of  the  key-board.  We  have 
spoken  of  half-steps  and  whole  steps.  But  it  is  possible 
also  (and  often  desirable)  to  desert  the  monotonous  pro- 
gression of  whole  and  half-steps  and  skip  several  steps, 
as  one  does  in  singing  a  tune.  The  space  covered  by  a 
skip  is  called  an  interval.  As  geography  has  its  imaginary 
equator,  and  as  geometry  has  its  imaginary  lines  without 
breadth  and  its  planes  without  depth,  so  music  has  one 
imaginary  interval  which  is  no  interval  at  all,  but  identity. 
The  distance  from  a  note  to  the  very  same  note  is  called  a 
prime.  (This  is  sometimes  useful  when  speaking,  for  in- 
stance, of  a*?  and  aif,  which  are  a  prime  apart,  and  are  called 
primes  of  each  other.)  The  interval  from  one  white  digital 
to  the  next  white  digital  is  called  a  second^  the  skip  to  the 


AN  INTRODUCTION  TO  MUSIC   7 

next  but  one  is  called  a  third  (the  original  note  being  always 
numbered  one),  the  skip  to  the  third  white  digital  is  called 
2i  four  thy  and  so  on;  the  interval  of  an  eighth  being  called 
an  octave.  Also  the  tones  separated  by  an  interval  may  be 
called  by  the  names  of  the  interval  as  c  and  g,  or  d  and  a 
are  called  j^Mj- ;  f  and  d,  or  g  and  e  are  called  sixths^  etc. 

It  will  greatly  clear  the  belt  of  fog  we  are  now  going 
through  if  you  will  pick  out  the  examples  on  the  key-board. 

The  skip  from  a  white  to  a  black  digital  results  in  an  in- 
terval which  is  either  greater  or  less  than  the  nearest  inter- 
val on  the  white  digitals  alone.  The  normal  or  greater  of 
two  similarly  named  intervals  as  c  to  e  is  called  a  major 
third,  while  c  to  eS^  is  called  a  lesser  or  minor  third.  C  to  eJJ 
is  greater  even  than  the  major  and  is  called  an  augmented 
third,  while  c  to  ebb  (  "  double  flat"  )  is  a  diminished  third. 

Owing  to  the  elasticity  of  the  letter-names  of  the  notes, 
an  interval  may  be  expressed  or  spelled  in  diff^erent  ways, 
thus  c  to  eb  is  called  a  minor  third,  but  the  very  same  tones 
may  be  called  c  to  dif,  an  augmented  second,  c-f  bb  a  dimin- 
ished fourth,  btf-dJt  a  major  third,  etc.  The  name  of  the  in- 
terval depends  upon  the  key  we  happen  to  have  most  in 
mind  at  the  time. 

It  is  a  curious  fact  that  all  scales  are  made  up  of  exactly 
the  same  intervals  in  exactly  the  same  order.  Try  over  any 
of  the  scales  you  wish,  and  you  will  find  that  you  move  up- 
ward by  the  following  degrees,  in  the  following  order:  (i) 
a  whole  step,  (2)  a  whole  step,  (3)  a  half-step,  (4)  a  whole 
step,  (5)  a  whole  step,  (6)  a  whole  step,  (7)  a  half-step;  this 
last  bringing  you  to  the  octave  of  the  note  you  started 
from. 

As  earnestly  as  the  soul  demands  that  in  the  last  act  of  a 
play  we  shall  see  the  villain  sent  to  prison  and  the  hero  and 
heroine  locked  in  each  other's  arms,  so  our  nature  demands 
this  arrangement   of  tones,  and  when  it  says  half-step  or 


8  THE    MUSICAL    GUIDE 

whole  step  we  must  move  so,  or  leave  the  key  we  started  in 
and  take  up  another. 

This  explains  why  there  is  no  black  digital  between  the 
notes,  b-c,  and  e-f:  the  scale  of  C,  which  has  no  sharps 
or  flats,  must  still  have  its  two  half-steps  at  these  points  ; 
there  is  accordingly  no  sharp  or  flat  to  be  put  there. 


II 

WE  have  now  had  a  bird's-eye  view  of  the  natural 
arrangement  of  tones,  one  at  a  time.  But  we 
grow  tired  of  one  note  at  a  time.  Four  men 
singing  along  a  midnight  street  or  a  picnic  group  riding 
home  in  a  moonstruck  mood  fall  to  singing  favourite  melo- 
dies and  naturally  avoid  singing  in  unison.  They  spon- 
taneously sing  in  chords.  These  chords  are  formed  in- 
dividually and  succeed  one  another  according  to  certain 
fundamental  demands  of  the  ear  just  as  noticeably  as  the 
tones  of  the  scale  followed  a  rigid  pattern. 

First,  let  us  combine  various  tones.  Take  the  middle 
c'  and  strike  this  tone  with  the  right  thumb  while  another 
finger  strikes  another  tone  above,  c'  and  c'$f  do  not  sound 
well  together,  nor  yet  c'  and  d';  c'  and  d'#  (or  eV)  is  not 
unpleasant,  but  rather  sombre  (it  is  indeed  a  minor  har- 
mony, the  interval  c^-e>  being  a  minor  third) ;  c'  and  e' 
make  a  pure,  sweet  concord,  however.  Let  us  keep  c'  and 
e'  and  see  if  we  can  add  another  tone,  c'-|-  e'-f-  f,  is  very 
bad;  c'-|-  e'-f-  fjf  is  also  rough;  c -\-  e'-f  g'  is  very  com- 
fortable. We  have  now  a  three-tone  chord,  which  we  may 
call  a  triad;  it  happens  to  be  based  on  the  ist,  3d  and  5th 
degrees  of  the  scale. 

Let  us  see  if  we  can  build  triads  on  other  tones  of  the 
C  scale.  We  find  by  trying  all  the  combinations  on  the 
note  d',  that  while  the  triad  d -f'-a'  is  pleasant  but  sombre 


AN  INTRODUCTION  TO  MUSIC   9 

(it  is  minor),  the  only  clear  harmony  is  d'-fS-a';  but  as  f}f 
does  not  belong  to  the  scale  of  C,  we  cannot  include  it. 
On  the  note  e'  we  find  e'-g'-b',  minor,  and  e -g'jf-b'  pleas- 
ant ;  this  again  is  outlawed  by  the  gjf.  On  f ,  however,  we 
can  form  a  triad  f -a'-c',  which  has  no  foreign  chromatics 
and  is  yet  satisfying.  On  g'  we  find  another  triad,  g'-b'-d", 
which  is  native  to  the  C  scale  and  which  impels  us  strongly 
to  substitute  the  e"  above  for  the  d",  and  (^'  for  the  b'; 
when  we  have  done  this  we  find  we  have  the  chord  c'-e'-g' 
again,  only  now  arranged  differently,  as  g'-c'-e'. 

If  we  rearrange  the  chord  on  g'  differently,  as  b'-d"-g", 
we  shall  be  impelled  to  move  on  to  c' -e' -g",  which  is 
again  our  old  friend  the  original  triad  on  c'  in  its  original 
form. 

This  hankering  after  the  original  triad  on  the  key-note 
whenever  we  form  a  triad  on  the  fifth  tone  of  the  scale,  is 
one  of  the  most  noteworthy  and  inescapable  factors  of  the 
chord-world. 

But  let  us  proceed  with  our  triads  ;  on  a'  we  find  a'-c' — e" 
to  be  minor ;  the  major  chord  b'-dtf"-f  Jf"  is  doubly  ruled 
out;  while  b'-d"-f"  is  doubly  minor,  the  fifth  (b-f  ")  be- 
ing imperfect  and  the  third  (b'-d")  being  minor. 

It  may  be  well  to  state  here  a  handy  way  of  telling  the  majority  or  minor- 
ity ot  intervals  ;  imagine  the  lower  note  to  be  the  key-note  ;  if  the  upper  note 
would  occur  in  a  major  scale  on  that  key-note  its  interval  is  major  or  diatonic. 
Thus  on  b  :  the  key  of  B  has  5  sharps,  f,  c,  g,  d,  and  a  ;  both  d  and  fare 
sharp,  therefore  b— dt—fC  has  neither  interval  major. 

Looking  back  over  the  chords  of  the  scale  of  C,  we  find 
the  only  major  triads  to  be  those  on  c',  f  and  g'.  Since 
that  on  g'  is  so  urgent  in  demanding  the  main  triad  on  C, 
it  is  called  the  dominant  triad,  and  the  tone  g  is  called  the 
dominant  of  the  scale  of  C.  T  being  beneath  it  is  called  sub- 
dominant^  and  its  chord  the  subdominant  chord ;  the  note  c 


lo  THE    MUSICAL    GUIDE 

being  the  foundation  note  of  the  whole  scale  and  key  is 
called  the  tonic  {tonus  being  an  old  name  for  scale). 

The  principal  chord-material  of  any  scale  is,  then,  made 
up  of  the  triads  on  the  tonic  (or  ist),  the  dominant  (or 
5th)  and  the  subdominant  (or  4th). 

Try  another  Key,  F  for  instance,  which  has  bb.  After 
testing  all  the  combinations  on  the  key-note  or  tonic  f ' 
we  find  only  f'-a"-c"  ;  on  g'  the  triad,  to  be  in  the  key, 
must  be  g'-b'(^-d"  (since  hi.  is  a  characteristic  of  the  key 
of  F),  and  this  is  a  minor  chord;  a'-c"-e"  is  also  minor, 
but  bl?-d"-f"  is  a  major  triad;  it  is  indeed  a  chord  on  the 
subdominant.  We  should  expect  also  to  find  a  major  triad 
on  the  dominant  (which,  in  the  key  of  F,  is  the  tone  c), 
and  so  we  find  c"-e  -g",  which  we  recognise  as  the  tonic 
chord  of  the  scale  of  C.  But  strange  to  say  it  offers  no 
repose  in  its  new  environment  with  the  other  chords  of  the 
key  of  F  ;  on  the  contrary,  we  have  an  irresistible  desire  to 
move  on  from  it  to  c"-f -a"  (the  same  as  the  key-chord  or 
tonic  chord,  f-a'-c",  where  we  feel  at  home).  The  two  re- 
maining tones  of  the  scale  of  F  offer  no  satisfactory  chords. 

Let  us  try  a  key  with  one  sharp  in  it,  that  is  to  say,  the 
key  of  G.  Beginning  on  g'  we  find  after  groping  about 
that  the  only  chord  endurable  is  g'-b -d".  Building  triads 
on  all  the  other  tones,  a,  b,  c,  d,  e  and  f  i*,  we  find  all  of  them 
outlawed  as  unpleasant  or  at  least  minor,  except  two,  which 
again,  are  on  the  subdominant  and  the  dominant  tones  of  the 
key  of  G,  and  are  c"-e"-g",  and  d"-f  Jf-a". 

Taking  the  sum-total  of  the  chords  of  these  three  keys, 
c,  f,  and  g,  we  have  the  following  chords  :  (C)  c-e-g,  f-a-c, 
g-b-d  ;  (F)  f-a-c,  bi^-d-f,  c-e-g  ;  (G)  g-b-d,  c-e-g,  d-f  if-a. 
You  will  see  that  each  of  the  two  subordinate  keys  has  two 
of  the  chords  of  the  key  of  C.  This  will  be  found  the 
case  with  any  group  of  three  keys  similarly  differing  only 
by  one  sharp  or  flat,  that  is  to  say,  having  their  tonics  a  fifth 


AN  INTRODUCTION  TO  MUSIC    n 

above  or  below.  On -this  account  the  keys  based  on  the 
dominant  and  subdominant  tones  of  the  scale  of  any  given 
key  are  said  to  be  closely  related  in  the  first  degree  of  re- 
lationship. 

Add  another  flat  and  another  sharp,  that  is,  take  the  key 
of  Bi:^  and  the  key  of  D,  and  we  find  the  following  princi- 
pal chords  :  (Bi^)  bb  -d-f,  et^  -g-bi?  and  f-a-c ;  (D)  d-fff-a, 
g-b-d,  a-cS-e.  Each  of  these  keys  has  only  one  of  the 
chords  belonging  to  the  key  of  C.  These  keys  are  then 
related^  but  only  in  the  second  degree 

If  we  add  three  flats  or  three  sharps  and  study  the  keys 
of  Et^  and  A  we  find  the  chords  (Et^)  eb--g-b^,  ab  c-el^, 
bt^-d-f;  (A)  a-cj-e,  d-ftt-a,  e-g#  bb.  None  of  these 
chords  occur  in  C,  and  these  keys  are  said  to  be  remote  from 
it.  On  the  other  hand  comparing  E!^  with  the  key  which  had 
only  2  flats  (Bb),  we  find  that  Eb  has  two  chords  belonging 
to  Bb.  We  also  find  that  A  has  two  of  the  chords  belong- 
ing to  the  key  with  one  sharp  less,  viz.,  D.  We  may 
generalise,  then,  by  saying  that  the  most  closely  related  keys 
are  those  that  differ  by  one  flat  or  one  sharp ;  the  next  near- 
est relations  are  those  differing  by  two  flats  or  sharps. 

Ill 

WHILE  we  are  on  the  subject  of  heredity  take 
another  point  of  view  of  this  family-tree  : 
The  tone  f ,  which  is  four  steps  above  c',  is 
called  its  subdominant ;  on  looking  below  the  note  c,  we  find 
another  f,  but  where  it  was  four  tones  above,  it  is  five  tones 
below.  The  Key  of  F  has  added  one  flat  to  the  key  of  C. 
Counting  five  more  whole  steps  down  (always  counting  the 
note  you  began  on  as  first)  we  find  the  note  Bt^.  The 
scale  on  that  tone  has  yet  another  flat,  two  more  than  C. 
The  tone  a  full   fifth  below  (Et^)   has  three  flats,     So  we 


THE    MUSICAL    GUIDE 


find  that  moving  downward  by  fifths  we  add  one  flat  every 
step.     Ab-  has  4,  Db  has  5,  and  G:^  has  6  flats. 

Now  counting  upwards  from  our  starting  point  on  c',  we 
find  that  the  key  based  on  the  fifth  (g')  adds  one  sharp ; 
a  fifth  above  G  is  D,  a  key  with  two  sharps  ;  a  fifth  above 
is  A  with  three  sharps,  a  fifth  further  is  E  with  four  sharps, 
and,  as  we  continue,  B  with  five  sharps  and  FJf  with  six 
sharps. 

But  the  key  of  F3  on  our  piano  or  organ  passes  over 
the  very  same  digitals  as  the  key  of  Gt,  is  identical  with  it 
in  fact.  We  have  therefore  been  personally  conducted 
through  the  grand  tour  of  keys  by  way  of  the  circle  of  fifths^ 
twelve  in  all. 

We  see  therefore  that  all  keys  are  related,  and  by  careful 
procedure  in  chords  a  player  can  move  through  them  all  in 
succession  with  the  greatest  smoothness.  The  more  mod- 
ern the  composition  the  more  widely  does  it  rove  from  key 
to  key  until  in  some  works,  Wagner's  for  instance,  it  is 
sometimes  hard  to  say  just  what  key  we  are  driving  at. 
Instead  of  keeping  to  the  iron  rails  of  one  key  as  earlier 
music  aimed  to  do,  and  only  leaving  the  main  line  at  cer- 
tain definite  set  switches,  the  art  has  recently  left  the  hard 
and  fast  railroad  and  taken  to  the  pathless  waters  where,  to 
use  Wagner's  words,  it  *'  swims  in  a  sea  of  tone." 
• :  Some  very  formal  minds  grow  speedily  sea-sick  and  pre- 
fer the  rigid  grooves  of  the  older  school.  Each  one  to  his 
tastes.  But  the  broadest  mind  will  find  pleasure  both  in 
land-travel  and  sea-change,  insisting  only  that  the  composer 
shall  have  a  plan  and  know  what  he  is  about,  and  not  send 
his  locomotives  slashing  and  sinking  in  the  buxom  waves, 
nor  drag  his  yacht  gratingly  along  the  hard  ground.  Live 
and  let  live  is  the  best  art  motto. 

One  more  point  is  worth  noting  in  this  increasingly  im- 
portant subject   of  key-relationships.      Reverting  for  a  mo- 


AN  INTRODUCTION   TO  MUSIC    13 

ment  to  the  key  of  C  with  its  first  cousins  f  and  g,  we  find 
if  we  take  the  tonic  triads  of  the  three  keys  and  arrange 
them  as  follows : 

tonic, 
I 1 

f-a-c-e-g-b-d. 

subdominant     dominant 

These  tones  include  the  complete  scale  of  C.  So  it  will  be 
found  of  every  key-scale  that  it  contains  within  itself  the 
tonic  triads  of  itself,  of  its  subdominant  and  its  dominant 
keys. 

This  scale  and  key  principle  is  further  justified  by  a 
study  of  the  mathematics  and  physics  of  music.  And  the 
Relationship  of  Keys  is  given  a  still  greater  importance  in 
the  more  recent  writers  on  the  theory  of  music,  especially  in 
Riemann's  beautiful  theory  of  clang-keys  (see  this  word  in 
the  Dictionary  of  Definitions). 

IV 

NOW  that  we  have  laboriously  picked  out  our  triads, 
they  will  be  found  more  elastic  than  they  look. 
Take  the  triad  c'-e'-g',  the  tonic  triad  of  the  key 
of  C,  which  is  now  said  to  be  in  the  root  or  first  position, 
c'  being  the  root  or  generator  of  the  triad.  We  can  place 
the  C  uppermost  and  have  e'-g'-c",  which  is  in  effect  the 
same  chord,  though  a  chord  is  said  to  be  inverted  when 
any  note  except  its  root  is  in  the  bass.  The  second  inver- 
sion places  the  fifth  in  the  bass,  as  g'-c"-e"  or  g-c -e'-g'  or 
g-e'-g'-c".  These  3  positions  are  all  we  have  for  a  3 -tone 
chord  or  triad.  They  can  be  sounded  anywhere  on  the 
key-board,  however. 

Still  another  possibility  is  to  repeat  some  of  these  letter- 
names,  as  to  sound   the   triad  c'-e'-g'  with  the    right   hand 


14  THE    MUSICAL    GUIDE 

and  touch  the  tone  c  an  octave  below  with  the  left  hand ; 
or  the  tones  c-g  with  the  left  hand  and  e'-g'-c"  with  the 
right.  This  process  called  doubling  may  be  carried  on  in- 
definitely. In  a  piano-duet,  sometimes  twenty  notes  or 
more  are  struck,  all  of  them  repetitions  of  the  inner  kernel 
or  triad  of  three  notes. 

Strike  the  left  hand  note  c  first,  then  the  right  hand 
triad  c -e-'g'  twice  ;  then  strike  the  note  f  with  the  left 
hand  and  the  subdominant  triad  c'-f'-a'  twice,  now  c  and 
the  tonic  triad  again ;  then  strike  g  with  the  left  hand  and 
the  dominant  triad  b-d'-g'  twice ;  and  return  finally  to  C 
and  the  tonic  triad.  This  little  plot  in  three  instalments 
constitutes  the  whole  harmonic  accompaniment  of  many 
a  modern  popular  song  and  many  an  old  work  of  classic 
reputation. 

You  can  usually  tell  the  key  of  a  song  by  humming  it 
and  picking  out  on  the  piano  or  organ  its  very  last  note ; 
nine  times  in  ten  this  will  be  the  tonic  or  homenote  of 
the  composition.  Suppose  this  to  be  B7.  How  shall 
one  find  chords  to  accompany  it  ?  Build  a  major  triad  on 
b'tr;  it  will  be  b>-d'-f';  build  a  triad  on  the  dominant  or 
fifth  (f),  f-a'-c";  build  another  on  the  subdominant  or 
fourth  (eb),  e>  -g-b>.  Play  these  three  notes  (B^,  f, 
ei?)  with  the  left  hand,  and  use  triads  with  the  right,  re- 
arranging the  three  notes  in  any  of  the  inversions  as  they 
run  most  smoothly  into  one  another.  Your  ear  will  help 
you  find  the  right  order  of  the  chords.  This  will  serve  as 
a  recipe  for  easy  accompaniments. 

More  elaborate  songs  rove  through  so  many  keys  with 
so  little  warning  that  only  trained  ears  and  hands  can  pick 
out  their  accompaniment ;  but  it  will  clear  up  a  deal  of  the 
construction  of  music  if  you  will  take  some  simple  tune  and 
study  out  its  accompaniment  on  these  lines,  however  pain- 
ful the  operation  may  be  to  yourself  and  your  neighbors. 


AN  INTRODUCTION  TO  MUSIC    15 

(Familiar  songs  requiring  only  these  three  chords  are  "  The 
Star  Spangled  Banner,"  "  God  Save  the  Queen,"  "  Home 
Sweet  Home,"  "  Suwanee  River,"  "  Dixie,"  etc.,  and  most 
of  the  hymn-tunes.) 


BUT  the  simple  triads  grow  monotonous,  and  it  is 
desirable,  if  possible,  to  enrich  them.  Take  the 
all  important  dominant  triad  of  the  key  of  C 
(namely,  g-b'-d")  and  see  if  we  can  lay  another  third  on 
top  of  it  like  a  musical  brick.  The  next  major  third  above 
d"  is  f'tf.  But  ftt  does  not  belong  to  the  key  of  C.  The 
minor  third  ft  does  beautifully,  however,  and  we  have  a 
warm  rich  chord  which  more  than  ever  goads  us  on  to  the 
tonic  triad ;  the  g'  holding  over,  the  b'  and  the  d"  both 
merging  into  c",  and  the  f"  subsiding  blissfully  into  e". 

A  chord  of  4  tones  is  called  a  chord  of  the  seventh  or 
seventh  chord,  because  the  interval  between  the  first  and  last 
tones  is  a  seventh  (g -f ')•  This  chord,  g -b'-d' -f ",  is  a 
dominant  7th,  then.  If  we  wish,  we  can  add  another  third, 
a",  and  make  a  chord  g-b-d-f-a,  called  a  ninth  chord.  The 
dominant  7th,  however,  is  far  the  more  useful.  In  fact  it 
is  the  most  energetic  chord  in  all  music,  and  whatever  key 
you  may  be  in,  if  you  stray  into  the  dominant  seventh  of  a 
foreign  key,  it  drags  you  along  eagerly  and  hales  you  into 
that  foreign  key  to  which  it  belongs  and  for  which  it  is  a 
most  eager  usher. 

This  seventh  chord,  pleasant  as  it  is,  is  only  a  go- 
between,  it  offers  no  point  of  repose,  but  requires  an  almost 
immediate  dissolution  into  another  chord.  The  musical 
term  for  one  of  these  restless  chords  is  dissonance ;  the  mu- 
sical term  for  the  necessity  and  process  of  merging  it  into 
another  is  called  resolution.     The  word  dissonant  does  not 


i6  THE    MUSICAL    GUIDE 

necessarily  mean  "  ugly  "  or  "  harsh  "  in  music,  but  merely 
implies  lack  of  stabihty. 

This  dominant  yth  chord  has  magical  powers  for  transi- 
tion. Take  the  tonic  triad  of  the  key  of  C  major  in  the 
second  inversion,  that  is,  touch  g  with  the  left  hand  and 
e'-g'-c"  with  the  right.  Now  lift  the  finger  off  the  upper 
g'  and  place  it  on  b>.  Instantly  you  find  it  undesirable 
to  go  back  to  the  c -e'-g'  triad  and  you  are  impelled  to 
lower  that  b>  to  a',  bring  the  e'  up  to  f',  keep  the  c"  where 
it  is  and  lower  the  g  in  the  left  hand  to  f.  Now  you  feel 
at  rest ;  if  you  will  pause  and  look,  you  will  find  that  the 
b>,  which  is  characteristic  of  the  key  of  F,  has  led  you  into 
the  triad  f-a'-c",  which  is  the  tonic  triad  of  the  key  of  F. 
If  you  revert  to  the  state  of  affairs  existing  when  that  for- 
eigner b>  entered  the  peaceful  key  of  C,  you  will  find  that 
the  chord  formed  by  its  entrance  could  be  arranged  to  read 
c'-e'-g-bb.  This  is  a  yth  chord  on  the  tone  c.  But 
while  the  tone  c'  is  tonic  of  the  key  of  C,  it  is  the  fifth  or 
dominant  of  the  key  of  F.  Yet,  though  this  yth  chord  was 
built  on  the  tonic  of  C,  as  it  happened  to  be  the  dominant 
of  F,  it  forced  the  key  over  into  the  tonality  of  F.  This 
is  the  case  with  every  dominant  yth  chord. 

It  is  possible  by  a  slight  diversion  to  throw  the  resolu- 
tion of  the  chord  into  other  keys,  but  this  always  comes  as 
a  surprise  to  the  hearer.  It  may  be  justified  and  it  may  be 
pleasurable,  but  it  is  a  surprise,  and  in  a  sense  abnormal. 

Going  back  to  the  first  formation  of  the  yth  chord,  it 
will  be  found  that  the  yth  chord,  on  other  tones  than  the 
dominant,  are  rather  murky  or  even  distressing.  These 
are  called  secondary  yths  and  must  be  handled  in  gingerly 
manner. 


AN  INTRODUCTION  TO  MUSIC  17 


VI 

Now  if  we  take  our  dominant  yth  of  the  key  of  C, 
that  is,  g-b'-d"-f",  and  raise  the  g'  a  half-step 
so  that  the  chord  reads  g'jf  b'-d  "-f ",  it  will  most 
naturally  resolve  itself  into  this  chord,  a-c"-e",  a  sombre 
chord  which  is  minor  because  its  third  from  a-c  is  minor 
(the  major  third  being  a-cg,  as  cjt  would  be  characteristic 
of  the  key  of  A).  This  chord,  a'— c"-e",  has  the  look  of  a 
chord  in  the  key  of  C,  but  it  seems  to  offer  a  sense  of  de- 
jected repose  and'  makes  no  demand  for  progress  to  the 
tonic  chord,  c'-e'-g'.  We  arrived  at  this  chord  by  way  of 
a  curious  chord  with  fj  but  gj.  The  chord  g'-b'— d  "-f " 
had  been  a  minor  yth  (the  interval  from  g'  to  f  being  less 
than  the  major  interval,  which  would  be  g'  to  f  S),  but  this 
chord,  g'j-b'-d"— f ",  is  even  narrower  than  minor.  It  is 
hence  called  a  diminished  yth  chord. 

We  have  been  led  to  believe  that  the  first  sharp  of  a 
major  key  was  f,  and  that  c  followed,  then  g.  This  is  true 
of  a  major  key,  but  here  we  are  under  a  different  flag. 
You  can  construct  a  scale  out  of  these  two  chords,  the 
diminished  yth  and  its  resolution,  and  gjf-b-d-f;  a-c-e 
gives  us  a-b-c-d-e-f-gJt-a  as  an  octave  scale.  This  scale, 
which  is  closely  related  to  the  C  major  scale,  is  founded  on 
a',  which  is  a  minor  third  below  c".  So  it  will  be  found 
that  every  major  key  has  one  of  these  disappointed  relative 
keys  a  minor  third  below  and  differing  from  it,  for  har- 
monic purposes,  only  in  the  fact  that  the  yth  tone  of  this 
minor  scale  is  raised  a  half-step  above  the  tone  of  the  same 
name  in  the  major  scale  (in  the  scale  of  A  minor,  the  yth 
tone,  gS,  is  the  only  tone  foreign  to  the  scale  of  C  major, 
and  it  is  a  half-tone  higher  than  the  tone  g;  the  key  of 


i8  THE    MUSICAL    GUIDE 

C  minor  corresponds  exactly  with  the  major  key  a  minor 
third  above,  that  is  Et^,  except  that  where  b  is  flattened 
in  the  key  of  Etr  major,  it  is  made  natural  in  the  scale  of 
C  minor).  This  is  the  case  with  every  major  and  minor 
key ;  the  related  minor  key  is  a  minor  third  below  and 
raises  the  7th  tone  of  its  major  scale  a  half-step  (as  g  to 
gJJ ;  e[^  to  eti).  Thus  far  we  have  concerned  ourselves 
only  with  major  scales,  keys  and  intervals.  But  life  would 
be  very  monotonous  if  it  were  all  sunshine,  blue  sky  and 
laughter.  Music  could  not  represent  or  stimulate  human 
emotion,  as  it  does,  without  a  large  armoury  of  sombre 
colours,  bitter  dissonances  and,  in  place  of  a  sense  of  cheer- 
ful repose,  a  feeling  of  resigned  despair.-  These  purposes 
are  subserved  by  the  minor  key. 

In  looking  at  scales  and  intervals  we  find  that  certain  of 
the  intervals  were  to  be  distinguished  as  "  greater  "  and 
"  lesser."  The  Latin  words  meaning  greater  and  lesser  are 
major  and  minor.  (And  as  the  mediaeval  Latinity  of  the  Cath- 
olic Church  was  the  fountain-head  of  modern  music,  many 
of  its  terms  persist.)  On  the  major  scale  there  were  indeed 
four  minor  triads  to  only  three  major.  There  is  abundance 
of  minor  material  then  in  music.  Its  arrangement  into 
scales  and  keys  cannot  be  so  easily  explained  as  that  of  the 
major  mode ;  indeed  upon  this  subject  scientists  are  mutu- 
ally discordant  and  commonly  as  "  troubled  "  (betriibt)  as 
the  great  musical  scientist  Helmholtz  found  the  minor  scale 
itself. 

Where  doctors  disagree,  the  layman  would  do  best  to  pass 
by  on  the  other  side.  Let  us  take  the  minor  keys  as  we 
find  them  and  thank  Heaven  for  their  existence  as  mirrors 
to  the  chillier,  grayer  moods  of  the  mind.  Music  has  in- 
deed laid  up  something  for  a  rainy  day. 

To  go  any  further  into  the  construction  of  chords  would 
be  to  write  a  text-book  on  Harmony. 


AN  INTRODUCTION  TO  MUSIC    19 


Those  who  wish  to  pursue  the  subject  of  chord  construction  and  progres- 
sion will  find  fijrther  information  in  such  articles  as  Chord,  Harmony, 
Thorough-bass,  Parallel,  Covered,  Anticipation,  Suspension,  Interval,  Al- 
tered, etc.,  in  the  Dictionary  of  Definitions. 


VII 

GIVEN  the  scales  for  melody  and  the  chords  for 
harmony,  with  an  unlimited  variety  of  progres- 
sions, the  subject  of  rhythm  enters.  There 
was  a  time  when  the  music  of  the  scholars  was  all  in  notes 
of  equal  length ;  such  music  was  well  called  plain-song 
{planus  meaning  literally  "  smooth  ").  But  popular  instinct 
and  popular  music  still  had  drum-rhythms  and  dances  and 
finally  forced  the  music  of  the  scholars  to  return  to  hu- 
manity ;  and  so-called  mensurable  (i.  e.,  measurable)  music 
began. 

The  definition  of  rhythm  is  so  native  and  instinctive  in 
everyone  that  it  would  be  impertinence  to  foist  it  on  the 
reader.     It  is  to  be  noted,  however,  that  in   music  it  de- 
pends on  the  relative  accent  and  duration  of  notes  follow- 
ing a  pattern  more  or  less  closely.     The  rhythm  of  a  com- 
position can  be  expressed   by  thumping  it  on  a  table  with 
your  fingers,  for  rhythm  is  independent  of  height  or  low- 
ness  of  the  tone  and  the  volume  of  sound.     Strum  out  in 
this  way  such  tunes  as  "  Comin'  Thro'  the  Rye,"  "  Yankee 
^^^  Doodle,"  "  We  Won't  Go  Home  Until  Morning,"  or  the 
!\ve  ^^^^'  °^  ^^^^   °^  more  dignity.     If  you   mark  the  accents 
forcefully,   the    regularity    of  the    rhythmical   pattern  be- 
comes evident,  and  almost  as  monotonous  as  certain  styles 
of  wall-paper.     If  you  tap  with  the  left  hand  a  regular  beat 
y  like  a  clock's,  only  faster,  the  rhythm  of  the  air  will  assume 
"  piew  vividness. 

Take  "  Comin'  Thro'  the  Rye  "  for  example,  the  rhythm 


20  THE    MUSICAL    GUIDE 

could  be  expressed  by  underlining  with  the  right  hand  a 
series  of  numbers  to  be  ticked  off  by  the  left  hand  : 

If    a  bod-y    meet  a   bod   -   y     com  -  in'    thro'  the     rye 

1-2,  3,  4-5,  6,  7-8,  9,  10-11_,  12,  13-14,  15,  16-17,  18,  19,  20,  21,  22,  23,  24, 

If      a    bod-y  kiss     a   bod-y        need    a   bod-y       cry 


25-26,  27,  28-29,  30,  31-32,  33, 34-35, 36,37-38, 39, 40-41, 42,43,44,45,46,  47, 48 

This  covers  two  lines  of  the  song,  the  rest  of  which  fol- 
lows the  same  model.  We  find  48  beats  in  the  two  lines 
of  verse,  24  to  each  line.  The  rhythm  is  almost  exactly 
stencilled  all  the  way  through  ;  it  begins  over  again,  after 
every  sixth  count,  each  7th  count  having  a  marked  accent, 
the  4th  of  each  group  of  6  having  a  lighter  accent.  If, 
since  the  rhythm  is  the  same,  we  simply  repeat  the  first  6 
numerals  and  cut  off  with  a  line  every  group  of  6,  we  shall 
have  the  song  pictured  in  as  simple  a  pattern  as  that  of  the 
maid's  own  print  gown. 

If     a    body  meet  a  body  com-in'  thro'  the    rye 

/1-2,  3,  4,  5,   6/  1-2,  3,   4-5,   6/  1-2,   3,  4-5,   6  /  1,  2,  3,  4,  5,  6/ 

Call  each  of  these  groups  a  measure^  the  slanted  line  a 
baVy  take  a  certain  time  or  nole-v3.\ut  as  the  unit  in  place  of 
these  numbers  and  you  will  have  the  musical  terminology. 
As  the  notes  are  short  the  quick  eighth  note  (one-eighth  of 
a  whole  note)  may  be  taken  as  the  unit ;  there  are  6  of 
these  in  each  measure,  and  the  time  of  the  song  is  said  to 
be  six-eighths  or  6-8  time.  This  is  a  combination  of  triple 
and  duple  rhythm,  for,  while  each  measure  contains  6 
counts,  these  counts  are  divided  into  two  groups  of  three 
each  and  there  are  two  accents  to  each  measure,  conse- 
quently 6-8  time  is  sometimes  used  for  marches. 

But  the  typical  march  time  for  marches  (as  well  as  for 
many  other  moods,  as  "  Auld  lang  syne,"  etc.)  is,  as  you 
will  find,  divisible  into  measures  of  4  counts  each,  with  two 


AN  INTRODUCTION  TO  MUSIC    21 

accents  to  each  measure.  As  the  whole  note  is  taken  as  the 
whole  extent  of  each  measure,  the  presence  of  four  beats  to 
the  measure  gives  each  beat  a  fourth  or  quarter-note  value. 
It  is  therefore  called  7-7  time,  or  simply  common-time.  Very- 
quick  marches  are  sometimes  written  in  2-4  time  with  one 
beat  to  the  measure.  Waltzes  are  written  with  3  beats  and 
only  one  accent  to  the  measure.  This  time  is  called  3—4 
time.  Other  rhythms  are  3-2,  a  slow  time  (with  3  half- 
notes  and  3  accents  to  the  measure) ;  3-8  time  (a  light 
quick  time  with  3  eighth  notes  and  one  accent  to  the  meas- 
ure) ;  6-4  time  (a  slower  form  of  6-8  measure,  differing  from 
3-2  only  in  having  two  accents  to  the  measure) ;  9-8  (with 
9  eighth  notes  and  3  accents),  &c.  (v.  article  on  Time). 


VIII 

NO   way  of  submitting  music   to  the   all-devouring 
decimal  system  has  yet  been  brought  into  play. 
The  measure-notes  are  all  multiples  of  2  and  4 ; 
whole  notes,  half,  quarter,  8th,  i6th,  3 2d,  and  64th  notes. 

The  larger  divisions  of  music  also  fail  to  follow  the  deci- 
mal system.  In  the  analysis  of  "Comin'  Thro'  the  Rye  " 
the  measures  themselves  can  be  collected  into  groups  of  2, 
4  and  8.  There  is  a  slight  pause  after  every  other  meas- 
ure, a  perceptible  pause  at  the  end  of  the  4th  measure,  a 
longer  pause  at  the  end  of  the  8th.  The  next  group  of  8 
measures  is  hkewise  divisible  into  groups  of  2  and  4. 

This  quality  of  divisibility  into  4  and  8  measures  is  a 
fundamental  law  of  musical  structure.  Because  it  is  such  a 
law  many  composers  strive  to  hide  its  nakedness  or  re-shape 
it  to  special  purposes,  but  these  are  exceptions  which  by 
their  very  sense  of  novelty  and  oddity  prove  and  emphasise 
the  general  rule. 


22  THE    MUSICAL    GUIDE 

A  group  of  eight  measures  is  called  a  period ;  this  period 
contains  two  phrases  of  four  measures  each ;  each  phrase 
contains  two  sections^  of  i  measures  ;  and  each  section  is 
generally  divisible  into  its  melodic  or  rhythmic  motive  or 
subject.  The  song  "  Comin'  Thro'  the  Rye  "  is  especially 
clean-cut  in  its  divisions.  They  correspond  in  spirit  to  the 
comma,  semicolon,  colon  and  period  of  ordinary  prose, 
but  occur  with  far  more  regularity.  Frequently  the  periods 
themselves  can  be  collected  into  larger  groups  or  compound 
periods  corresponding  to  paragraphs.  The  first  accent  of  a 
measure  has  a  stronger  accent  than  the  second  or  third.  So 
the  first  accent  of  the  first  measure  of  a  period  should  re- 
ceive a  greater  stress  than  the  first  accent  of  the  first  meas- 
ure of  a  phrase,  and  so  on.  In  the  proper  distribution  of 
accents  lies  the  larger  part  of  musical  punctuation,  or,  as  it 
is  called,  phrasing. 

IX 

IN  the  first  group  of  8  measures  of  "  Comin*  Thro*  the 
Rye "  there  is  a  general  upward  tendency  to  the 
melody.  The  second  period  begins  on  a  high  note 
(at  the  words  "Ilka  body")  and  has  a  downward  ten- 
dency. This  desire  for  a  contrast  is  at  the  root  of  all 
musical  form.  This  song  is  condensed  even  beyond  the 
usual  popular  form,  partly  because  of  the  stanza-form  of 
its  poetry.  "  The  Last  Rose  of  Summer  "  fulfils  the  typical 
song-form  which  contains  a  theme  of  one  or  more  periods, 
followed  by  a  contrasting  or  subsidiary  theme  of  one  or  more 
periods,  the  song  concluding  with  a  repetition  of  the  first 
or  principal  theme.  Practically  the  same  idea  governs  the 
typical  dance-form  though  the  themes  are  likely  to  be  more 
elaborate  and  the  second  theme  is  still  stupidly  called  a  trio 
(from  the  fact  that  it  was  actually  in  old  times  given  to  a 


I 


AN  INTRODUCTION  TO  MUSIC   23 

trio  of  instruments  in  order  to  contrast  its  simple  song-like 
manner  with  the  more  ornate  and  broken  progress  of  the 
principal  theme). 

It  would  naturally"  occur  to  composers  seeking  variety, 
to  put  this  subsidiary  theme  into  a  different  key,  to  empha- 
sise the  contrast.  The  key  naturally  chosen  would  be  a 
closely  related  key.  This  is  usually  the  case,  and  the  con- 
trast of  keys  is  a  most  important  part  of  classic  forms. 

The  elaboration  or  variation  of  the  themes  in  a  way  to 
show  off  the  composer's  scholarship  and  cleverness,  was 
also  as  inevitable  as  human  pride  in  skill. 

The  word  variations  has,  in  the  general  mind,  a  thought 
of  "  The  Old  Oaken  Bucket "  and  "  Nearer  my  God  to 
Thee  "  "  with  variations."  "  Variations  "  is  an  incorrect 
word  here  ;  the  proper  term  for  these  cheap  and  gaudy 
works  being  embellishments^  for  the  air  is  simply  made  a 
trellis  for  all  manner  of  running  vines  and  frippery. 

The  true  variation  of  a  theme  is  its  genuine  manipula- 
tion. Take  the  first  i  measures  of  "  Comin'  Thro'  the 
Rye "  as  a  theme ;  i.e.,  the  notes  to  the  words  "  Gin  a 
body  meet  a  body,"  sit  down  again  before  the  piano  and 
play  this  theme,  picking  out  the  notes  as  indicated  from 
their  letter-names  as  shown  in  the  Chart. 

Suppose  the  notes  to  be  placed — 

/c',  c',  c',  eV,  d',  c',  d',  e'/g  g  a  g/c'. 

If  with  the  right  hand  you  play  the  theme  as  indicated,  and 
shortly  after  follow  in  with  the  left  hand  (as  you  would  fol- 
low the  leading  voice  in  singing  such  a  round  as  "  Three 
Blind  Mice"),  you  will  use  the  frequent  device  called  for 
evident  vt2iSons  imitation yjis  here  : 

Right  hand/c'  c'  c'  e'/d'  c'  d'  e'/g  g  a  g/c' /&c. 

Left  hand  / / /c  c  c  e/d  c  d  e/&c. 


24  THE    MUSICAL    GUIDE 

This  is  imitation  at  the  octave  and  at  two  measures'  dis- 
tance ;  imitation  may  be  at  a  different  interval  and  distance, 
at  the  fifths  for  instance  : 

Right  hand  /  c'  c'  c'  e  /  d'  c'  d'  e'/  &c. 
Left    hand  / /  f   f   f   a  /  &c. 

Imitation  need  not  be  so  strict  as  this;  it  may  h^free^ 
the  intervals  being  slightly  changed  to  enrich  the  harmony, 
for  it  is  not  every  air  that  can  be  treated  smoothly  and  strict- 
ly at  the  same  time.  Here,  for  instance,  the  a  in  the  left 
hand  might  be  reduced  to  a  g.  Imitation  in  the  orchestra 
has  vast  scope.  The  trombones  may  proclaim  a  splendid 
phrase  which  the  oboes  will  cackle  over  ludicrously,  the 
flutes  whistle  gaily,  the  clarinets  echo  gurgingly,  the  'cellos 
bemoan  nasally,  and  the  violins  murmur  deliciously. 

But  in  piano  or  organ  composition,  imitation  is  more 
restricted.  Sometimes  a  composer  in  mathematical  mood 
will  set  an  elaborate  air  jogging,  and  when  it  has  gone  a  few 
spaces  along,  will  start  after  it  its  very  double.  The  two 
will  race  like  twin  snakes. 

When  the  imitation  is  exact,  whole  step  by  whole  step, 
skip  by  skip,  whole  note  by  whole  note,  and  half-note  by 
half-note,  the  composition  is  said  to  be  a  canon.  The  canon 
may  set  more  than  two  snakes  wriggling  swiftly  along  at 
always  the  same  distance  from  head  to  head.  Fugue  is 
only  a  special  form  of  composition  in  which  the  canon  plays 
a  large  part,  the  word  ^^  fuga  "  meaning  "  flight." 


AN  INTRODUCTION  TO  MUSIC    25 


THE  devices  for  varying  a  theme  are  infinite.  It 
can  be  played  in  longer_  nptes^while  another  theme 
chosen  from  another  part  of  the  song  ripples 
about  it ;  or  the  duration  of  the  notes  can  be  shortened. 
The  new  treatment  of  a  theme  by  lengthening  its  notes 
is  called  augmentation ;  the  shortening  of  the  notes  is  dimi- 
nution. 

The  upper  of  two  themes  can  be  made  the  lower  at  dif- 
ferent intervals  than  the  octave ;  this  is  called  inversion. 
Another  form  of  inversion  is  the  turning  of  a  theme  upside 
down,  so  that  whenever  it  went  up  before,  it  goes  down 
now,  and  vice  versa ;  this  is  imitation  by  contrary  motion. 

A  theme  can  be  picked  to  pieces  and  different  frag- 
ments of  it  tossed  to  and  fro  with  the  skill  of  a  juggler  (and 
about  as  much  importance).  The  first  4  notes  of"  Comin' 
Thro'  the  Rye  "  could  be  taken  as  a  figure  and  repeated. 
Thus  : 

c'  c'  c  e',  e'  e'  e'  g'jf,  g'jf  g'jf  g%  b',  etc. 

This  would  be  called  a  sequence.      The  themes  could  be 
played  in  octaves,  or  in  varied  and  key-changing  chords  as  : 

If  a  bod        -y 

el^-g-c',    f-ai>-c',    g-b7-c',    g-bl^-e' 


It  could  be  ornamented  as  : 

If  a  bod      -y 

c',  c',  d',  c',  b',  c',  d',  c',  e',  e',  e',  e'. 


26  THE    MUSICAL    GUIDE 

In  fact,  there  is  no  hinting  here  the  dissection  and  recon- 
struction of  which  a  theme  is  capable.  As  opposed  to  a 
melodious  or  lyric  treatment,  this  method  is  called  thematic. 
Common  names  for  this  sort  of  treatment  are  "  develop- 
ment, elaboration,  variation,  working-out,  free  fantasy," 
&c.,  &c.,  the  Germans  calling  it  Durchfiihrung,  "going 
through." 

XI 

THE  highest  and  noblest  form  of  strictly  academic 
and  formal  composition  is  the  sonata^  for  the 
symphony  is  only  a  sonata  for  orchestra.  We 
have  now  arrived  hastily  at  a  point  where  a  rough  explana- 
tion of  this  form  is  possible. 

This  is  the  way  you  should  set  about  writing  a  sonata, 
or  rather,  one  of  the  ways,  for  the  sonata  is  elastic  and 
has  some  room  for  individual  tastes. 

First  you  select  a  melody,  one  with  an  elocutionary  and 
sententious  manner,  and  containing  many  good  texts  to 
develop.  You  write  it  out  plainly  and  emphatically  in  the 
key  that  suits  it  best.  As  a  sidelight  and  a  foil  you  se- 
lect some  more  lyrical  and  song-like  air,  and  for  contrast 
you  put  it  in  another  key,  naturally  one  of  the  related  keys, 
most  naturally  the  nearest  related  key,  or  the  dominant. 
Or  you  might  put  the  second  melody  in  the  relative  minor. 
Having  stated  your  two  subjects,  you  may  choose  to  repeat 
them  word  for  word,  or  note  for  note,  so  that  there  shall  be 
no  mistaking  them  ;  you  may  then  add  a  concluding  reflec- 
tion more  or  less  elaborate.  This  is  the  first  section  of  the 
sonata. 

Having  stated  the  two  texts,  t\\t  principal  and  the  subsid- 
iaryy  you  now  propose  to  show  their  true  profoundness, 
and  your  own  true  skill  as  an  orator.     You  employ  the  de- 


AN  INTRODUCTION  TO  MUSIC  27 

vices  of  elaboration  mentioned  above,  and  you  play  battle- 
dore and  shuttlecock  with  the  two  themes  in  all  the  keys 
you  wish  till  they  fly  to  pieces  ;  then  you  juggle  the  pieces ; 
you  modulate  from  grave  to  gay ;  from  cold  to  tropical, 
from  whisper  to  shriek,  from  insinuation  to  fervid  appeal, 
from  metaphor  to  homely  paraphrase ;  in  fact,  you  invoke 
every  art  and  artifice  you  can  borrow  from  the  schools 
or  can  find  in  the  promptings  of  your  own  emotions. 
When  you  have  exhausted  all  the  devices  propriety  or  your 
knowledge  permits,  you  have  finished  the  second  section  of 
the  sonata,  the  so-called  Working-out,  or  Development,  or 
Free  Fantasy,  or  Elaboration. 

The  third  section  consists  of  a  re-statement  of  the  first 
theme  in  the  original  or  tonic  key,  followed  by  the  second 
theme,  not  in  its  related  key,  but  now  in  the  same  key  as  the 
first  themey  in  order  that  a  definite  key  may  be  left  in  the 
mind  to  give  an  effect  of  unity.  A  short  peroration  or 
coda^Xlids_ tke  sermon  like  a  welcome  benediction. 

This  is  what  is  strictly  called  the  sonata  form.  It  is 
reasonable  and  based  on  a  natural  and  artistic  arrangement 
of  ideas  and  their  development. 

The  sonata  is  not  complete  in  this  one  composition,  or 
movement  as  it  is  called.  Three  or  usually  four  contrasted 
movements  are  strung  together.  They  usually  have  some 
faint  suggestion  of  similarity  of  theme,  but  variety  of  mood 
and  key  is  the  chief  endeavor.  A  slow  movement  (called 
from  its  slowness  by  one  of  the  Italian  words  meaning 
"  slow  " — Andante,  lento,  largo),  marked  by  deep  pathos 
or  tragedy,  usually  follows  the  passionate  outburst.  Then 
comes  a  lighter  mood  in  one  or  two  movements  in  the  form 
of  (a)  an  optimistic  and  prettily  braided  Rondo  with  one 
chief  theme  and  two  attendant  themes  ;  (b)  a  gallant  Min- 
uet ;  or  (c)  a  witty  and  jocose  scherzo. 

The  sonata  ends  withj^ Finale  of  stormy  and  brilliant 


28  THE    MUSICAL    GUIDE 


character  generally  built   on  the  same  scheme  as  the  first 
movement  and  written  in  the  same  key. 

The  whole  group  of  three  or  four  movements  makes^  up 
a  sonata.  The  first  movement  of  the  sonata  is  often  also 
called  the  "  sonata-form." 

An  overture  (excepting  one  that  is  a  medley  of  airs) 
is  merely  the  first  movement  of  a  sonata,  written  out  for 
an  orchestra.  A  symphony  is  merely  a  whole  sonata  written 
to  take  advantage  of  the  enlarged  opportunities  of  a  great 
orchestra  of  from  50  to  120  instruments.  The  sonata- 
formula  is  also  the  basis  of  the  string-quartet^  -quintet,  etc., 
and  of  concertos  for  solo  instruments  with  orchestra. 

A  symphonic  poem  is  a  symphony  only  in  the  breadth  of 
its  orchestration  and  its  high  demands.  Like  many  smaller 
forms  it  forsakes  the  somewhat  rigid  arrangement  of  the 
sonata  and  other  classical  forms  and  lets  the  moods  or  the 
story  it  tells  furnish  the  programme  of  musical  events.  A 
composition  which  has  some  programme  other  than  the 
classic  arrangement  of  keys  and  sections  ; — a  programme  for 
instance  representing  musically  a  storm  or  the  tragedy  of 
"  Romeo  and  Juliet  " — such  a  composition  is  said  to  be 
programme  music.  In  its  worst  form,  when  programme 
music  descends  to  cheap  and  unconvincing  imitations  of 
natural  sounds  instead  of  contenting  itself  with  an  artistic 
suggestion  of  them  to  the  hearers'  imagination,  such  music, 
if  music  it  can  be  called,  becomes  quite  as  hopeless  trash  as 
that  school  of  music  which  stoops  to  cheap  and  unconvinc- 
ing imitations  of  classical  masters  and  parrots  devices  which 
only  the  original  spontaneity  of  the  old  master  himself  can 
keep  alive.  But  generalisations  are  vain.  What  is  poison 
as  one  man  serves  it  up,  is  meat  from  another's  hands. 
One  failure  or  one  triumph  no  more  makes  a  rule  than  one 
bluebird  brings  the  spring. 


AN  INTRODUCTION  TO  MUSIC  29 


This  hasty  and  incomplete  sketch  will  have  failed  in  its 
purpose  if  it  leads  its  reader  to  the  delusion  that  he  need 
investigate  no  further  the  real  mysteries  of  the  art  of 
music  ;  if  it  lead  to  the  delusion  that  because  the  art  is 
founded  on  certain  physical  laws  of  inner  and  outer  nat- 
ure, the  artistic  imagination  is  to  be  hobbled  to  them  ;  or  if 
it  lead  to  the  delusion  that  any  one  form,  symmetrical  or 
natural  soever,  can  suffice  for  all  generations  or  all  moods, 
or  that  any  school  of  masters  can  hope  to  embody  all  that 
is  good  and  solid  in  the  art. 

The  classic  masters  were  once  living,  breathing,  passion- 
ate young  artists,  impatient  of  precedent  and  breaking  rules 
for  sheer  pleasure  as  wanton  boys  smash  windows.  He 
who  approaches  them  with  intelligence  and  sympathy  wil 
find  them  still  made  of  bone  and  blood,  sinew  and  spirit. 
But  once  he  has  had  the  inestimable  delight  of  their  ac- 
1,  A  quaintance,  he  must,  above  all  things,  avoid  the  belief  that  art 
tie  and  glory  died  with  them.  He  should  approach  every  new 
lefoi  work,  howsoever  startling,  with  a  readiness  to  be  convinced 
(jyof  that  the  new  trumpeter,  standing  on  the  outer  hilltop  which 
we  thought  was  the  rim  of  the  art,  may,  after  all,  be  looking 
„e  into  a  further  world  and  be  proclaiming  to  us  new  fields  and 
treams,  and  a  new  horizon.  And  though  his  music  may 
rtistijfteem  strange,  blatant  and  incoherent  to  us  at  first,  per- 
nusic,  "^^ps  the  fault  is  not  with  him,  nor  with  us,  but  only  with 
ishs  -^^  great  new  wonder-land  he  sees  beyond. 
i^.in(.  I  Music,  like  any  other  living  speech,  is  always  growing 
i,jj|  ind  must  always  be  newly  studied.  If  we  would  not  have 
l,fj5  it  a  dead  language  we  must  be  prepared  for  change,  and  be 
oisor  filling  to  learn. 
lands. 


Cjje  i^ational  g»t!)ooIs: 

Five  Essays 

by 

iRENiEus  Prime-Stevenson 

With  an  Appendix  on 
the  American  School  by  the  Editor 

Italian    Music 

WHATEVER  currents  of  emotion,  or  of  the  me- 
chanics of  music,  have  varied  and  developed  the 
art  in  Italy,  two  traits  have  been  fundamental  to 
distinctively  Italianistic  compositions — in  each  instance  ap- 
parently spontaneous  vital  pulsations  and  principles.  The  i 
first  is  the  notion  that  without  melody — especially  sensuous, 
warm,  obvious  melody — music  has  no  eloquence  for  the  I 
heart,  no  matter  how  admirable  the  harmonic  structure  may 
be.  The  second  trait  is  lyricalism — the  tendency  to  keep 
music  ever  in  touch  with  the  art  of  actual  song,  with  the  ex- 
pressiveness that  the  human  voice  alone  can  afford. 

It  is  true  that  in  view  of  many  widening  phases  of  Italian 
musical  genius  we  cannot  claim  that  on  these  two  command- 
ments have  hung  all  the  law  and  the  prophets  which  set 
Italy  to  creating  for  the  rest  of  the  world  the  most  recently 
perfected  of  the  arts  ;  that  gave  Italy  her  long-time  sov- 
ereignty in  music ;  even  now  distinguish  her  in  it.  Still, 
they  are  the  quintessence  of  Italianism  in  all  "  schools  "  Ji 


and  phases  really  reproductive.  Let  us  note,  along  with! 
these  two  general  Italian  concepts  of  music,  the  tendency 
to  unite  melodic  beauty  with  melodic  strength,  a  feminine, 

30 


THE    NATIONAL    SCHOOLS      31 

not  a  masculine,  emotionality  and  melodiousness,  and  a 
failure,  first  and  last,  to  reach  in  abstract  music  that  inter- 
est and  dignity  which  Germany,  Austria,  France,  Scan- 
dinavia, and  Russia  have  achieved.  Thus  we  have  two 
other  salient  Italian  traits  before  us.  The  Italian  "  schools  " 
of  music,  not  excluding  even  the  lofty  ecclesiastical  com- 
posers, if  compared  with  the  workers  in  the  North,  stand 
for  Music  as  a  thing  of  mere  human  heart  and  nerves  and 

0;    artless  passion   as  contrasted  with  a  vaguer,  more  mystic 
psychologic  message.     Only  Italy  could  produce  a  Rossini 

~"   or  a  Verdi ;  we  cannot  think    of  an    Italian    Bach,   Bee- 
thoven, or  Brahms  ;  and  vice  versa  the  feeling  holds  good. 
It  is  logical,  therefore,  that  we  find  Italy  to  be  really 
,  shining  in  only  two  forms  of  music.      Both  are  her   own 

'  special  discoveries,  or  re-creation.  The  first  is  polyphonic 
church-music.  The  second  is  opera.  Neither  of  these 
forms  is  of  the  more  abstract  and  independent  utterances 
of  the  art.  But  in  each  instance  Italy  has  never  been  sur- 
passed in  dealing  with  them,  either  in  principles  or  prac- 
tice, and  it  is  not  likely  that  she  ever  will  be,  till  music  as  a 
jcience  and  as  an  emotion  is  revolutionised.  Let  us  add, 
n  passing,  that  a  third  form — also  lyric — is  also  Italy's  di- 
■ect  invention,  the  sacred  oratorio.  But  her  accents  in  ora- 
orio,  as  in  her  early  developments  of  almost  all  other  kinds 
)f  music,  have  been  so  outdone  by  French  and  German 
nusicians  that  the  Italian  oratorio  is  to-day  a  fact  for  the 
tudent,  not  the  auditor. 

It  would  be  as  impossible  to  essay  even  a  general  histor- 
:al  sketch  of  Italy  in  music  in  a  few  pages,  as  to  condense 
he  story  of  Italian  painting  into  equally  few  paragraphs. 
n  Italy,  the  modern  ideas  of  music,  sacred  or  secular,  all 
Dund  creation  or  resurrection.     All  the  rest  of  the  world 

ider.c|jwes  the  art,  as  it  is   to-day,  to  one  or  another  phase  of 

^ininltaly's    early    intense  sensibility   to    It.     Perhaps,   indeed. 


32  THE    MUSICAL    GUIDE 

music  is  the  Italian  art,  in  chief,  rather  than  any  other.  Out 
of  the  mists  of  the  early  Christian  Era,  out  of  the  thunders 
of  mediaeval  wars  and  sieges,  come  to  us  the  harsh  but  noble 
chants  of  Saint  Ambrose  of  Milan  (a.d.  333-397)  and  of 
Pope  Gregory  the  Great  (540-604)  ;  and  as  we  reach  the 
fifteenth  and  sixteenth  centuries,  we  hear,  clear  and  full, 
some  of  the  most  magnificent  and  pure  church-song  ever 
written,  in  the  masses,  motets,  anthems,  psalms  and  other 
great  polyphonic  works  by  the  Roman  masters  of  vocal  scor- 
ing, Palestrina  (1524  ?-i594),  and  AUegri  (1560-1652)  and 
their  contemporaries.  At  the  same  time,  sacred  oratorios 
began  under  Cavalieri  (1550-15 — )  a  course  to  which  in  a 
course  of  200  years  Handel,  Haydn,  and  Mendelssohn  were 
to  give  such  dignity.  But  the  great  burst  of  Italian  church- 
music  occurs  after  the  beginning  of  the  seventeenth  century, 
when  Carissimi  (i  604-1 674),  the  Venetian  Marcello  (1686- 
1739), the  Neapolitans  Durante(i684-i755)and  Leo(i694- 
1746),  Pergolesi  (1710-1736),  Jommelli  of  Naples  (1714- 
1744)  and  Scarlatti,  the  Sicilian  (1659-1725),  shone  out  as 
suns  in  Italian  church-music,  by  styles  and  principles  not! 
yet  weakened.  Thereafter,  however,  Italian  church-music 
declined  in  excellence  ;  and  save  for  a  few  special  and  rela- 
tively recent  works  by  Zingarelli,  Rossini,  and  Verdi 
(quite  of  other  voice  and  structure),  its  message  has  finished. 
In  early  instrumental  composition  Domenico  Scarlatti  of 
Naples  (1683-1757)  is  of  mark. 

Opera,  as  has  been  observed,  presents  the  phase  of  Italian 
genius  in  music  at  its  most  prolific,  most  powerful  and — ap-i 
parently — most  natural  eloquence.  As  is  well  known,  it  was! 
in  trying  to  revive  old  Greek  drama,  with  its  musical  ele- 
ment, that,  in  1681,  a  group  of  wealthy  Italian  dilettanti 
originated  modern  lyric  drama.  Under  Caccini  and  Peri, 
by  the  broader  ideas  of  Monteverde,  Lotti,  and  others,  the  '! 
structure  of  opera  became  firm.  In  Alessandro  Scarlatti 
Pergolesi,  Sacchini,  and  Piccini — mostly  southern  Italians — 


it 


THE    NATIONAL    SCHOOLS      33 

an  enormous  Italian  operatic  growth  occurred ;  soon  trans- 
formed or  grafted  to  France,  Germany  and  Austria.  The 
consummation  of  the  classical  Italian  opera  appears  in  the 
Austrian  Mozart,  whose  operatic  voice  is — fundamentally 
— Italian.  From  this  point  we  pass,  in  Italian  opera,  to  the 
greater  modernists  and  romanticists,  always  Italian  in  their 
concept  of  opera,  whatever  their  actual  birth  or  locality— 
Paesiello,  Cimarosa,  Salieri,  Zingarelli,  Spontini,  Rossini, 
Donizetti,  Bellini,  Mercadante,  mostly  Neapolitan  or  of 
meridional  Italy.  Their  works  have  given  place,  in  large 
measure,  to  the  Contemporary  School  of  Italian  Opera, 
strikingly  eclectic  and  much  influenced  for  better  or  worse  by 
Northern  phases.  The  supremest  and  noblest  figure  here 
met  is  the  gigantic  Verdi  (1813-1901),  beyond  doubt,  one 
of  the  most  astonishing  and  consummate  emotional  com- 
posers in  all  the  story  of  music.  Verdi  is  elsewhere  in  this 
book  so  fully  treated,  as  are  Rossini,  Donizetti  and  Bellini, 
as  to  need  no  long  essay  here  on  his  merits  and  career.  Of 
his  contemporaries,  especially  of  what  we  may  call  the  Neo- 
Italian  "  School  "  of  operatic  writing,  the  most  important 
are  Ponchielli,  Boito,  Cagnoni,  Gomez,  Puccini,  Franchetti, 
Cilta  and  Giordano;  with  less  distinct  merits  attaching  to  two 
other  much  advertised  names,  Mascagni  and  Leoncavallo. 
-     At  present,  Italy  is,  beyond  doubt,  in  the  same  plight 

"'  of  musical  decadence   (creatively  estimated  and  measured 
'by  her  past  importance)  as  is  almost  every  other  land  and 

^^  race  in  the  art.  Only  in  opera  has  the  Italian  composer 
to-day  a  really  attractive,  spontaneous  musical  communi- 
cation.      For  we  can  scarcely   think  that  the  few  superior 

"^'^  Italian  symphonists  and  pianoforte  writers  are  of  general 
and  real  significance.  Whether  Italy  can  give  any  further 
limpetus,  indeed,  to  a  form  of  art  that  appears  to  be  thought- 
-out and  written-out  is  a  question  :  but  if  the  Italian  fail  to- 
day in  his  aesthetics  it  is  easy  to  forgive  the  failure,  consid- 
ering his  splendidly  Hellenic  utterances  in  the  past. 
3 


34  THE    MUSICAL    GUIDE 

German  Music 

No  other  art  is  so  indebted  to  distinctively  Teutonic 
influences,  no  other  art  has  been  so  civilised  and 
dignified  by  the  German  minds  and  by  the  Ger- 
man temperaments  as  music.  A  special  office  of  the  Teu- 
tonic soul  seems  to  be  the  bringing  of  intellect  to  bear  on  all 
those  things  for  which  it  possesses  emotional  receptiveness 
and  creative  power.  It  is  true  that  this  very  tendency  some- 
times ties  down  the  wings  of  Pegasus,  and  dulls  the  lyre  of 
this  or  that  muse.  Sensuous  beauty  can  be  the  less  in  its 
being  Germanized.  But  we  can  forgive  the  turgidness  and 
clumsiness  that  come  often  as  if  in  an  intellectual  extreme, 
when  we  think  of  Peter  Fischer,  of  Albrecht  Diirer,  of  the 
architects  who  have  built  the  Cologne  Cathedral  or  St.  Ste- 
phen's, and  of  that  sparkling  galaxy  of  musicians  whose 
names  are  peculiarly  linked  to  Austria — Haydn,  Mozart, 
Gluck,  Beethoven,  Schubert  and  Brahms  ;  and  of  the  more 
strictly  German  group  that  shows  us  as  central  figures  Bach, 
Handel,  Mendelssohn,  Weber,  Schumann,  and  Wagner. 

Whenever  we  ask  ourselves  what  constitutes  distinctive-, 
ly  the  high  and  true  German  school  of  musical  creative 
ness,  we  are  face  to  face  with  the  same  concept  and  result :' 
the  making  of  music  an  intellectual  matter  ;  a  psychologi- 
cal thing  to-  a  degree  not  originative  in  any  other  country. 
The  passion  and  fire  of  Italy's  idea  of  music,  as  well  as  her 
lighter  sensuousness  in  it,  these  are  seized  by  the  German 
heart  and  made  into  something  deeper  and  more  eloquent. 
The  dance-forms  of  the  South  are  transformed  to  a  Cia- 
conna  by  Bach,  a  Minuet  in  Mozart's  G  minor  symphony,  | 
or  to  the  mystery  of  a  Scherzo  in  Beethoven's  terrific  utter- 
ance. The  symphony  in  German  and  Austrian  concert-halls 
reached  the  supreme  disclosure  of  music  yet  known  to  us, 
The  love-ditties  that   merrily  sighed  or  prattled  or  Ian 


THE    NATIONAL    SCHOOLS       35 

guished,  alia  mandolinata,  in  less  serious  lands,  grew  under 
the  hand  of  Schubert  and  Schumann  to  be  outcries  from 
the  world's  heart.  A  romantic  ballad  could  reach  the 
height  of  tragedy,  when  Lowe  gave  it  German  voice.  As 
for  opera,  Mozart  so  infused  Italian  principles  with  the 
force  of  his  dramatic  instinct  as  to  give  the  world  three 
consummate  advances  on  all  Italian  models  preceding,  ad- 
vances beyond  which  music  in  operatic  conditions  never 
has  gone  and  never  can  go.  Beethoven  speaks  with  the 
soul  forever  in  the  three  acts  of  "  Fidelio."  Weber  and 
Marschner  have  built  up  the  structure  of  a  truly  German- 
romantic  opera  to  perfect  effect.  Wagner  has  brought  into 
an  absolutely  stupendous  demonstration  a  group  of  theories 
as  to  the  lyric-dramatic  opera — theories  which,  with  all  their 
error  of  expression  even  from  so  great  a  workman,  are  of 
psychological  power  overwhelming  to  the  mass  of  opera- 
hearers  to-day  (not  necessarily  even  musical)  and  which 
have  indeed  put  a  period  for  the  time  to  any  new  phase  of 
opera  as  drama. 

In  church-music  and  in  religious  music  (to  use  a  false 
term)  the  Germans  and  the  German-Austrians  have  said 
what  no  other  schools  seem  to  have  conceived  in  any  eccle- 
siastic or  devotional  or  spiritually  reflective  connection.  The 
suave    beauty  of  Italian  polyphony  as   we  find  it   in   the 

^  :hurch-music  of  Palestrina  and  Leo  and  of  Marcello  and 
Pergolesi  grows  colourless  when  our  ears  contrast  it  with 
he  Mass  in  B  minor  of  Bach  and   the  D  minor  Mass  of 

'*  jBeethoven.     True,  a  lovely  and  devout  Italianism  created 

'^''  bratorio ;  but  it  was  left  for  Handel  to  write  "  Israel  in 
Egypt  "  and  the  "  Messiah,"  and  for  Mendelssohn  to  con- 

0'"  '.ummate  such  a  form  of  musical  and  of  religious  receptive- 
less  as  "  Elijah." 
In  fact  it  is  through  a  subtle  appeal  to  the  very  core  and 

:0''    ssence  of  human  nature  just  as  it  is,  just  as  we  meet  it  daily 


36  THE    MUSICAL    GUIDE 

about  us,  as  we  know  it  to  be  struggling  or  repressed  in  our 
very  selves,  in  our  heart  of  hearts,  that  the  German  school 
has  so  influenced  music.  Its  voice  is  the  voice  of  mystic 
humanity  in  us  ;  and  something  more.  Haydn,  Mozart, 
Gluck,  Beethoven,  Schumann,  Schubert,  and  Brahms  have 
not  degraded  music  in  relation  to  our  merely  artistic  ideal 
of  it.  They  have  not  laid  violent  hands  on  it  as  art,  and 
wrested  it  away  from  its  earlier  mysteriousness.  They  have 
brought  it  near  to  us  by  a  wonderful  natural  gift  and  in- 
sight. But  they  have  made  music  psychologically  as  near- 
ly an  articulate  and  organic  thing  as  it  is  possible  to  make 
it.  From  Bach  to  the  second  Johann  Strauss  this  is  out 
of  question.  There  is  no  clear  outlook  at  present  for  any 
further  mastery  over  it — mystic  and  ever-elusive  art  that 
it  is — none  for  any  more  articulate  soul  messages.  The 
German  has  entered  within  the  holy  of  holies  of  musical 
art.  To  him  has  been  granted  the  freest  foot  in  its  vague 
realm  yet  granted  to  any  mortal. 

Whether  after  such  a  glorious  and  dominant  past  the 
German  is  likely  to  go  further  for  us  than  he  has  already 
done,  we  may  well  believe  is  not  in  the  bounds  of  even  the 
most  thoughtful  and  the  most  psychologic  of  prophets  in 
aesthetics  to  decide  for  us.  All  the  future  of  music  is  at 
present  a  strange  problem.  We  are  certainly  swinging  back 
to  the  highest  ideals  and  the  truest  expressions  of  them,  in 
such  large  measure  the  express  embodiments  of  German 
composers.  We  do  so  daily  not  only  because  the  "  Ger- 
man "  symphony,  concert  overture,  concerto,  string  quartet, 
pianoforte  sonata,  song,  oratorio  and  opera  are  what  they 
are,  but  because  with  the  departure  from  the  world  of  the 
last  set  of  greater  "  German  "  composers  a  twilight  seems 
to  be  settling  down  over  all  mortal  musical  creativeness. 

The  youngest,  the  most  suddenly  and  prodigally  flores- 
cent  of  all  aesthetics,  seems  to  demand  a  time  of  silence,  of 


I 


THE    NATIONAL    SCHOOLS       37 

repose,  of  inaction.  It  seems  to  say,  "  I  have  done  enough 
for  awhile,  I  have  given  you  enough  for  awhile.  Let  me 
sleep  for  a  century  or  more."  And  such  being  music's 
good  pleasure,  we  cannot  deny  that  the  German  mind  and 
temperament  have  given  the  most  beautiful  and  solemn 
"  last  word  "  the  art  has  published. 


T 


French   Music 

HE  history  and  scholastic  aspects  of  France  in 
music  are  like  the  relationship  of  France  to  the  de- 
velopment of  the  sister  arts — of  painting,  of  archi- 
tecture, of  sculpture,  and  even  of  literature.  We  do  not  find 
the  gift  of  high  origination — of  invention — of  striking  out  a 
"[I  new  ground  of  principles — fresh  forms  and  phrase.  Instead, 
'  [  j  we  find  that  the  mission  of  the  French  composers  from  the 
,1]  first  fruits  of  their  musical  creativeness  (often  so  lavish  and 
J  i  rich)  to  our  own  day  has  been  to  clarify,  to  refine,  to  suggest, 
,1 1  often  to  imitate  with  a  most  subtle  and  elegant  technical 
j  i  improvement,  what  Germany  and. Italy  may  have  invented 
[  in  one  or  another  form,  but  have  not  carried  out  in  the 
'[ !  same  degree  of  a  lucid  and  logical  eloquence.  More  than 
^  t  that,  in  several  of  the  most  dignified  forms  of  music,  in 
' )  I  that  music  which  approaches  the  abstract,  as  the  symphony 
.  I  and  the  deepest  expressiveness  of  chamber-music  approach 
'  I  it,  we  find  France  has  ever  been  singularly  lacking  In  her 
, :  I  contributions ;  and  has  not  only  made  no  advance  on  the 
I  I  same  foundation,  no  successful  rivalry,  but  has  distinctly 
i  failed  to  take  a  firm  place  and  to  win  universal  recognition. 
I  Between  the  symphonies  of  Mozart  or  Beethoven  and 
'  I  those  of  Saint-Saens  or  Franck ;  between  the  songs  of 
^*  I  Schubert  and  Brahms  and  the  lyrics  of  Godard  and  Mas- 
'  I  senet,  from  the  string  quartets  of  Haydn   or  Smetana  to 


38  THE    MUSICAL    GUIDE 

the  best  works  of  the  Gallic  hand,  there  is  a  long  musical 
distance  ;  and  in  sonata-writing  for  the  pianoforte  the 
French  temperament  has  not  in  any  wise  distinguished 
itself. 

The  French   troubadour  (corresponding  to  the   minne- 
singer of  Germany's  early  musical  day),  a  development  un- 
der   Italian  influences  in   the  South  of  France,  is  now  a 
romantic  and  venerable  figure  before  us  as  we  study  the 
mediaeval  growth   of  secular    music  in    French  social  life. 
If  we    include    the    Franco-Flemish    masters   of  religious 
church-music  in  the  seventh,  eighth,  ninth  and  later  cen- 
turies until  the  close  of  the  sixteenth,  France  offers  a  series 
of  composers   for  the  Church  of  great  learning  and  often  ; 
lastingly   instructive  work.     Such  are  de   Meurs   (1300?- 
1370?),  Dufay  (1350),  Ockeghem  (i430?-i495  ?)  and  Gou-  ■ 
dimel  (1505  ?-i  572).     With  this  group,  we  are  near  to  the 
great  Italian  church-composers   represented  by    Palestrina  ; 
(1514?-!  594),  who  was  taught  by  Goudimel. 

The  element  of  concrete,  human  emotion  is  strong  in 
French  temperament  and  art.     We  are  therefore  not  sur-  ; 
prised  to  find  the  opera*  a  vigourous   phrase   In   Frange's  i 
music-story  ;  but  with  the  establishment  of  Italian  opera  In  ji 
France  under   Mazarin  a  foreign   form    for  dramatic  mu-  j 
sic  was  seized   on  by   French  composers  and  soon  made  ; 
Into  something  their  own,  and  unlike  that  which  they  Im-  I 
Itated ;  and  such  it  has  continued  even  to  our  day.     Cam- 
bert  (1628  ?-i677),  pioneer,    and    the    great    founder    of 
French  opera,  Lulli  (1633- 1687),  and   the   equally  gifted 
Rameau  (i 683-1 764),  defined  opera  for  France  with  grace 
and  force. 

The  noble,  sincere  art  of  Gluck  (who  though  a  German  ;  1 
by  birth    belongs    to    France  in  his  purest  glory)   is  elo- 
quent    to    us   to-day,  though  his   "  Orphee "  and  "  IphI-     ' 
genie  "  and  "  Armide  "  date   from  the  last  year  before  the  .   i 


■  ' 


THE    NATIONAL    SCHOOLS      39 

French  Revolution.  Every  dramatic  and  musical  princi- 
ple re-proclaimed  by  Wagner  is  contained  in  Gluck's  best 
scores.  From  Gluck  we  advance  to  the  truly  modern 
epoch.  The  works  of  Lesueur  (i  764-1 837)  are  not  vital 
now ;  but  Cherubini,  "  the  French  Beethoven,"  holds  a 
high  place  for  his  best  operas  and  his  austere  Requrem,  a 
masterpiece  of  church-music.  The  galaxy  of  French  opera- 
writers  is  met  herewith — Mehul  (1763-18 17),  Boieldieu 
(1775-1834),  Gretry  (1741-1813),  Auber  (1782-1871), 
Herold  (1791-1833),  Meyerbeer  (1791-1864),  the  most 
distinctively  French  composer  as  a  stylist  in  opera  of  the 
period,  Halevy  (1799-1862),  and  Berlioz  (i 803-1 869). 
With  Berlioz  (who  is  truly  a  Titanesque  figure  in  modern 
French  music,  either  for  opera  or  concert,  but  ever  gran- 
diose rather  than  grand)  we  are  in  quite  our  own  epoch. 
Gounod,  Bizet,  and  Lalo  are  its  strongest  and  most  widely 
recognized  creators  of  serious  lyric  drama.  "  Faust "  and 
"  Carmen  "  are  of  universal  acceptance.  To  these  masters 
has  succeeded  a  prolific  Germano-GalHc  school  of  music, 
both  secular  and  religious,  under  Wagnerian  or  Neo-Ital- 
ian  or  other  influence.  The  most  salient,  if  not  always 
vigorous  expressions  of  this  group,  we  soon  find  in  the 
scores  of  Massenet,  Salvayre,  Chabrier,  Reyer,  Saint-Saens, 
and  Franck,  de  Lara,  Leroux  and  Charpentier.  We  must 
not  forget  that  Offenbach,  the  creator  of  satiric  opera- 
bouffe,  not  only  was  a  figure  of  brilliant  originality  under 
the  second  Empire,  but,  like  Johann  Strauss  in  Austria, 
seems  destined  to  a  longer  vitality  than  was  expected  a 
decade  ago  and  has  created  a  school  of  imitators  of  wide 
vogue. 

It  is  not  likely  that  In  any  form  of  music  France  will 
originate  more  in  the  future  than  her  brilliant  and  most 
representative  composers  have  done  in  the  past.  But  it  is 
something — a  great  thing — in  modern  music  to  hold  our 


.40  THE    MUSICAL    GUIDE 

interest  and  admiration  by  the  art  with  which  a  work,  from 
a  song  to  a  symphony,  is  written  for  us,  the  skill  of  mere 
means  even  to  an  imitated  purpose.  In  this  gift  it  is  not 
likely  that  the  French  composers  soon  will  fail  us.  We 
can  hear  them  with  pleasure  where  their  message  is  neither 
new  ftor  valuable  in  itself — a  racial  trait  and  grace. 


English   Music 

IT  is  under  restricted  meaning  that  we  can  speak  at  all  of 
an  "  English  "  school  of  musical  art.  However  flexi- 
bly the  word  "  school  "  be  employed  in  defining  mu- 
sical utterances,  after  all  it  should  stand  for  a  distinctive  indi- 
vidual product ;  and  in  case  of  a  country  and  race,  for  an 
accent  in  symphony,  oratorio,  opera,  chamber-music  and 
song,  that  is  national  and  individualised.  It  should  not  be 
reckoned  as  merely  a  product  of  influences  from  outside. 
In  England  nearly  every  form  of  music  has  been  an  impor- 
tation ;  and  almost  every  expression  of  the  art  that  is  effec- 
tively represented  in  the  present  or  the  past  history  of  musical 
composition  in  England  is  derived  or  reflects  Italy,  France, 
or  Germany.  Musical  composition  and  musical  taste  in 
England  itself  in  the  old-time  of  the  art  lagged  behind 
the  popular  developments  in  Wales,  Scotland,  and  Ireland 
(where  the  bardic  expressions  of  music  early  were  enjoyed 
by  all  classes),  and  creative  productiveness  was  proportion- 
ately slow.  The  Italian  musical  influences  in  due  course 
obtained,  as  did  Italian  literary  influences,  and  later  the 
German  and  French ;  and  English  composition  to-day  is  a 
more  or  less  disguised  and  eloquent  product  of  Continen- 
tal developments  of  the  art,  and  English  popular  taste 
for  music  in  abeyance  and  instructed  by  the  Continental 
product. 


THE    NATIONAL    SCHOOLS      41 

There  are,  however,  three  exceptions  to  this  general 
summary.  The  Enghsh  Ballad — the  true  ballad — with  its 
precise,  definite  rhythms  and  clear  periods  has  an  individ- 
uality at  once  strong  in  song,  and  admirable  in  sincerity 
and  beauty.  The  Scotch  and  Irish  lyric,  or  instrumental 
expression,  is  also  distinct ;  and  both  interesting  and  beau- 
tiful. The  second  exception  is  represented  by  the  finest 
developments  of  music  for  the  organ  and  for  its  churchly 
usage  ;  and  the  choral  English  anthem,  and  what  apper- 
tains to  English  liturgical  offices  in  music.  Here  we  can 
review  a  noble  musical  structure.  It  was  gradually  per- 
fected from  the  time  of  Elizabeth  (in  particular)  as  a  prod- 
uct of  English,  Italian  and  German  musical  art  fused  to- 
gether. Bright  lights  in  it  have  been  Dunstable,  Tallis, 
Bird, and  the  gifted  Purcell  ;  the  majestic  Gibbons  and  Blow  ; 
the  great  organist  Bull ;  the  English  fraction  of  Handel's 
work  in  oratorio  and  for  the  Protestant  church  service ;  and 
the  busy  group  of  contemporary  English  composers  for  the 
offices  of  the  National  church,  who  are  not  much  under 
foreign  influences  of  one  sort  or  another.  Although  Han- 
del is  always  to  be  reckoned  as  of  England,  and  as  develop- 
ing the  English  "  oratorio  "  to  its  climax,  we  cannot  speak 
of  "the  great  Saxon  "  as  uttering  an  "  English  style,"  so. 
much  as  a  modification  of  German  and  Italian  musical 
forms  and  accents,  whether  in  an  oratorio  or  an  opera,  a 
cantata,  a  suite  or  an  organ-piece.  Purcell,  after  all,  was 
operatically  Italian.  Costa  said  little  to  be  reckoned 
"  English."  Nevertheless  in  one  field  of  opera  to-day 
England  has  an  assured  and  a  brilliant  individuality.  It  has 
not  come  in  the  serious  opera,  whatever  successes  have  been 
won  by  such  skilled  workers  as  Benedict,  Balfe,  Stanford, 
and  MacKenzie,  Goring  Thomas  and  others ;  but  in  the 
genius  of  Sir  Arthur  Sullivan  for  light  opera.  By  Sullivan 
^nd  in  a  lesser  degree  by  Cellier,  an  English  operatic  mes- 


42  THE    MUSICAL    GUIDE 

sage  firmly  and  graciously  has  been  given  forth,  allowing  for 
all  suggestions  of  influences  from  abroad.  Sullivan's  "Pin- 
afore," "Mikado,"  "Ruddygore,"  and  "The  Yeoman  of 
the  Guard,"  are  masterpieces  of  invention  and  of  musical 
diction — not  to  be  confused  with  Italian,  French,  or  German 
products. 

In  modern  secular  music  for  the  orchestra  some  supe- 
rior symphonic  work  has  come  from  Bennet,  Cowen,  and 
others ;  and  particularly  contemporaneous  high  lights  iii 
composition  in  large  form  for  the  orchestra  or  choral  choir 
are  Edward  Elgar  and  Coleridge-Taylor.  Both  these  vig- 
orous writers  are,  however,  of  the  modern  German  school 
rather  than  of  any  English  style  ! 

Altogether  we  must  accept  the  fact  that  in  England  music 
is  not  an  original  art-expression,  compared  with  the  products 
in  other  and  more  genial  lands.  The  English  temperament 
is  not  yet  to  the  manner  born,  musical.  Musical  produc- 
tivity is  a  process  of  kindly  foreign  sunshine  and  of  enrich- 
ment of  a  more  or  less  England-born  and  England-working 
musical  talent.  If  a  genius  of  world-wide  importance  is  to 
be  expected  from  England  and  as  "  an  English  composer," 
he  has  been  long  on  the  way,  and  will  now  have  hard  work 
•to  win  any  "  towering  pride  of  place."  Dignified  national 
productivity  is  not  national  originality  ;  nor  a  national  voice 
and  school  in  aesthetics. 

Russian    Music 

THE  youngest  school  (as  a  strictly  national  develop- 
ment of  composition)  of  which  the  average  student 
of  music  must  seriously  take  account  at  present,  is 
that  of  Russia.  It  has,  however,  reached  a  clear  and,  in  large 
measure,  a  singularly  impressive  unfolding  for  the  extra- 
Slavic  world's  notice  within  the  century,  in  which  distinct- 


THE    NATIONAL    SCHOOLS      43 

ively  Russian  musicianship  has  made  its  place  good  in  the 
concert-rooms,  in  the  drawing-room,  and  in  the  operatic  es- 
tabHshments  of  almost  every  corner  of  aesthetic  Europe  and 
America. 

Like  the  Italian,  and  the  Hungarian,  and  the  Pole,  so 
is  the  Russian,  by  nature,  intensely  musical.  Often  he  is 
morbidly  so.  The  peasant  and  the  prince  alike  are  born 
to  quick  musical  Empfindlichkeit.  The  folk-songs  and 
folk-melodies  for  the  dance  or  more  serious  mood  are  im- 
memorial, beautiful,  and  countless.  All  truly  Russian  mel- 
odies have  a  peculiar  voice  and  character  of  their  own — scale 
and  rhythms  are  rich  in  melancholy,  in  passionate  gaiety,  in 
dramatic  accent  and  in  varied  hints  of  the  psychologic.  A 
strain  of  Orientalism  is  not  absent.  The  Russian  sings  or 
makes  instrumental  music  by  impulse  and  feels  music  by 
impulse  (the  balaika,  a  three-stringed  guitar,  is  the  original 
musical  instrument  of  Russia). 

Such  being  the  popular  aspect  noted,  we  turn  to  the 
formal  development  of  the  art  in  Russia.  This,  as  has 
been  mentioned,  is  little  more  than  a  century  old  in  culti- 
vated activity.  Its  chief  classic  is — curiously — an  operatic 
writer,  Michel  Glinka,  of  Smolensk  (i 804-1 869),  a  gifted 
man  in  many  other  traits  than  music,  a  pupil  of  Dehn  along 
with  the  two  Rubinsteins.  His  two  finest  operas,  "  A  Life 
for  the  Czar  "  and  "  Ruslan  and  Ludmilla,"  are,  to  Russian 
lyric  drama,  what  Mozart,  Gluck,  and  Weber  are  to  Italian, 
French  and  German  opera.  Dargomizsky  (18 13-1869)  is 
a  link  between  Glinka  and  Anton  Rubinstein.  Anton  Ru- 
binstein, however,  although  popularly  accounted  as  a  Rus- 
sian master-worker  and  although  so  great  an  influence  for 
music  in  Russia  (I  am  not  speaking  here  only  of  his  career 
as  a  pianist),  was  less  a  Russian  than  a  German  composer 
in  matter  and  manner.  His  best  music  is  superb;  his  birth 
and  works   honour   Russia,  but  in  symphony,  pianoforte 


44  THE    MUSICAL    GUIDE 

music  and  opera,  Anton  Rubinstein  was  Germanised  early 
and  stayed  thus  to  tlie  end,  nolens  volens. 

Far  more  national  in  "  school  "  is  Borodin,  a  writer  of 
the  first  order,  whose  opera,  "  Prince  Igor,"  is  a  classic, 
though  its  composer  has  been  dead  only  some  fourteen 
years.  Yet  a  further  height  of  national  Russian  utterance 
in  music  comes  with  Balakireff,  a  native  of  Nijni-Novgorod, 
whose  heart  ever  turns  toward  the  folk-tunes  of  all  Russia 
for  thematic  material.  The  most  national  Russian  com- 
poser, however,  and  a  veritable  giant  in  the  technical  use  of 
Slav  themes  is  Tschaikowski,  whose  masterpieces  are  not  to 
be  questioned  as  to  their  being  Russian  music  and  strong 
developments  of  composition  scientifically,  measured  by  any 
school. 

The  contemporary  Russian  movement  is  represented 
especially  in  Rimsky-Korsakow,  a  giant  for  modern  orches- 
tration and  a  magician  in  orchestral  effectiveness  ;  in  Cesar 
Cui,  a  brilliant  operatic  writer ;  and  in  Alexander  Glazounow, 
a  pupil  of  Rimsky-Korsakow,  and  a  symphonist  of  strong 
Slavic  diction,  as  well  as  a  technicist  of  orchestration  equalled 
only  by  the  most  eminent  writers  of  the  day. 

The  actual  profession  of  composition  in  music  is  yet  a 
recent — one  might  almost  say  experimental — profession  in 
Russia.  We  find  one  distinguished  composer  is  a  soldier, 
another  a  lawyer,  another  a  marine  officer,  another  a  military 
official  by  his  legal  standing.  Which  gives  us  rather  a  curi- 
ous perspective  of  amateurism,  if  of  magnificent  amateurism. 
However,  this  older  aspect  is  each  year  passing  away,  the 
Russian  conservatory  system  is  widening  and  taking  root  in 
the  greater  cities  ;  and  while  the  most  gifted  contemporaries 
are  not  always  concentrated  on  their  own  home-material  for 
subjects,  they  have  fairly  impressed  the  world  as  a  distinct 
school.     Often  they  have  astonished  and  fascinated  it. 


THE    NATIONAL    SCHOOLS      45 
American    Music 

THE  youth  and  lack  of  uniformity  of  the  United 
States  citizenry  furnish  excuses  for  the  absence  of 
a  strictly  national  art  hitherto.  But,  after  all, 
there  are  not  many  countries  that  have  preserved  one  form 
of  government  so  long  as  the  Constitution  has  been  presid- 
ing over  the  assimilation  of  the  world-pilgrims.  Youth  is 
a  disease  for  which  time  is  an  almost  certain  cure,  and  too 
much  uniformity  of  thought  and  character  is  favourable 
rather  to  stagnation  than  life. 

At  last,  however,  American  music  has  arrived.  It  is 
only  a  healthy  and  somewhat  bewildered  child  as  yet,  but 
it  has  the  beginnings  of  an  accent  quite  its  own.  The 
American  composer  has  had  a  combination  of  advantage 
and  disadvantage  in  the  thoroughly  foreign  nature  of  most 
of  his  tuition.  But  so  Germany  and  France  took  their  start 
in  Italy.  As  they  gradually  learned  the  importance  of  mak- 
ing their  alien  dexterity  a  medium  for  the  expression  of  na- 
tive and  national  emotions  and  personalities,  so  has  Amer- 
ica finally  reached  the  stage  of  true  introspection  expressed 
with  outward  polish  of  manner. 

The  high  favour  of  the  foreign  executant  as  pianist,  violin- 
ist, 'cellist,  opera  and  concert  singer,  and  also  as  orchestral 
leader  and  yeoman,  has  been  an  obstacle  to  the  wide  and 
easy  promulgation  of  the  native  composer's  experiments 
and  achievements. 

Through  the  fog  of  a  thousand  discouragements  and  dis- 
tractions, however,  the  cause  has  groped  until  a  few  sturdy 
figures  have  emerged  already  into  prominence  and  even 
into  importance.  The  forms  in  which  the  earliest  successes 
have  been  found  have  naturally  been  the  smaller.  In 
grand  opera  there  has  been  absolutely  nothing  achieved  in 
a  public  sense,  though  doubtless  there  are  enough  manu- 


46  THE    MUSICAL    GUIDE 

script  grand  operas  to  bankrupt  a  dozen  impresarios.  In 
the  symphony  there  have  been  only  a  few  works  of  large 
worth,  though  John  Knowles  Paine's  "  Spring  Sympho- 
ny," Edgar  S.  Kelley's  humourous  symphony  "  Gulliver," 
and  Henry  K.  Hadley's  "  Youth  "  are  full  of  personality, 
art,  and  genuine  vitality.  A  number  of  overtures,  sym- 
phonic poems  and  prologues  have  shown  a  right  to  exist, 
notably  George  W.  Chadwick's  "  Melpomene,"  Arthur 
Foote's  "In  the  Mountains,"  Frank  van  der  Stuck- 
en's  "  RatclifFe,"  and  various  works  by  Johann  H.  Beck, 
Harry  Rowe  Shelley,  C.  C.  Converse,  and  Mrs.  H.  H.  A. 
Beach,  while  Edward  MacDowell's  "  Indian  Suite,"  Henry 
Schoenefeld's  "  Sunny  South  Overture  "  and  Kelley's 
"  Aladdin  "  have  exploited  fields  of  local  colour  in  which 
the  American  finds  much  novelty  ready  to  hand.  Various 
symphonic  poems  and  orchestral  suites  deserve  the  men- 
tion space  forbids  them  here.  Of  concertos  there  are 
many,  Henry  Holden  Huss  having  written  an  especially 
excellent  work  for  piano. 

In  the  field  of  the  sonata  MacDowell  has  written  two 
masterworks,  the  sonatas  "  Eroica  "  and  "  Tragica,"  and  a 
piano  "  Fantasy  "  by  Arthur  Whiting  is  a  notable  innova- 
tion in  the  free  manipulation  of  the  sonata  form.  The 
religious  choral  works  of  Dudley  Buck  and  Horatio  W. 
Parker  deserve  serious  acceptance.  The  marches  for  brass 
band  written  by  John  Philip  Sousa  have  gained  world-wide 
note  for  their  military  fire  and  novelty.  In  the  realm  of 
smaller  piano  pieces,  cantatas,  and  songs,  there  is  an  em- 
barrassment of  riches.  The  piano-works  of  MacDowell, 
who  gains  eminence  in  all  fields,  and  of  Harvey  Worthing- 
ton  Loomis  are  genuine  creations. 

In  the  short-song  form  these  two  men  collaborate  wit! 
such  sterling  individualities  as  Kelley,  Ethelbert  Nevin^ 
Foote,  Wilson   G.   Smith,  James  H.  Rogers,  Fred  Fiek' 


THE    NATIONAL    SCHOOLS      47 

Bullard,  Margaret  Ruthven  Lang,  Ad.  M.  Foerster,  Ho- 
mer A.  Norris,  Howard  Brockway  and  others,  to  give 
America  a  song  literature  whose  importance  is  not  sur- 
passed in  contemporary  composition.  There  is  also  a  large 
body  of  naturalised  foreigners  who,  while  hardly  justifying 
the  epithet  American,  are  yet  aiding  to  make  American 
musical  life  one  of  great  activity,  a  life  which  has  accom- 
plished more  than  might  have  been  fairly  expected,  and 
gives  promise  most  glowing. 


by 

Louis  C.  Elson 

on 
I.   The  Great  Instrumentalists. 
II.  The  Great  Singers. 

I 
Great    Instrumentalists 

IF  the  time  of  Beethoven,  Schubert,  and  Haydn  was  a 
golden  epoch  in  the  field  of  musical  creation,  the  present 
has  become,  in  even  a  greater  degree,  the  era  of  musical 
execution,  for  we  have  attained  a  standard  of  musical  excel- 
lence far  beyond  anything  ever  dreamed  of  by  the  classical 
composers.  Feats  which  Beethoven's  critics  derided  as 
being  too  difficult  for  the  violin  (the  high  C  in  the  "  Eg- 
mont "  overture  for  example)  are  now  readily  within  the 
scope  of  all  good  orchestral  players,  and  our  concert  pian- 
ists have  now  definitely  shelved  the  cadenzas  which  the  old 
masters  wrote  for  their  concertos  as  being  too  simple  to 
display  the  modern  points  of  technique. 

Piano  technique,  beginning  with  Bach's  "  Well-tempered 
Clavichord,"  advancing  with  Clementi  and  Cramer,  found 
its  transition  period  in  the  time  of  Moscheles,  and  then 
culminated  in  two  diverse  ways — the  poetry  of  Chopin  and 
the  brilliancy  of  Liszt.  All  of  the  pianists  cited  in  these 
pages  will  be  most  easily  measured  by  four  standards,  viz. : 
—  Bach,  for  intellectuality;  Chopin,  for  emotion;  Beet- 
hoven, for  a  combination  of  both  in  equipoise ;  and  Liszt, 

48 


GREAT    INSTRUMENTALISTS    49 


in  such  works  as  the  "  Don  Juan  "  Fantasie,  for  technique 
pure  and  simple,  or  rather  pure  and  difficult. 

D'Albert  achieves  his  chief  triumphs  in  the  Beethoven 
school ;  Von  Biilow  was  pre-eminent  in  the  last  five  Beet- 
hoven sonatas ;  De  Pachmann  leads  the  Chopin  band ; 
Paderewski  is  famous  in  Chopin  as  well  as  in  the  entire 
modern  school  ;  Rosenthal  scintillates  with  all  the  pyro- 
technics of  the  latest  specialists.  Occasionally  one  finds  a 
Liszt  who  is  almost  equally  great  in  all  the  schools,  or  a 
Rubinstein  in  whom  intellectuality  and  emotion  are  well 
combined. 

Less  diverse  are  the  schools  of  violin-playing,  for  here 
the  evolution  has  taken  two  rather  distinct  roads :  pyro- 
technics on  the  one  hand,  and  soulful  expression  on  the 
other.  While  these  two  styles  are  sometimes  combined, 
as  for  example,  in  the  Mendelssohn  concerto,  they  are 
sufficiently  distinct  to  enable  one  to  classify  every  soloist 
as  belonging  chiefly  to  the  one  or  the  other  school. 

Paganini,  the  greatest  violinist  that  ever  lived  (as  Liszt 
might  be  called  the  greatest  pianist),  was  distinctly  de- 
voted to  technical  display,  in  which  he  so  entirely  dis- 
tanced all  competitors  that  some  of  his  cadenzas  cannot 
)ian-  1  be  played  exactly  as  originally  written  by  even  the  greatest 
lold  technicists  of  our  time.  He  was  able  to  produce  the 
twelfth  harmonic  with  absolute  clearness  (his  strings  were 
made  especially  thin  for  this  effect),  the  most  intricate 
double  harmonics  had  no  terrors  for  him ;  special  ways 
of  tuning  were  studied  out  by  him  for  special  effects  ;  but 
we  learn  from  contemporary  authorities,  that  his  tone  was 
neither  broad  nor  especially  sympathetic.  Joachim,  in  our 
own  day,  has  held  the  violin  sceptre,  and  combined  tech- 
nique and  expression  in  a  marvellous  degree.  A  host  of 
woman-violinists  has  arisen,  with  Lady  Halle  at  their  head, 
and  as  will   be    seen    in   other    parts  of  this  volume,  the 


so  THE    MUSICAL    GUIDE 

modern  school  has  brought  forth  numerous  young  violinists       |oj 
of  both  sexes,  among  whom  it  might  be  hard  to  select  an 
absolute  monarch  of  violin-playing — such  as  Paganini  un- 
doubtedly was — from  the  technical  side. 

On  other  instruments,  too,  one  can  find  definite  leaders, 
as  for  example,  Servais,  on  the  violoncello  ;  Dragonetti,  on 
the  contrabass  ;  Thomas  Harper,  in  trumpet-playing,  etc. ; 
all  illustrating  in  a  large  degree  the  triumph  of  technical 
skill  and  the  modern  tendency  toward  specialisation  of 
effort  in  the  music  of  the  last  hundred  years. 


Great  Singers 

IF,  as  may  be  seen  in  the  article  on  "  Great  Instrumental- 
ists "  (pages  48-50),  their  technique  has  been  advancing 
in  modern  times,  almost  the  opposite  may  be  said  in 
regard  to  the  art  of  singing.  The  studies  required  of  the 
vocalist  in  the  seventeenth  and  eighteenth  centuries  would 
be  appalling  to  the  singers  of  to-day,  and  every  operatic 
manager  finds  more  difficulty  in  finding  an  adequate  quar- 
tette for  the  "  Barber  of  Seville  "  than  in  selecting  forces 
for  "  La  Boheme,"  or  even  such  great  works  as  "  A'ida " 
or  "  Otello  "  ;  even  Wagnerian  singers  are  becoming  more 
plentiful  than  thorough  coloratura  singers. 

The  study  of  vocal  art  is  the  most  ancient  branch  of 
technical  musical  work.  Gaditanian  singers  were  trained 
for  performance  in  imperial  Rome  eighteen  centuries  ago ; 
the  Phonarci,  vocal  teachers  of  Athens,  preceded  even 
these ;  the  early  Christians  made  vocal  conservatories  of 
their  orphan  asylums  in  the  third  century  ;  Julian,  a  little 
later,  endeavoured  (in  opposition)  to  found  a  Pagan  sing- 
ing-school in  Alexandria ;  the  Copts  in  earliest  times  gave 


GREAT    SINGERS  51 

long  cadenzas  upon  almost  every  syllable  of  their  religious 
songs  ;  Notker,  in  the  tenth  century,  trained  many  digni- 
taries of  the  Church  in  singing ;  Guido,  of  Arezzo,  in  the 
eleventh  century,  taught  sight-singing  and  the  vocal  sylla- 
bles ;  the  list  might  be  carried  on  in  an  almost  unbroken 
line  down  to  our  own  times. 

But  the  period  of  greatest  vocal  development  is  found  in 
Italy  in  the  seventeenth  century.  A  whole  race  of  vocal  teach- 
ers culminated  in  Nicolo  Porpora,  whose  pupils,  Farinelli, 
Senesino,  CafFarelli  and  many  more,  won  the  highest  fame. 

It  may  be  mentioned  en  passant  that  Italy  has  always 
been  prolific  in  natural  tenors,  and  Spain  even  more  so. 
Russia  is  the  land  of  phenomenal  basses ;  England  is 
the  natural  home  of  the  alto;  America  of  the  soprano. 
Whether  such  vocal  characteristics  are  racial,  alimentary  or 
cHmatic  has  not  yet  been  decided. 

Yet  the  greatest  sopranos  of  the  world,  Catalani,  Mali- 
bran,  Patti,  do  not  belong  to  America.  The  highest  soprano 
that  history  tells  us  of  was  Agujari,  sometimes  called  "  La 
Bastardella,"  who  really  sang,  not  squeaked,  a  full  octave 
higher  than  the  highest  of  our  famous  sopranos  of  to-day, 
and  we  have  Mozart's  authority  for  the  good  quality  of  her 
high  notes. 

It  is  not  our  purpose  in  such  a  very  brief  synopsis  to 
speak  of  many  of  the  famous  singers,  the  list  of  whom 
alone  would  form  a  long  article  ;  we  desire  only  to  speak 
of  those  who  are  especially  representative  of  some  epoch 
or  are  recognised  as  absolute  leaders  in  their  field. 

Such  a  leader  was  Luigi  Lablache,  the  most  wonderful  of 
all  bass  singers.  His  ponderous  voice  could  easily  overtop 
the  heaviest  orchestra,  yet  was  modulated  with  the  skill 
and  flexibility  of  a  flute  ;  the  most  showy  cadenzas  could 
be  sung  by  him  as  easily  as  if  he  were  a  soprano  leggiero^ 
yet  he  could  also  sing  the  Priest's  part  in  "The  Magic 


52  THE    MUSICAL    GUIDE 


Flute,"  or  any  role  requiring  ponderous  majesty.  Among 
great  altos  one  thinks  first  of  Alboni. 

The  list  of  leading  tenors  would  be  a  difficult  one  to 
compile,  yet  Rubini,  Mario,  and  the  modern  Jean  de  Reszke 
are  representative. 

A  special  list  of  Wagnerian  singers  might  be  added, 
but  it  may  be  observed  that  th^  title  will  soon  lose  its 
especial  meaning,  for  many  of  the  Italian  and  French  ar- 
tists are  entering  this  field  and  proving  that  the  same  ap- 
plication of  vocal  technique  is  necessary  in  the  singing  of 
Wagner's  roles  that  is  required  in  Mozart  or  Rossini.  One 
may  learn  in  Italy  the  vocal  method  to  be  applied  to  the 
operas  of  Germany. 


^ 


iMi 


of 


Abbreviations,   Titles,   Dignities, 
Institutions,   Etc. 


Acad.,  Academy. 

a  capp.  (/.,  acappclhi),  unaccompanied. 
ace,  according(ly). 
accomp.,  accompaniment. 
allg.,    allgem,    ((7.,    allgemein),   uni- 
versal, general. 
app.,  appointed. 
apt.,  appointment. 
Arab.,  Arabian. 

Archbp.,  Archbishop.  * 

arr.,  arranged,  arrangement. 
asst.,  assistant. 

b.,  born. 

bandm.,  bandmaster. 

bar.,  barytone. 

B.  D.,  used  of  the  Biographical  Dic- 
tionary in  this  volume. 

biog.,  biography,  biographical. 

C,  composed. 

ca,  circa  (Z,.),  about. 

oath.,  cathedral. 

Cav.  (/.,  Cavalier e).  Chevalier. 

cent.,  century,  as  iSth  cent. 

cf.  (Z.,  confer),  compare. 

ch.,  church,  chorus,  choir. 

chapelle  (/".),  chapel,  choir. 

Chev,,  Chevalier. 

choirm.,  choirmaster. 

clar.,   clarinet. 

coll.,  collected,  collection,  collector, 
college. 

collab.,  collaborated,  collaboration. 

comp(s).,  composition(s). 

cond.,  conducted,  conductor  (this  abbre- 
viation is  here  used  for  the  equivalents 


in  various  languages,  Kapellmeister, 

maestro  di  cappella,  maitre  de  chapelle, 

etc.). 
Cons.,    Conservatory    (Conservatoire, 

Conservatorio,  Conservatorium). 
cpt.,  counterpoint. 
cptist.,  contrapuntist  (used  of  an  early 

composer     of     highly    contrapuntal 

works). 
ct.,  court  ;  ct.-cond.,  court-conductor  ; 

ct,-Th.,    court-theatre ;    ct.-opera, 

court-opera. 

d.,  died. 

D.  D.,  used  of  the  Dictionary  of  Defi- 
nitions in  this  volume. 

diet.,  dictionary. 

dir.,  director. 

do.,  ditto. 

dram.,  dramatic. 

Dr.  jur.  (Z.,  doctor  juris).  Doctor  of 
Law(s). 

Dr.  phil.  {L.,  doctor  pkilosopkicE),  Doc- 
tor of  Philosophy,  h.  c.  (Z.,  honoris 
causa,  i.  e.,  honorarily.) 

ecd.,  ecclesiastical. 
ed.,  edited,  editor,  edition. 
e.  g.  (Z.,  exempli  gratia),  for  example. 
eng.,  engaged. 
Engl.,  England,  English. 
est.,  establ.,  established. 
et  seq.  (Z.,    et  sequentes,   sequentid), 
and  the  following. 

F.,  Fr.,  French. 
Fast.,  Festival. 


53 


J4 


THE    MUSICAL    GUIDE 


fl.,  flute. 

fracm.,  fragmentary  ;  fragment(s). 

F.(R.)C.  O.,  Fellow  of  the  (Royal) 

College  of  Organists,  London. 
Frl.  {G.,  Frdulein),  Miss. 

G.,  Ger.,  German. 

gen.,  general. 

Govt.,  Government. 

Gr.,  Greek. 

gr.,  grand. 

grossherzoglich   (gros-har-tsakh-nkh , 

G.),  Grandducal. 
Gym.,  Gymnasium. 

harm.,  harmony. 

harps.,  harpsichord. 

h.  c.  (Z.,  honoris  causa),  used  of  hon- 
orary titles. 

Heb.,  Hebrew. 

herzoglich  (G.),  Ducal. 

H.  M.'s  Th.,  Her  Majesty's  Theatre. 
London. 

Hochschule  (hokh'  -  shoo  -  le.  6^.), 
"  High  School,"  college,  university. 

Hof  (hof ,  G.),  court ;  a  frequent  prefix, 
as  in  Hof-kapclh\  court-chapel,  or 
court-orchestra;  Hof  KapcUmeis- 
ter,  court-conductor ;  Hofmustkin- 
tendant,  superintendent  of  the  court- 
music,  etc. 

hon.,  honorary. 

Hun.,  Hungarian. 

I.,  It.,  Ital.,  Italian. 

ib.,  ibid.  (Z.,  ibidem),  in  the  same  place. 

id.  (Z.,  ideni),  the  same. 

i,  e.  (Z.,  id  est),  that  is. 

Imp.,  Imperial. 

incid.  music,  incidental   music  (to  a 

drama). 
inch,  including. 
inst.,  institute,  institution. 
instr(s).,  instrument(s),  instrumental. 
introd.,  introduction,  introduced. 
inv.,  invented,  inventor. 

Jap.,  Japanese. 

L.,  Latin. 
libr.,  librarian. 
lit.,  literally. 
lyr.,  lyric. 


m.,  married. 

M(aestro)    (Z),   teacher,    conductor ; 

m.   a  I  cembalo,   the   conductor,   who 

formerly  sat  at  the  harpsichord  ;  m. 

dei  piitti.  Master  of  the  choir-boys. 
m.  de  chap.  {F.,  maitre  de  chappelle), 

conductor, 
m.  di  capp.  (Z,  maestro  di  cappella), 

conductor. 
M.  E.,  Methodist  Episcopal. 
melodr.,  melodrama. 
Met.  Op.,  Metropolitan  Opera  House, 

New  York. 
mfr.,  manufacturer. 
mgr.,  manager. 
mid.,  middle. 
min.,  minor. 
mod.,  moderately. 
m.-sopr.,  mezzo-soprano. 
M.  T.  (N.)  A.,  Music  Teachers'  (Na- 

tional)  Association. 
mus.,  music,  musical,  musician. 
Mus.  Antiq.  Sec,  Musical  Antiqua- 
rian Society,  London. 
Mus.  Bac.  (Doc),  Bachelor  (Doctor) 
of  Music.     Vide  D.  D. 

n.,  near. 

Nat.  Cons.,  National  Conservatory, 
New  York. 

N.  E.  Cons,,  New  England  Conserva- 
tory, Boston. 

n.  s.,  new  style  (referring  to  the  use  of 
our  calendar  in  place  of  the  Russian 
or  old  style). 

N.  Y.,  New  York,  U.  S.  A. 

O.,  Ohio,  U.  S.  A. 

obbl.,  obbligato. 

obs.,  obsolete. 

op.,  opus,  opera. 

Op.     com.,     opera-comique  ;     or    the 

Opera  Comique  at  Paris. 
Oper  {G.),  opera. 

Op6ra,used  of  the  GrandOpera  at  Pans, 
orch.,  orchl.,  orchestra,  orchestral. 
org,,  organ,  organist. 
o.  s.,  old  style,  see  n.  s.  above. 
Oxon.  (Z.,  Oxonics),  of  Oxford. 

p.,  part. 
pes.,  pieces. 


LIST    OF    ABBREVIATIONS        55 


%!w«. 


^iHocse, 


<:viloiy, 


P.  E.,  Protestant  Episcopal. 

perf.,  performed. 

pf.,  pianoforte. 

Philh.,  Philharm.,  Philharmonic. 

Pol.,  Polish. 

pop.,  popular. 

Port,,  Portuguese. 

pres.,  president. 

Presb.,  Presbyterian. 

prod.,  produced. 

Prof.,  Professor  (a  special  title  of  great 

distinction  in  Germany). 
pseud.,  pseudonym. 
pt.,  pianist. 
pub.,  published,  publisher. 

R.,  Royal. 

R.  A.  M.,  Royal  Academy  of   Music, 

London. 
R.  C,  Roman  Catholic. 
R.  C.   M.,    Royal   College  of   Music, 

London. 
Regius  musicus.  Royal  musician. 
ret.,  retired,  retiring,  returned. 
rev.,  revised. 
Rev.,  Reverend. 
Rus.,  Russian. 

sch.,  school. 
sec,  secretary. 
soc,  society. 
sopr.,  soprano. 
Sp.,  Spanish. 


St.,  studied,  studying,  student. 
succ,  successfully,  success. 
supt.,  superintendent. 
syniph.,  symphonic,  symphony. 

t.,  teacher,  taught. 

th.,  theatre. 

th.,  theorist  (writer  of  treatises). 

th.-cond.,  conductor  of  theatre-orches- 
tra. 

transcr.,  transcribed,  transcription. 

transl.,  translated,  translation,  trans- 
lator. 

Tur.,  Turkish. 

Unit.,  Unitarian. 
U.  S.,  United  States. 
U.,  Univ.,  university. 

v.,  I.  (Z.,  vide)  see  ;  as  v.  B.  D.,  see  the 
Biographical  part  of  this  volume,  v. 
D.  D.,  see  the  Defining  Dictionary. 
2.  very,  as  v.  succ,  very  successful* 

(ly)- 

var(s),  variation(s). 
via.,  viola. 
vln.,  violin. 
vt.,  violinist. 

VT.,  with. 

Wis.,  Wisconsin,  U.  S.  A. 

Ztg.  {G.,  Zeitung),  Gazette. 


Pronouncing  £^  Defining 

I  Bitttonar^ 

I      '    .        ^ 

*  Musical  Terms,  Instruments 


A 


A 

{G.?i;  F.  I.  &  Sp.  la.)  i.  A 
musical  pitcli  (435  vibrations 
per  second,  according  to  the 
standard  adopted  in  France 
1879  and  at  Vienna  1887,  and  called 
diapason  normal).  2.  Any  octave  of 
this  pitch.  3.  This  tone  designated 
in  Absolute  Pitch  (q.v.)  as  a'  is  invari- 
able on  the  oboe,  and  is  accordingly 
used  as  the  tone  to  which  the  whole 
orchestra  is  attuned.  It  is  hence 
called  the  normal  tone.  4.  The  major 
key  with  three  sharps.  5.  The  minor 
key  relative  to  "C  major. 

a,  a  or  ab,  Z.,  /.,  F.  By,  from,  for,  to, 
at,  in,  etc' 

ab  (ap),  G.     "  Off."     Used  of  stops. 

abacus  harmon'icus,  L.  i.  A  table 
of  notes.  2.  The  arrangement  of 
the  keys  and  pedals  of  an  instrument. 

abanera  (a-ba-na'-rii),  Sp.  Vide  ha- 
banera. 

abandon  (a-ban-don),  F.  Lack  of  all 
restraint  in  emotion. 

abbadare  (ab-ba-da'-re),  /.  To  take 
care. 

abbandonar  si,  abbandonatamen'te, 
abbando'ne,  abbando'no,  /.  With 
abandon. 

abbassamen'to,  I.  Lowering.  A.  di 
mano,  (a)  down-beat ;  (b)  the  carry- 
ing of  one  hand  below  the  other  in 

'  Phrases  beginning  with  these  and  other 
prepositions  will  be  found  under  their  principal 
words. 


piano  playing.  A.  di  voce  (vo-che),  /. 
Loweringof  the  voice.     Diminution. 

abbatimen'to,  /.     Down-beat. 

abbellare  (iib-bel-la'-re),  /.  To  orna- 
ment. abbelitura(e)  (too'-ra),  a- 
bellimen'to(i).     Embellishment(s). 

abbetont  (ap'-ba-tont),  G.  With  final 
emphasis. 

a-b-c-d-i(e)ren  (a-ba-tsa-de'ren),  G. 
To  sing  the  notes  by  their  letter 
names. 

Abend  (a'-bent),  G.  Evening,  -glocke. 
Curfew,  -lied  (let).  Even  song. 
-musik  (moo-zek').     Evening  music. 

abenteuerlich  (a'-ben-toi-er-likh),  G. 
Venturesome. 

abfal'len,  G.  To  deteriorate,  -gebro- 
chen  (iip'-ge-brokh-en).  Interrupted. 
Vide  CADENCE.  Abgesang  (ap'- 
ge-zangk).  Refrain.  It  followed  the 
two  St  alien  in  the  songs  of  the  Meis- 
tersanger.  -gestossen  (ap'-ge- 
shtos-sen).  Staccato,  -gleiten  (;ip'- 
gli-ten).  To  slide  the  finger  from  a 
black  key  to  the  next  white  key. 
Abkiirzung  (ap'-kiir-tsoongk).  Ab- 
breviation, -leiten  (ap'-lf-tgn).  To 
derive  from,  -losen  (ap'-la-zen).  To 
change  fingers  on  a  sustained  tone. 
-nehmend  (ap'-na-ment).  Diminu- 
endo. 

abreges  (ab-ra-zha),  F.     Trackers. 

abreichen  (ap'-rl-khen),  G.  On  the 
violin,  to  e.xtend  the  little,  or  draw 
back  the  first,  finger. 

Abreissung  (ap'-rls-soongk),  G.  Sud- 
den pause. 


57 


58 


THE    MUSICAL    GUIDE 


abrup'tio,  L.     An  abrupt  halt. 

Absatz  (ap'-zats),  G.  i.  Cadence. 
2.    A  phrase. 

Abschnitt  (ap'-shntt),  G.     Section. 

abschwellen  (ap'-schvel-len),  G.  Di- 
minuendo. 

absetzen  (ap'-zet-zen),  G.  To  strike 
two  keys  successively  with  the  same 
finger. 

absolute.  Used  of  music  that  is  self- 
derived  and  complete  in  its  own  form, 
meaning,  and  beauty,  as  opposed  to 
operatic  or  programme  musjc. 

abstammen  (jip'-shtam-men),  G.  To 
be  derived  from. 

Abstand  (ap'-shtant),  G.     Interval. 

ab'stossen,  G.  To  play  staccato.  Ab'- 
stosszeichen  (tsi-khen).  Staccato 
mark(s). 

Abstrak'ten,  G.    Trackers. 

Abstufung  (ap'-shtoo-foongk),  G, 
Shading. 

abtonen  (ap'-ta-nen),  G.  To  err  from 
the  key. 

ab(h)ub  (ii'-boob).     A  Hebrew  horn. 

abun'dans,  L.     Augmented. 

abwechselnd  (jip'-vekhs-elnt),  G.  Al- 
ternating. 

Abweichung  (ap'-vlkh-oongk),  G.  A 
variant. 

Abyssinian  flute.     A  beak  flute. 

Abzug  (ap'-tsookh).  i.  Lifting  of  a 
finger  or  a  bow.  2.  The  sliding 
of  the  finger  from  o"ne  key  to  the 
next. 

academic  spirituelle  (ak-ad-a-me 
splr-et-wel),  F.     A  sacred  concert. 

acathis'tus,  Gr.  Ancient  Greek  Church 
hymn  in  honor  of  the  Virgin. 

accademia  (ak-kad-a-me'-ji),  /.  i.  An 
Academy.    2.  A  concert. 

accarezzevole  (ak-ka-red-za'v6-le),  /. 
Caressing.  accarezzevolmen'te. 
Pleadingly. 

accell.,  acceldo.  Abbr.  of  accele- 
rando. 

accelerando  (at-cha-le-ran'-d5),  /. 
Accelerating  (the  velocity),  accele- 
ratemen'te.  Swiftly,  accelerato, 
(ra-to).     Swift. 

accent  (in  F.,  ak-sah).  accento  (at- 
chen'-to),  /.     i.  Emphasis,  force,  on 


a  tone,  a  chord,  a  beat.  2.  An  ac- 
cent mark  (q.v.).  The  first  beat  of 
every  measure  receives  a  primary  ac- 
cent. In  4-4  time,  the  third  beat  re- 
ceives a  lighter  or  secondary  or  sub- 
accent.  3.  In  6-8  or  6-4  time  the 
fourth  beat  takes  a  secondary  accent. 
In  g-8  time  the  fourth  beat  has  a 
secondary  a.,  and  the  seventh  a  terti- 
ary a.  still  lighter.  The  regular  skel- 
etonic  accent  of  the  standard  measure 
is  called  the  grammatical,  tnetrical, 
7iatural  or  regular  a.;  this  is  modi- 
fied by  the  rhythmical  and  the  ccs- 
thetic,  emotional,  pathetic,  poetical  or 
rhetorical  accent. 

accent-mark.  One  of  the  numerous 
signs  of  stress  ;  as  >  sfzorzando  or 
A  (strictly  tenuto)  ;  'or  used  (a)  to 
indicate  pitch  (q.  v.)  as  c  'and  C,,  =  c''' 
and  C3 ;  (b)  as  an  abbreviation  of 
foot  (q.  V.)  as  8'=  8-foot. 

accent'or.     Leader  of  a  chorus. 

accentuare  (too-a -re),  /.  accentui(e)- 
ren  (ak-tsen-too-e'-ren),  G.  To  ac- 
cent. To  accentuate,  accentua'to. 
With  marked  accent. 

accentuation.  The  act  or  art  of  prop- 
erly distributing  emphasis. 

accen'tus,  L.  Portion(s)  of  the  ritual 
song  of  the  Church,  chanted  by  the 
priest  at  the  altar  ;  in  contradistinc- 
tion to  the  Concentus,  sung  by  the 
assistants  or  choir.  A.  ecclesias- 
tici,  L.  Melodic  formulas  used  in 
the  Church  in  reciting,  the  collects, 
etc.  They  correspond  with  the  com- 
ma, semicolon,  interrogation,  etc.,  of 
ordinary  writing,  and  are  of  seven 
kinds,  called  immutab' His,  monotone 
ine'dius,  a  minor  third  ;  gravis, 
fifth  ;  acu' tus,  sol  mi  mi  sol  ;  tnodera- 
tus,  rising  a  second  and  returning;] 
inter rogati'vus,  falling  a  second  and! 
returning  ;  final  is,  sol  la  sol  fa  mi' 
re — thus  closing  in  the  Dorian  key. 

Accessis'ten,  G.      Unpaid   choristers. 

accessory  notes.  The  subordinatei 
notes  of  an  ornament,  accessoryj 
tones.     Overtones. 

acciaccato  (at-chT-ak-ka'-to),  /.  Vi-| 
olent. 


DICTIONARY    OF    TERMS 


59 


Acciaccatur  (at-tst-ak-ka-toor),  G. 
The  doubling  of  the  6-4  chord  on 
the  dominant,  the  right  hand  alone 
resolving  it. 

acciaccatura  (at-chak-ka-too'-ra),  /. 
A  short  appoggiatura,  usually  a  grace- 
note,  struck  at  the  same  time  with  its 
principal,  but  instantly  released. 

accidentals,  E.  accidenti  (at-tsht- 
den-te),  /.  accidents  (ak-sl-diin),  F. 
Sharps,  flats,  and  naturals,  foreign  to 
the  key-signature. 

accolade  (ak-ko-lad),  F.     Brace. 

accompagnamento  (ak-kom-pan-ya- 
men'-to),  /.  Accompaniment ;  figured 
bass,  accompagnare  (ya-re).  To 
accompany.  accompag'nato  (ya'- 
to).     Accompanied. 

accommodare  (dii'-re),  /.     To  tune. 

accompagner  (ak-kom-pln-ya),  F. 
To  accompany,  accompagne  (ak- 
kom-pTn-ya).  Accompanied.  ac- 
compagnement  (ak-kom-pln-yu- 
man).     Accompaniment. 

accompaniment.  A  part  or  parts 
added  to  other  principal  parts,  a. 
ad  libitum.  Optional  accompani- 
ment, a.  obbligato.  Accompani- 
ment essential,  accompanist.  One 
who  plays  accompaniments. 

accoppiato  (ak-kop-pt-a'-to),  /.     Tied. 

accord,  E  (in  F.,  ak-kor),  i.  Conso- 
nance. 2.  A  chord;  al'ouvert,  on  the 
open  strings  ;  natural,  a  fundamental 
chord  ;  parfait,  a  triad  ;  renverse, 
inverted  ;  de  sixte  ajoutee,  chord 
of  the  added  sixth.  Vide  altered. 
accordant  (ak-kor-dan),  F.  In  con- 
cord, accorder  (ak-kor-da).  To 
tune,  accordeur  (diir).  i.  A  tuner  ; 
2.  a  set  of  12  tuning  forks  giving  the 
tempered  scale.  3.  Monochord.  ac- 
cordoir  (ak-kor-dwar).  A  tuning- 
key,  hammer,  or  cone. 

accordamen'to,  accordanza  (dan'- 
tsa),  /.     Consonance. 

accordance,  accor'dature,  E.  ac- 
cordatura  (too'-rii),  /.     The  system 


of  tuning  the  strings  of  an  instrument  ; 
thus,  the  a.  of  a  violin  is  g-d-a-e. 

accordare  (da-re),  /.  To  tune,  ac- 
cordan'do.     Tuning  ;  in  tune. 

accor'deon.  A  free-reed  instr.  inv. 
by  Damian  of  Vienna,  1829.  The 
tone  is  produced  by  a  double  set  of 
bellows  acting  upon  metallic  tongues. 
The  right  hand  presses  buttons  or 
keys  giving  an  incomplete  chromatic 
scale  ;  the  left  hand  has  a  few  bass 
tones. 

accor'do,  /.  i.  A  chord.  2.  An  old 
Italian  instrument  of  twelve  or  more 
strings. 

accoupler  (ak-koo-pla),  F.  To  couple. 
accouplez  (ak-koo-pla).  "  Draw  the 
coupler." 

accrescendo  (ak-kres-shen'-do).  /. 
Crescendo,  accrescimento  (ac-cra- 
she-men-to).  Augmentation  as  of  a 
fugal  theme,  punto  d'a.,  the  dot 
placed  after  a  note  to  prolong  it.  ac- 
cresciuto  (shoo'-to),  /.  Augment- 
ed. 

acetabulum,  L.  An  ancient  instr.  of 
percussion.  Earthen  vessels  beaten 
as  drums  or  clashed  as  cymbals. 

achromatic.  Lacking  accidentals  and 
modulations. 

acht  (akht),  G.  Eight.  Achtfusston 
(akht'-foos-ton)  or  8-fiissig(fus-sikh). 
Eight-foot  tone.  8-stimmig  (shtim- 
mTkh).  For  eight  voices  or  instru- 
ments. 

Achtel  (akhtl),  Achtelnote,  G.  Eighth 
note  ;  quaver.  Achtelpause,  G. 
Eighth-rest. 

A  Chula  (a  choo'-la).  Port.  A  dance 
like  the  fandango. 

ac'ocotl.  A  Me.xican  plant  from  whose 
stalk  an  aboriginal  wind-instr.  of  the 
same  name  was  made. 

acolyth'ia,  Gr.  The  order  of  service 
in  the  Greek  Church. 

acous'tics  (a-kow'-stix,  or  ii-koo'stix), 
E.,  acoustique  (a-koos-tek),  F.  The 
science  of  sounds. 


6o  THE    MUSICAL    GUIDE 

Acoustics. 

By  J.   S.   Shedlock. 

THE  term  Acoustics  is  derived  from  a  Greek  verb  signifying  to  hear, 
and  the  science  of  acoustics  tells  us  about  the  production  and  prop- 
agation, also  the  comparison,  of  sounds.  When  a  pianoforte  string 
is  struck  by  a  hammer  or  a  violin  string  by  a  bow,  it  trembles,  sways  to  and 
fro  and  thus  sets  the  surrounding  air  a-trembling  ;  the  air-particles  swav  to 
and  fro  producing  a  wave  as  a  light  breeze  sets  a  corn-field  waving;  so  we 
speak  of  waving  air,  or  waves  of  air.  These  waves  strike  the  ear  and  their 
motion  is  passed  on  to  the  brain  and  becomes  what  is  called  sound;  but  by 
what  wonderful  process  one  changes  into  the  other  does  not  concern  us  here. 
^When  the  swaying  to  and  fro  of  the  particles  of  an  elastic  body  is  steady 
and  sufficiently  rapid,  a  musical  sound  results,  otherwise,  only  noise.  The 
word  sound  indeed  is  generally  understood  to  mean  a  musical  one,  hence 
sound  is  contrasted  with  noise.  We  speak  of  the  noise  of  thunder  or  of  battle, 
but  of  the  sound  of  an  instrument  or  of  the  human  voice.  Nature  frequently 
offers  a  mixture  of  sound  and  noise,  as  in  a  waterfall,  in  which  sometimes  the 
one  sometimes  the  other  predominates.  ^'Vibratio?i  is  the  name  given  to  the 
swaying  to  and  fro  of  the  particles  of  an  elastic  body,  and  of  this  motion  the 
clock  pendulum  gives  a  clear  and  simple  idea.  The  particles  only  sway  but 
the  motion  is  passed  on.  When  a  glass  ball  is  pushed  against  one  end  of  a 
row  of  glass  balls  touching  one  another,  the  ball  at  the  other  end  flies  off. 
The  motion  of  the  first  ball  has  been  passed  on  from  ball  to  ball  until  it  has 
reached  the  extreme  one.  Vibrations  when  steady  and  sufficiently  rapid 
produce  sounds  which  may  be  higher  or  lower,  and  the  higher  the  sound  the 
greater  the  number  of  swayings  to  and  fro,  or  vibrations,  within  a  given  time. 
There  are  two  special  instruments  by  means  of  which  air-vibrations  can  be 
easily  counted  :  one  is  Savart's  toothed  wheel,  the  other  the  Siren.  When 
one  sound  is  higher  than  another,  it  is  said  to  be  of  higher  pitch ;  when 
lower,  of  lower  pitch.  The  shorter  a  string,  the  higher  its  pitch.  If  a  vio- 
linist, setting  one  of  the  strings  of  his  instrument  in  motion  by  means  of  the 
bow,  slides  his  finger  along  that  string  toward  the  bridge,  the  sound  will  be- 
come continually  of  higher  pitch  :  for  the  string  is  gradually  shortened,  the 
ever-increasing  portion  behind  the  finger  being  cut  off  from  the  vibratory 
movement  caused  by  the  bow.  There  is,  therefore,  a  topsy-turvy  connec- 
tion between  the  number  of  vibrations  produced  by  a  string,  and  the  length 
of  that  string.  ^Vibration  can  be  felt  if  a  glass  jar  over  which  a  bow  has 
been  drawn  is  touched  lighdy  with  the  finger.  Vibration  can  be  seen  when 
the  string  of  a  piano  or  violin  is  struck  by  a  hammer  or  bow.  Vibradon  can 
be  shown  by  attaching  a  strip  of  sheet  copper  tapering  to  a  point  to  one  of  the 


I 


DICTIONARY    OF    TERMS        61 

prongs  of  a  tuning-fork.  If  the  latter  be  set  in  motion,  and  the  copper  point 
be  placed  on  a  piece  of  smoked  glass,  it  will  give  the  exact  record  of  the  exact 
swaving  to  and  fro  of  the  fork.  ^[Strings  such  as  are  used  in  the  pianoforte 
and  violin  when  set  in  motion  would  of  themselves  create  very  faint  sound- 
vvaves.  The  sound  has  to  be  strengthened.  In  the  pianoforte  the  motion 
is  not  communicated  directly  to  the  air,  but  first  to  a  massive  sound-board. 
In  a  violin  the  little  sound-post  plays  an  important  part  in  passing  on  the 
vibrations  from  the  string  to  the  back  of  the  instrument.  The  strengthening 
of  tone  by  such  means  is  apt  to  be  overlooked.  ^Particles  of  air  when  set 
in  mouon  by  a  vibradng  body  first  move  from  their  point  of  rest  to  a  certain 
distance  and  then  back  through  the  point  of  rest  to  a  similar  distance  in  an 
opposite  direcdon  ;  the  distance  between  these  extreme  points  is  the  extent, 
or  as  it  is  named,  the  amplitude  of  the  vibration.  As  the  vibrating  body 
returns  to  a  state  of  rest,  that  distance  gradually  diminishes  and  finally  vanishes, 
just  as  it  does  when,  the  chain  giving  out,  the  clock  pendulum  slows  down 
and  finally  stops.  The  degree  of  loudness  or  softness  of  a  sound  depends  on 
the  extent  or  amplitude  of  the  vibration,  the  wider  the  one  the  louder  the 
other.  Sound  travels  at  freezing  temperature  at  the  rate  of  1 090  feet  per 
second  ;  with  increase  of  temperature  there  is  increase  of  velocity,  for  the  air 
thus  becomes  more  elastic.  Sound  travels  faster  in  water  than  in  air  because  the 
former  is  more  elastic.  The  degree  of  closeness  of  the  particles  of  the  medium, 
air,  water,  gases  of  different  kinds,  through  which  sound  travels  has  also  an 
influence  on  velocity.  ^Sound  diminishes  in  intensity  according  to  the  dis- 
tance. Throw  a  stone  into  a  pond  and  see  how  the  expanding  waves  be- 
come feebler  and  feebler  in  proportion  as  they  are  distant  from  the  spot  which 
generated  them.  So  it  is  with  sound-waves.  Intensity  varies  inversely  as 
the  square  of  the  distance,  i.e.,  if  a  sound  is  heard  twenty  feet  away  from  the 
instrument  producing  it,  at  forty  feet,  twice  the  distance,  it  will  only  be  a 
quarter  as  loud  :  the  square  of  2  =  4,  and  the  relationship  of  the  two  sounds 
is  as  one  to  four,  or  i^.  This  is  of  course  theory;  in  practice  sound  is  mostly 
intensified  in  various  ways,  so  that  it  does  not  lose  its  strength  at  this  exact  rate. 
•[[A  string  set  in  motion,  that  is  into  a  state  of  vibration,  produces  a  note 
higher  or  lower  according  to  its  length.  That  note,  however,  is  not  a  simple 
sound,  but  one  made  up  of  many  sounds.  For  in  addition  to  the  whole 
string  vibradng,  it  divides  into  two,  three,  four,  and  indeed  into  many  por- 
dons,  all  of  which  vibrate  in  themselves  at  the  same  time  that  the  whole  string 
is  vibrating.  And  these  pordons  being  shorter  give  out  higher  sounds  than 
that  of  the  whole  string,  and  they  bear  themselves  the  self-evident  name  of 
Overtones.  They  are  also  called  upper  partiah  because  they  are  higher 
sounds  produced  by  parts  of  the  string.  The  swaying  to  and  fro  of  these 
parts  is  not  so  great  as  that  of  the  whole  string,  therefore  the  sounds  they  pro- 


62  THE    MUSICAL    GUIDE 

duce  are  fainter.  The  halves  give  a  louder  sound  than  the  thirds,  the  thirds  than 
the  quarters  and  so  on.  All  these  sounds  mix  so  thoroughly 
together  as  to  give  the  impression  of  one  sunple  sound,  and  it  is 
upon  their  order  and  number,  which  differ  in  different  instru- 
ments, that  quality  of  tone  depends.  Here  are  the  first  eleven 
notes  of  such  a  compound  sound — they  can  be  heard  and  ana- 
lyzed by  pressing  the  "loud"  pedal  of  a  pianoforte,  striking  the 

low  c  indicated  and  listening  intendy  and  long.      Out  of  the  overtones  which 

are  repeated  we  secure  easily  \-4^ S^^^  ^^^  simplest  of  all  chords  in  har- 

mony.     ^If  the  key  of  the  lowest  note  F^'  ^^  is  pressed  down  on  a 

pianoforte  without  producing  any  sound,  and  so  held,  then  if  the  above  chord 
is  struck  sharplv,  the  fingers  after  the  blow  being  instantly  removed  from  the 
keys,  then  that  chord  will  continue  to  sound,  although  the  strings  which  pro- 
duced it  have  ceased  to  vibrate.  Portions  of  the  string  of  the  lowest -note  have 
been  set  swaying  to  and  fro,  for  the  key  pressed  down  removing  the  damper 
fi-om  its  string  left  it  free  to  vibrate.  These  portions  vibrate  by  what  is  called 
sympathetic  attraction.  Repeat  the  experiment,  but  immediately  after  the 
chord  has  been  struck,  raise  the  key  of  the  lowest  note,  and  the  chord  is  no 
longer  heard.  ^It  has  already  been  stated  that  by  means  of  certain  instru- 
ments the  numbers  of  vibrations  of  sounds  can  be  counted,  and  they  can 
therefore  also  be  compared.  Of  any  two  notes  an  octave  apart  the  upper 
one  has  twice  as  many  vibrations  as  the  lower.  Of  any  two  notes  a  perfect 
fifth  apart  the  relationship  between  upper  and  lower  is  as  3  to  2.  Of  any 
two  notes  a  major  third  apart  as  5  to  4,  and  a  minor  third  as  6  to  5.  We 
see  then  that  the  perfect  consonances,  the  8th,  5th,  and  4th,  have  the  sim- 
plest relationship,  2  to  I,  3  to  2,  4  to  3.  Next  in  order  come  the  imperfect 
consonances,  the  major  and  minor  thirds,  5  to  4,  and  6  to  5  ;  in  no  case  is  a 
higher  figure  than  6  required.  From  these  relationships  the  major  diatonic 
scale  can  easily  be  constructed,  and  then  if  the  reladonships  between  each  note 
of  the  scale  and  the  succeeding  one  be  taken,  it  will  be  found  that  the  inter- 
vals between  c  and  d,  f  and  g,  a  and  b  are  equal,  that  d  to  e  and  g  to  a  are 
slightly  smaller  and  that  e  to  f  and  b  to  c  are  alike.  The  former  are  called 
tones,  either  major  or  minor,  and  the  last  two  semitones. 

acte  de  cadence  (akt-du-ka-dans),  F.  actin'ophone.    A  device  for  producing 

A   progression    to   or   toward    a    ca-  sound  by  means  of  actinic  rays. 

dence.  act  music.     Cantatas  composed  by  the 

action."   The  mechanism  of  an  instru-  Professor  of  Music  at  Oxford  forspe- 

ment.  cial  occasions. 


DICTIONARY    OF    TERMS 


63 


act-tune.  Music  between  the  acts  of 
a  play. 

acuite  (ak-we-te),  F.     Acuteness. 

acustica  (a-koos'-tl-ka),  /.,  Acustik 
(a-koos-tek),  G.  Acoustics,  acus- 
tisch  (tish),  G.     Acoustical. 

acuta  (a-koo'-ta),  /.     i.  Acute,  shrill. 
2.  A  shrill  2-ft.  mixture-stop. 
-'acu'tae  clav'es,  L.     The  name  given 
by  Guido  to  the  tones  from  a  to  g. 

acute.     High  in  pitch,  shrill. 

acutus,  Z.     Vide  accentus. 

ad,  L.     To,  for,  at. 

adagio  (a-da'-jo),  I.  i.  Slow,  slower 
than  andante,  not  so  slow  as  lento. 
2.  A  slow  movement  or  division  of  a 
symphony  or  sonata,  adagietto  (a- 
da-jet'-to).  A  little  faster  than  ada- 
gio, adagissimo  (j!s-sI-mo).  Ex- 
tremely slow. 

adaptation,  E.,  adattazione  (a-dat- 
ta-tsl-o'-ne),  /.  An  arrangement  or 
transcription. 

adasio  (a-da'-sl-o),  I.     Adagio. 

added  lines.  Ledger  lines,  added 
sixth.     Vide  sixth. 

additato  (ad-dl-ta'-to),  I.     Fingered. 

additional  keys.  Those  above  f" 
on  the  piano,  additional  accom- 
paniments. Accompaniments  or 
parts  added  to  a  work  by  another 
hand  than  that  of  the  composer. 

addolorato  (ad-d5-lo-ra'-t6),  /.  Mel- 
ancholy. 

Adel  (a'-del),  G.     Majesty. 

Adi'aphone.     Vide  gabelklavier. 

Adi'aphonon,  G.  A  piano  of  perma- 
nent tune,  inv.  in  1820  by  Schuster. 
The  tone  was  produced  by  metal 
bars. 

adirato  (a-dt-ra'-to),  I.  Angry,  adi- 
ratamen'te.     Angrily. 

adjunct  notes.  Unaccented  auxiliary 
notes. 

Adjuvant  (at'-yoo-fant),  G.  Assistant 
to  a  chorister. 

Adler  (at'-ler),  G.  A  rarely  used  organ- 
stop. 

ado'nia.     An  ancient  musical  feast. 

adornamen'to  (pi.  -i),  /.  An  embel- 
lishment. 


adoucir  (a-doo-ser),  F.     To  soften,  to 

flatten. 
adquis'ta  or  adsuma'ta  vox,  L.    The 

extreme  low  tone. 

adufe  (a-dhoo'-fe),  Sp.  Tambourine. 
adufero  (fa'-ro).     Player  of  it. 

A-dur  (a-door),  G.  The  key  of  A 
major. 

ae'rophone.     A  kind  of  harmonium. 

aengstlich  (enkst-likh),  G.  Anxious- 
ly- 

aeol  harmon'ica.    A  kind  of  seraphine. 

iEo'lian,  i.  Vide  modes.  2.  The  fifth 
of  the  authentic  Gregorian  modes. 
3.  An  automatic  reed  instrument  in 
which  the  performer  controls  the  time, 
the  stops,  and  the  expression. 

iEo'lian  Harp  or  Lyre.  An  instr.  inv. 
by  Kircher  in  the  17th  century.  It  is 
usually  a  box  set  in  a  window  and  fit- 
ted with  6  or  more  strings  of  silk  or 
gut,  tuned  in  unison,  passing  over 
bridges  about  3^-inch  high.  The 
strings  are  so  arranged  that  the  air 
causes  vibration  among  them.  The 
varying  humours  of  the  wind  produce 
a  strangely  sweet  and  various  har- 
mony, the  different  overtones  being 
audible  in  a  shifting  concord  of  eerie 
beauty. 

iEolian  mute.  A  combination  of  the 
pitch-pipe  and  mute. 

iEolian  pianoforte.  A  piano  inv.  by 
T.  Gilbert  about  1850,  and  provided 
•with  free  reeds  and  a  bellows  for  giv- 
ing the  piano  a  sustaining  power. 

soli'na.  i.  A  small  free-reed  mouth 
instr.,  inv.  by  Wheatstone,  1829.  2. 
An  organ-stop. 

aeolo'dicon  or  aeolo'dion,  Gr.  A  keyed 
instr.  in  which  the  tone  is  produced 
by  steel  springs,  put  in  vibration  by 
bellows. 

aeolomelo'dicon.  The  same  instru- 
ment with  brass  tubes  to  reinforce  the 
springs. 

cBolopan'talon.  An  aeolodicon  com- 
bined with  a  piano. 

.^olsharfe  (a'-61s-har'-fe),  G.  /Eol- 
ian  harp. 

iEolsklavier  (a'-61s-kla-fer),  G.  A 
keyboard  wind  instr.,  inv.  1825,  by 


64 


THE    MUSICAL    GUIDE 


Schortmann,  with  reeds  of  wood  in- 
stead of  metal. 

/Eota'na,  G?-.  A  small  mouth  instr. 
of  short  metallic  reeds. 

.^qual  (a-kwal),  C,  from  Lat.,  signify- 
ing "  8-ft."    Vide  STOP. 

aequiso'nus,  Z.  Unison,  aequiso'nans. 
Concordant. 

aequiva'gans,  Z.  Simultaneously  syn- 
copated or  varied  in  all  the  parts. 

.^quivoken  (a'-kwT-fo-ken),  (7.  Meis- 
tersinger  airs  of  the  same  name. 

aere  recurvo.,  Z.     Bucena. 

se'rophone.     A  French  melodeon. 

aevia  (e'-vl-a),  Z.  Abbr.  (the  vowels 
only)  of  Alleluia. 

affabile  (af-fa'-bl-le),  Z  Affable,  af- 
fabilita  (be-lT-ta').  Cordiality,  affa- 
bilmen'te.     Affably. 

affanna  to,  affano'so,  I.  Tormented, 
distressed. 

affectirt  (af-ft^k-tert'),  G.  With  affec- 
tation. 

affectueux  (af-fek-tu-ii'),  F.  Affec- 
tionate. 

affettazione  (ta-tst-5'-ne),  Z.  Affec- 
tation, affettatamen'te.  Affectedly. 

affet'to,  Z  Affection,  affettuoso.  Af- 
fectionate, affettuosamente.  Af- 
fectionately, affettivo  (te'-vo).  Af- 
fecting. 

affilar',  Z     Vide  filar. 

affinity.     Close  relation  (as  of  keys). 

afflizione  (af-fle-tst-o'-ne).  Sorrow,  af- 
lit'to.     Sorrowful. 

affrettan'do,  affrettate  (ta -te).  Hur- 
rying,    affretto'so.     Hurried. 

afofa'.     Portuguese  fandango. 

after-beat.  Two  notes  used  as  end- 
ing a  trill,  after  note.  A  small 
unaccented  note  taking  its  time  from 
the  preceding. 

agevole  (a-ja'-v6-le),  /.  Agile,  age- 
volmen'te.  Nimbly,  agevolezza 
(a-ja-vo-led'-za).     AgiUty. 

aggiustato  (ad-joos-ta'-to),  I.  Ad- 
justed, arranged,  adapted,  aggius- 
tatamen'te.     In  strict  time. 

aggraver  la  fugue  (Sg-gra-va  la  fiig), 
F.  To  augment  the  (subject  of  a) 
fugue. 

agiatamente  (a-jat-a-men'-tS).  Easily. 


agilita  (a-jel-l-ta),  Z  Agility,  agil- 
men'te.     Nimbly. 

agitato  (a-jl-ta'-toj,  I.  Agitated,  hur- 
ried, agitamen'to,  agitazione  (a- 
je-ta-tsi-o'-ne).      Agitation. 

agit6  (a-zhe-ta'),  F.     Agitated. 

agli  (al'-ye),  Z     Vide  al. 

Agnus  Dei.  Z.  "  Lamb  of  God." 
Vide  MASS. 

ago'ge,  Gr.  I.  The  order  of  inter- 
vals of  melodic  progression.  2. 
Rhythmical  order  of  accents  and 
duration.  3.  Expression.  Ago'gik, 
G.  The  art  of  expression  by  rubato, 
acceleration,  &c.  ago'gic  accent. 
Expression  mark. 

agraffe  (a-graff),  F.  A  small  pin  to 
check  the  vibration  of  a  piano  string. 

agr6ments  (a-gra-mafi),  F.  i.  Em- 
bellishments. 2.  Incidental  music  and 
dancing. 

ai  (a -e),  Z     To  the.     Vide  al. 

aigre  (egr),  F.  Harsh,  sharp,  aigre- 
ment  (egr-mah).     Sharply. 

aigu  (e-gii),  F.     Acute,  shrill. 

air,  E.  and  F.  A  melody,  or  tune ; 
an  aria.  a.  a  boire  (bwar).  A  drink- 
ing song.  a.  a  reprises  (ru-prez). 
Catch,  a.  chantant  (shah-tah).  A 
lyric,  a.  d6tach6(da-ta-sha).  A  sin- 
gle air  detached  from  a  larger  work. 
a.  rapide  (ra-ped).  A  flourish,  a. 
vari6  (vi-rl-a).  Theme  with  varia- 
tions. 

Ais  (a-Is),  G.  The  note  or  key  "  A  " 
sharp. 

ais6  (e-za),  F.  Easy.  ais6ment  (e-za- 
mah).     Easily,  freely. 

aiuton  (I'-u-tan),  Gr.  An  organ  made 
of  tuning-forks,  inv.  by  Charles  Clag- 
get  and  guaranteed  never  to  require 
retuning. 

ajakli-keman  (a-yak'-le-ka-man).  A 
Turkish  violin. 

Akkord  (ak-kort'),  G.  A  chord.  A.- 
passage.  An  arpeggio.  A.-zither. 
I.  The  auto-harp.  2.  A  set  of  instru- 
ments. 

Akromat  (a-kro-mat'),  G.    A  musician. 

akromatisch  (a-kr6-ma'-ttsh),  G.  Ach- 
romatic. 

Akustik  (a-koos'-tek),  G.     Acoustics. 


DICTIONARY    OF    TERMS 


(>5 


k  la,  au,  aux,  al,  all',  alia,  alle, 
alio,  agli,  ai,  J^.  and  /.  Varying 
combinations  of  the  different  genders 
of  tlie  article  "the"  with  the  prepo- 
sition "  to,"  meaning  "  in  the  manner 
of,"  as  a  la  grecqite,  and  alia  cappella. 

a'lamoth,  Hcb.  Obscure  and  disputed 
musical  term  in  Psalm  LXVIII,  25. 

alar'um,  L.  all'  armi,  /.  A  call  to 
arms. 

albada  (al-ba-dha),  Sp.  A  morning 
serenade. 

Albert!  Bass.  A  bass  consisting  of 
monotonous  simple  broken  chords. 
So  called  after  its  alleged  inventor. 
Vide  B.D. 

albogue  (al-bo-ga'),  Sp.  An  instr.  of 
the  flute  species. 

Albumblatt  (al'-boom-blat).  Album- 
leaf.     Plural,  A.-blatter  (blet-ter). 

alcuna  (al-koo'-na),  /.  Some  ;  as  con 
a.  licenza,  with  some  licence. 

alelu'ya,  Sp.     Hallelujah. 

alemana  (al-e-ma'-na),  Sp.  Old  Span- 
ish dance. 

Alexandre   organ.      Vide   American 

ORGAN. 

aliquot.  Used  of  the  parts  into  which 
a  vibrating  string  is  subdivided  in 
producing  overtones.  Aliquotflii- 
gel,  G.  A  piano  inv.  by  Bluthner 
with  a  sympathetic  octave  string  for 
each  note.  Aliquottheorie  (al  -T- 
kw6t-ta-o-re),  G.  The  theory  of  over- 
tones. 

alia.     Vide  al. 

allargan'do,  /.  Gradually  slower 
and  broader. 

air  ova.     Vide  ottava. 

alle  (alle),  G.  All :  alle  Instruraente. 
All  the  instruments  ;  ttiUi. 

allegrativo  (al-la-gra-te'-v6)  ;  alle- 
gramen'te,  allegran'te,  /.  /  all6- 
grement  (al-la-gru-mah),  F.  Gayly 
and  quickly. 

allegrettino  (al-la-gret-te'-no),  /.  A 
little  slower  than  allegretto. 

allegretto,  /.  Slower  than  allegro, 
but  blithe  and  cheer)'. 

allegrezza  (al-la-gred'-za)  ;  allegria 
(gre'-a),  /.     Joy,  cheer. 

allegro    (al-la'-gr5),    /.      Very     fast, 


though  slower  than  Presto  ;  it  usually 
indicates  a  high  rate  of  speed.  This 
may  be  modified  by  additional  phrases 
as  allegro  ma  non  troppo.  allegri 
di  bravura  (al-la-gre  de  bra-voora), 
/.  Compositions  to  display  virtuos- 
ity, allegrissimamen'te,  allegris  - 
simo,  /.  Extremely  fast,  allegro 
con  moto,  /.  a.  di  molto.  Very 
fast.  a.  moderato,  a.  non  molto, 
a.  non  troppo,  /.  Moderately  fast. 
a.  giusto  (joos'-to),  /.  Fast  ;  but 
exactly  in  time. 

allein  (al-lTn'),  G.  Alone,  single.  A.- 
sang.  Solo.  A. -sanger,  or -spieler. 
Solo-singer  (or  player). 

alleluia,  alleluja'h  (al-la-loo'-ya), 
Heb.  "  Praise  the  Lord  ; "  Hallelujah. 

Allemande  (al-mand),  F.  i.  A  Ger- 
man national  or  peasant  dance  in  3-4 
or  3-8  time  ;  in  some  places  2-4  time. 

2.  A  French  imitation  of  this  dance. 

3.  A  movement  in  the  classic  Suite  of 
Bach,  etc.  ;  in  4-4  time,  andaniino, 
with  a  short  note  on  the  up-take. 

allentato  (ta-to),  allentamen'to,  al- 
lentan'do,  /.     Retarding. 

allgemeiner  Bass  (al-khe-ml'-nerbas), 
G.     Thorough  bass. 

allied.     Accessory. 

allmahlich,  allmahlig  (al'-ma-likh),  G. 
Gradually. 

allonger  I'archet  (al-16n-zha  ISr-sha), 
F.     To  prolong  the  bow  stroke. 

allo'ra,  /.     Then. 

Almain,  Alman,  Almand.  Allemande. 

Alma  Redemp  toris,  Z.  Hymn  to 
the  Virgin. 

al'penhorn,  alp'horn.  A  horn  used 
by  the  Alpine  herdsmen  ;  it  is  made 
of  strips  of  firwood  from  3  to  8  feet 
long.     It  has  a  limited  range. 

alphabet.  The  7  letters  used  in  music, 
A-G. 

alt  (iilt),  /.  High.  In  alt  is  applied 
to  tones  in  the  first  octave  above  the 
treble  staff,  as  b";  in  altissimo  re- 
fers to  tones  in  the  second  octave 
above  the  treble  staff,  as  d' ' '. 

al'ta,  /.,  alt,  G.  High,  or  alto;  as 
Althorn.  octava  alta.  An  octave 
above. 


66 


THE    MUSICAL    GUIDE 


al'ta,  Sp.     An  old  Spanish  dance. 
alterata  (a'-ta),  /.     Scales  with  notes 

foreign  to  the  Church  modes. 
altera'tio,  L.     The  doubling   of   the 

time  value. 


alterato  (al-tg-ra-t6),  /.,  alt6r6  (aU 
ta-ra),  F.,  altered,  E.  Changed 
chromatically,  especially  applied  to 
certain  inverted  chords. 


Fig.  I.  — The  small 
black  notes  indicate 
those  intervals  above 
the  Dominant  which 
are  most  susceptible 
of  chromatic  altera- 
tion. 


Altered  Chords. 

By  Charles  W.  Pearce,  Mus.  Doc. 

A  CHORD  originally  formed  by  a  combination  of  notes  belonging 
to  the  Diatonic  Scale  of  any  key  can  be  chromatically  altered  by 
the  addition  of  an  accidental  %,  b,  or  J,  to  one  or  more  of  its  in- 
tervals. A  chord  ceases  to  be  chromatic  when  it  induces  modulation  : 
being  then  a  diatonic  chord  in  the  new  key.  In  modern  harmony, 
the  combinational  tendency  of  the  Diatonic  Scale  is  to  arrange  itself  in 
a  perpendicular  series  of  thirds  above  the  5th  degree 
or  dominant  of  the  scale,  according  to  this  formula  : 
^Reckoned  from  the  lower  note  (or  root)  the  intervals 
are:  l.  Major  3d  ;  2.  Perfect  5th;  3.  Minor  7  th  ;  4. 
Major  (or  minor)  9th  ;  5.  Eleventh  (compound  4th)  ; 
6.  Major  (or  minor)  13th  (compound  6th).  ^Thus 
the  first  sign  of  chromatic  alteration  is  the  interchange- 
ability  of  the  major  and  minor  3d  and  6th  of  the  scale. 
The  harmonic  formula  shown  in  Fig.  I  can  be  built 
up  on  the  dominant  notes  of  the  two  adjacent  keys, 
(viz. :  those  keys  having  one  sharp  or  one  flat  more  or  less  than  the  signa- 
ture of  the  tonic  key).  And  as  these  additional  formulae  can  be  used  in 
b.£.  the  tonic  key  without  modulation  to  either  of  its  adjacent 
keys,  their  roots  are  conveniently  called  supertonic  and 
tonic  to  show  their  relationship  to  the  scale  of  the  tonic. 
Fig.  2. — Supertonic  ^The  supertonic  root  is  dominant  of  the  next  sharp 
Formula.  ^^^^      ^The  tonic  root  is  dominant  of  the  next  flat  key. 

^In  the  supertonic  formula  the  necessary  major  3d  of 
the  root  (i  of  the  series)  is  an  invariable  chromatic 
alteration.  The  interchangeability  of  the  major  and 
minor  3d  of  the  scale  (4  of  the  series)  is  a  confirma- 
tion of  No.  6  of  the  Dominant  formula  (Fig.  i).  The 
interchangeability  of  the  major  and  minor  7th  of  the 
scale  (6  of  the  series)  is  the  characteristic  chromatic  alteration  of  the  super- 
tonic formula.  ^[In  the  tonic  formula  the  necessary  minor  7th  of  the  root 
(3  of  the  series)  is  an  invariable  chromatic  alteration.  The  interchange- 
ability  of  the  major  and  minor  6th  of  the  scale  (6  of  the  series)  is  a  con- 


Fig.  3.— Tonic  For- 
mula. 


DICTIONARY    OF    TERMS 


67 


firmation  of  No.  4  of  the  Dominant  formula  ( Fig.  i  ) .  The  interchange- 
ability  of  the  major  and  minor  2d  of  the  scale  (4  of  the  series)  is  the 
characteristic  chromatic  alteration  of  the  tonic  formula.  ^lyFrom  the  harmonic 
formula  shown  in  Figs.  I,  2,  3,  the  chromatic  scale  is  derived.  This 
chromatic  scale  is  the  same  for  both  major  and  minor  keys  having  the  same 
tonic  ;  but  the  difference  of  key  signature  induces  changes  in  the  number  of 
accidentals  used.      Compare  Figs.  4  and  5.      ^[With  the  introduction  of  the 


Fig.  5. — Signature  of  C  Minor. 


chromatic  element  into  harmony,  the  absolute  distinction  of  major  and  minor 
disappears,  and  the  key  tonality  becomes  one.  ^[To  facilitate  the  notational 
convenience  of  the  chromatic  element  in  harmony,  the  enharmonic  equiva- 
lents of  several  degrees  of  the  chromatic  scale  are  freely  admitted.  ^Chro- 
matic alteration  is  chiefly  observable  in  triads  and  in  chords  of  the  seventh 
with  their  inversions.  ^[Fig.  6  shows  the  triads  on  the  seven  degrees  of 
the  diatonic  scale.  Fig.  7  shows  how  these  triads  may  be  chromatically 
altered  in  the  same  key  without  necessitating   modulation   to  any  other  key. 


^Of  these  Nos.  i,  4,  18,  19,  and  28,  show  an  enharmonic  substitution  of 
C  sharp  for  D  flat  ;  Nos.  4,  5,  i  i,  22,  and  25  have  G  sharp  instead  of  A 
flat  ;  Nos.  10,  21,  25,  and  34  have  D  sharp  for  E  flat  ;  Nos.  3  and  15, 
have  G  flat  for  F  sharp  ;  and  No.  30  has  C  flat  for  B.  It  may  also  be  re- 
marked that  Nos.  30  and  l  5  are  the  only  triads  of  the  series  which  have  all 


68 


THE    MUSICAL    GUIDE 


three  of  their  notes  altered  from  the  notation  of  the  diatonic  scale  of  C  ;  but 
it  will  be  observed  that  in  No.  30  two  of  these  altered  notes  (A  flat  and  E 
flat)  are  the  notes  shown  in  Fig.  i  to  be  those  first  susceptible  of  chromatic 
alteration  in  the  key  of  E  ;  and  in  No.  i  5  two  of  the  altered  notes  belong  to  the 
supertonic  formula  shown  in  Fig.  2.  A  glance  at  Fig.  7  is  sufficient  to  show 
that  ♦'  enharmonic  substitution  "  is  only  made  use  of  in  modern  music  in  order 
to  throw  the  altered  chords  into  an  easily  recognizable  harmonic  shape  such  as 
triads  or  sevenths  (or  their  inversions).  ^Distinguishing  names  of  a  purely 
fanciful  character  have  been  given  to  the  first  inversions  of  several  of  the 
chords  in  Fig.  7    (see  Fig. 8).      ^One  other  triad  containing  three  altered 


Neapolitan  Sixth. 


Italian  Sixths. 


ist  inversion  of 
No.  8,  Fig.  7. 


ist  inversion  of 
No.  10,  Fig.  7. 


ist  inversion  of        ist  inversion  of 
No.  20,  Fig.  7.  No.  36,  Fig.  7. 


Fig.  8. 


notes  remains  to  be  shown — this  can  be  written  either  as  the  major  triad  of 
the  flattened  dominant  or  its  enharmonic  equivalent,  the  sharpened  subdomi- 
nant   of  the   key,  as   in   Fig.  9.      ^Figure  9   exemplifies  also   the  ordinary 


treatment  of  chromatically  altered  triads,  viz.  :  they  are  usually  followed  by 
some  form  of  dominant  harmony.  ^The  chords  of  the  seventh  built  on  the 
seven  degrees  of  the  diatonic  scale  (see  Fig.  10)  may  (like  the  triads  in  Fig. 
6)  undergo  chromatic  alteration.      *^yA  chromatic    alteration  of  Fig.   10,  I, 


i^^ 


II        III       IV        V        VI       VII 
Fig.  10. 

Ill,  V,  VII,  has  already  been  shown  in  Fig.  3  by  the  flattening  of  the  lead- 
ing note  of  the  scale;  and  similar  alterations  of  Fig.  10,  11,  and  IV,  have 
been  observed  in  Fig.  2  by  the  sharpening  of  the  subdominant  of  the  scale 
(see  Fig.   11).      ^Fig.   1  i  shows  that  a  chord  of  the  seventh  may  consist  oi 


i 


DICTIONARY    OF    TERMS        69 


the  following  different  series  of  intervals  from  the  bass  :  ^I,  and  II,  Major 
3d  :  Perfect  5th  :  Minor  7th  ;  III,  and  IV,  Minor  3d  :  Dim.  5th  : 
Minor  7th  ;  V,  Minor  3d  :  Perfect  5th  :  Minor  7th  ;  VII,  Major  3d  : 
Perfect  5th  :  Major  7th.  ^[A  further  reference  to  Figs,  i,  2,  and  3,  shows 
that  the  harmonic  superposition  of  three  minor  3ds  one  above  the  other — that 
familiar  combination  of  notes  known  as  the  chord  of  the  Diminished  7th — is 
possible  over  every  note  of  the  unaltered  Diatonic  Scale  by  chromatic  or 
enharmonic  alteration  without  necessitating  modulation.     ^Accordingly  each 


Enharmonic  Equivalents. 


^^^1 


note  of  the  Diatonic  Scale  may  bear  the  chromatic  alteration  of  its  own  chord 
of  the  7th  as  shown  in  Fig.  i  3.   ^And  with  the  chromatic  alteration  (Fig.  14) 


Fig-  13- 

of  the  root  itself  the  permutations  are  almost  endless.  ^It  only  remains  to 
give  the  distinguishing  names  which  have  been  fancifully  applied  to  one  or 
two   of  the  chromatically  altered  chords  of  the  7th  in  an  inverted  shape. 


French  Sixth. 


German  Sixth. 


Fig.  14. 

^Of  these  (l)  is  the  second  inversion  of  VII  in  Fig.  10,  with  the  sixth  of 
its  bass  chromatically  raised,  (2)  is  the  second  inversion  of  II  in  Fig.  i  I 
with  its  bass  chromatically  lowered.  (3)  is  the  second  inversion  of  V  in 
Fig.  10,  with  its  bass  chromatically  lowered.  (4)  is  the  first  inversion  of 
II  in  Fig.  10  with  its  root  chromatically  raised.  (5)  and  (6)  are  respect- 
ively chromatic  alterations  of  the  first  inversions  of  IV  in  Fig.  I  I,  and  VII 
in  Fig.  12.  ^It  will  be  observed  that  the  distinguishing  feature  of  the 
chords  in  Fig.  1 4  is  the  interval  of  the  Augmented  6th.  In  the  usual  reso- 
lution of  such  chords,  care  should  be  taken  to  lee  the  two  notes  forming  the 
Augmented  6th  proceed  outwardly,  each  by  step  of  a  semitone. 


70 


THE    MUSICAL    GUIDE 


alterezza  (al-te-rSd'-za),  /.  Haughti- 
ness. 

alternamen'te,  alternan'do,  /.  Al- 
ternating. 

alternations.     Tunes  for  bells. 

alternative  (te'-vo),  /.  i.  Alterna- 
tive ;  a  choice  of  methods.  2.  A 
short  trio. 

Altgeige  (alt'-gi-khe),  G.     The  viola. 

Althorn.     Vide  saxhorn. 

altieramente  (tl-a-ra),  /.     Haughtily. 

alti  naturali.  Male  altos,  or  counter- 
tenors, as  opposed  to  castrati. 

altisonante,  altiso'no.     Sonorous. 

altis'onous.  High-sounding,  used  of 
the  highest  male  voice. 

altis'simo,  L.     Vide  alt. 

altist,  altista  (al-tes'-ta),  /.,  altiste 
(al-test),  /•".     An  alto  singer. 

Alt'klausel  (alt'-klow-zel),  G.  The 
progression  of  the  alto  part  in  a  ca- 
dence. 

alto  (al'-to),  /.  I.  High;  originally 
applied  to  the  high  range  of  the  arti- 
ficial or  falsetto  tenors  {castrati,  alti 
naturali,  tenori  aciiti,  falsetti,  coun- 
ter-tenors). Thence  the  term  has  been 
applied  to  the  lower  range  of  women's 
or  boys'  voices,  ordinarily  extending 
from  g  below  the  treble  staff  to  c" 
(an  octave  above  middle  C).  2.  Viola, 
also  alto  viola,  a.  primo,  /.  The 
higher  alto.  a.  secondo,  T.  The 
lower  alto.  a.  tenore,  /.  The 
higher  tenor. 

al'to-basso,  /.  An  obs.  dulcimer  with 
a  few  gut  strings,  struck  with  a  stick 
in  the  left  hand,  while  the  performer 
held  a  flageolet  in  the  right  hand. 

alt'ottava,  /.     Vide  alta. 

Altposaune  (alt'-p5-zow-ne),  G.  Alto 
trombone. 

al'tra,  al'tro,  /.  Another,  altra 
volta.  Encore,  aitro  modo.  Al- 
ternate manner. 

Altsanger  (alt'-zeng-er),  G.  Alto,  or 
counter-tenor. 

Altschliissel  (alt-shlUs'-sel),  G.  The 
alto  clef. 

Altviole,  G.     The  viola. 

al'tus,  L.     Alto  or  counter-tenor. 


alzamento  (al-tsa-m^n'-to),  /.  An 
elevating,  as  of  the  voice,  a.  di  mano. 
Up-beat. 

alzando  (al-tsan'do),  /.     Raising. 

amabile  (a-ma-bl-le),  /.  Amiable. 
amabilmen'te.  Amiably,  amabi- 
lita  (be-ll-ta).     Tenderness. 

amarezza  (a-ma-red'-za),  /.  Bitter- 
ness, amaro  (a-ma-ro).  Bitter, 
araarissimamen'te,  araarissimo. 
Very  bitter(ly). 

amateur  (am-'a-tiir'),  F.  A  "lover"' 
of  an  art,  who  does  not  make  it  his 
profession  ;  makes  it  rather  an  avoca- 
tion than  a  vocation. 

Amati.  A  violin  made  by  the  brothers 
Amati.     Vide  B.  D. 

am'bira.  An  African  wooden  drum 
with  vibrating  tongues  of  wood  or 
iron. 

am  bitus,  L.    Compass  or  range. 

am'bo  or  ambon.  The  platform 
where  canons  were  sung  in  the  me- 
diaeval Eastern  Church. 

Ambro'sian,  Ambrosia'nus.  Intro- 
duced by  Ambrose.  Vide  B.  D.  A. 
Hymn.  The  "  Te  Deum "  doubt- 
fully credited  to  him. 

ambubaja  (am-boo-ba'-ya),  L.  A 
strolling  flute-player  from  Syria.  Vide 
anbuba. 

ambulant  (an-bii-lah),  F.  Vagabond 
musician. 

ame  (am),  F.     Soundpost. 

amen  (a-men'),  Heb.     "So  be  it." 

American  fingering.  That  system 
of  fingering  in  which  x  indicates  the 
thumb ;  in  foreign  fingering,  the 
thumb  is  called  the  first  finger  and 
marked  i. 

American  organ.  Originally  called 
"  Melodeon  "  or  "  Melodic."  A  free- 
reed  instrument  differing  from  the 
older  harmonium  (q.  v.)  in  that  the 
air  is  drawn  through  the  reeds  by 
suction,  instead  of  forced  outward 
through  them  ;  this  gives  a  superior 
control  and  shading  ;  inv.  by  Jere- 
miah Carhart.  Its  superiority,  recog- 
nised in  Europe  more  than  at  home, 
is  also  due  to  the  better  voicing  of 
the  reeds  and  the  resonant  air-cham- 


DICTIONARY    OF    TERMS        71 


bers  developed  by  Mason  &  Hamlin. 
The  stops  are  many,  and  imitate  va- 
rious instruments. 

amore  (a-mo'-rS),  /.  Love  ;  affection. 
amorevole  (ra-v6-le),  amorevol- 
men'te,  amoroso,  amorosamen- 
te.     Loving(ly). 

amphichord.     Lira  barberma  (q.  v.). 

Amorschall  (a-mor-shall),  Amors- 
klang,  G.  An  imperfectly  valved 
French  horn,  inv.  by  Kolbel,  1760. 

ampho'ter,  Gr.  A  series  of  tones  com- 
mon to  two  registers. 

ampoUo'so,  ampollosamen'te,  /.  am- 
poule (iifi-poo-la ),  F.     Pompous(ly). 

amusement  (a-muz-man),  F.  A  light 
composition. 

an  (an),  G.  On  (of  an  organ-stop)  ; 
"drawr." 

anab  asis,  Gr.  A  series  of  ascending 
tones. 

anabath'mi,  Gr.  Certain  antiphons 
in  the  Greek  Church. 

anacrusis,  anakrusis,  Gr.  i.  The 
up-beat.  2.  The  up-take,  or  ac- 
cented part  of  a  measure  beginning  a 
theme  or  air. 

anafil  (a-na-fel'),  Sp.  A  Moorish  pipe, 
anafilero  (fe-la-ro).     A  player  of  it. 

anagaza  (ii-na-ga'-tha),  Sp.  A  bird- 
call. 

anakamp'sis,  anakamp'tos,  Gr.  A 
series  of  descending  tones. 

anaka'ra,  Gr.  Ancient  kettle-drum. 
anakaris'ta,  Gr.      Kettle-drummer. 

analisi  (a-na-le'-ze),  /.,  analyse  (Sn-a- 
lez),  F.     Analysis. 

anbu'ba  (ya).     Syrian  flute. 

anche  (afish),  F.  A  reed,  libre.  Free- 
reed,  jeu  d'a.,  or  a.  d'orgue.  A 
reed-stop. 

ancia  (ah-che  a),  /.     A  reed. 

anco'ra,  /.  Once  more  ;  yet  ;  still,  as 
ancor  piu  mosso.  Still  more  quick- 
ly- 

Andacht  (an'-dakht),  G.  Devotion. 
andachtig  (an-dekh'-tikh).  Devo- 
tional. 

andamen'to,   /.      i.  Rate    of    speed. 
2.  An  episode  as  in  a  fugue.     3.  A 
fugal  theme. 
andante  (an-dan'-tg),    /.      Literally— 


"going";  moderately  slow,  repose- 
ful. Often  much  qualified  by  other 
words,  as  con  moto,  largo,  maestoso, piu 
tosto  allegretto={nta.r\Y  allegretto). 

andantino,  /.  Literally,  slower  than 
Andante  ;  but  usually  considered  to 
mean  slightly  faster. 

andare  (jin-da'-ra),  /.  To  move  ;  as  a. 
diritto,  go  straight  on  ;  a.  a  tempo, 
keep  strict  time. 

anem'ochord  or  anim'ocorde.  An 
instr.  inv.  by  Schnell,  1789,  aiming  to 
imitate  the  ^olian  harp  by  means 
of  keys  pressing  bellows  and  forcing 
air  against  strings. 

anemometer.    Wind-gauge. 

ane'sis,  Gr.  i.  Descent  from  a  higher 
to  a  lower  tone.  2.  The  lowering  of 
the  pitch  of  strings.  Reverse  of  ep- 
itasis. 

Anfang  (an'-fangk),  G.  Beginning. 
vom  A.,  =  Da  capo.  Anfanger 
(an'-feng-er).  A  beginner.  Anfangs- 
grunde.  Rudiments.  Anfangsri- 
tornell.     Prelude. 

Anfiihrer  (an'-fu-rer),  G.  Conductor, 
leader. 

angeben  (an'ga-bSn),  G.  To  give. 
den  Ton  a.  to  give  the  pitch. 

Angelica  (an-ja'-ll-ka),  G.  ang6Iique 
(an-zha-lek),  ang61ot  (an-zhii-l6),  F. 
I.  An  organ-stop.  Vide  vox.  2.  A 
17th  century  keyboard  instr.  with  17 
strings. 

angel'ophone.  Early  form  of  har- 
monium. 

angemes'sen,  G.     Appropriate. 

angenehm  (an'-khe-nam),  G.  Pleas- 
ing. 

angkloung  (ank'-loong).  A  Javanese 
xylophone. 

anglaise  (an-glez),  F.,  anglico  (an- 
gle'-ko),  /.  I.  In  the  "English" 
style.  2.  An  English  country  dance, 
ballad  or  hornpipe.  3.  A  sprightly 
French  dance  in  3-4  time. 

ango're  (an-go'-re),  angoscia  (an- 
go'-sha),  /.     Anguish. 

angoscevole  (an-go-sha'-v6-le),  an- 
gosciamen'te,  angosciosamen'te, 
angoscio'so,  /,  With  anguish  or 
anxiety, 


72 


THE    MUSICAL    GUIDE 


angstlich  (engsht'  llkh),  G.     Anxious- 

(ly). 

anhaltend  (an'-hal-tent),  G.  Contin- 
uous, a.  Cadenz.  A  pedal  point  or 
prolonged  cadence. 

Anhang  (an'-hangk),  G.     Coda. 

am'ma,  /.     Soul  spirit. 

animan'do,  animato  (a -to),  /.,  ani- 
me'  (an-l-ma),  F.  Animated,  anima- 
zione  (a-nl-ma-tsl-o'-ne),  /.  Anima- 
tion. 

animo  (an'-T-mo), /.  Spirit,  animo'so, 
animosamen'te,  /.     Boldly. 

animocorde.     Vide  anemochord. 

An'klang,  G.     Harmony. 

Anlage  (an'-la-khe),  G.     Outline. 

anlaufetl  (an' -low-fen),  G.  To  in- 
crease ;  to  swell. 

Anleitung  (an'-li-toongk),  G.  Intro- 
duction ;  instruction. 

Anmuth  (an' moot),  G.  Sweetness, 
grace.  anmuthig  (an'-moo-tTkh). 
Sweetly,  anmuthvoll  (fol).  Full  of 
grace. 

anom'aly.  Deviation  from  exactitude 
due  to  temperament  (q.  v.).  anom- 
alous. As  a  chord  ;  characterized  by 
a  much  tempered  interval. 

anonner  (&-niin-na),  F.  To  hesitate, 
blunder. 

anpfeifen  (an'-pfi-fen),  G.  To  whistle 
at ;  to  hiss. 

An'sa.  In  Hindu  music  the  note  cor- 
responding to  our  tonic. 

Ansatz  (an'-zats),  6^.     i.   Embouchure. 

Anschlag  (an'-shlakh),  G.  i.  Touch. 
2.   A  short  double  appoggiatura. 

anschwellen  (an-'shvel-len),  G.  To 
increase  ;  swell. 

an'singen,  G.     To  greet  with  song. 

ansio'so,  ansiosamen'te,  /.  Anx- 
iously. 

anspie'Ien  (an'-shpe-len),  G.  To  play 
first. 

Ansprache  (an'-sprakh-e),  G.  "Speak- 
ing "  or  intonation. 

an'sprechen,  anstimmen,  G.  To 
speak  ;  sound. 

Anstimmung  (an'-shtlm-moongk),  G. 
Intonation. 

answer.     Vide  fugue. 


antelu'dium,  L.     A  prelude. 
antecedent,     i.  A  subject.      2.  Vide 

FUGUE. 

anthem.  In  the  Anglican  Church  ser- 
vice, a  sacred  vocal  work  with  or 
without  accompaniment.  "  There  are 
five  species  of  anthems,  i.  Verse 
and  chorus  a.,  consisting  of  verse 
and  chorus,  but  beginning  in  chorus. 
2.  Verse  a.,  containing  verse  (i.  e. 
solo)  and  chorus,  but  beginning  in 
verse.  3.  Full  a.,  consisting  wholly 
of  chorus.  4.  Solo  a.,  consisting 
of  solos  and  choruses,  but  without 
verse,  and  5.  Instrumental  a." 
[Busby]. 

anthe'ma.     Greek  dance  with  song. 

Anthologie  (an-to-16-zhe'),  Antholo'- 
gium,  F.  and  G.  The  collection  of 
hymns,  prayers,  and  lections  of  the 
Greek  Church. 

an'thropoglossa,  Gr.  The  vox  hu- 
mana  ;  a  stop. 

anticipation,  anticipamento  (an-te- 
che-pa-men'-to),  or  anticipazione 
(an-te-che-pa'-tsl-6'-ne),  /.  The  sound- 
ing of  one  or  more  parts  of  a  har- 
mony before  the  natural  and  ex- 
pected place. 

antico  (an-te'-ko),  /.  Ancient,  all' 
a.     In  the  ancient  style. 

antienne  (ans-yen),  F.,  antifona  (an- 
te'f5-na),  /.  Anthem  ,  antiphon. 
atifona'rio,  /.,  atifonero  (an-tt-fo- 
na'-ro),  Sp.  A  precentor ;  anthem 
singer. 

antifonal',  Sp.     A  book  of  anthems. 

antiphon,  an'tiphone,  antipho'non, 
antiph'ony.  i.  In  Greek  music, 
accompaniments  in  the  octave.  2. 
Responsive  singing  by  parts  of  a  di- 
vided choir,  or  congregation.  3.  A 
short  scriptural  sentence  sung  before 
and  after  the  Psalms  or  Canticles. 
The  chant  or  alternate  singing  in 
churches  and  cathedrals. 

antiphona,  Gr.     An  anthem. 

antiphonal,  antiphonaire  (aht"(-f6- 
nar),  i^.,  antiphona'rium,  Z..  an'ti'- 
phonary.  A  collection  of  Catholic 
antiphons. 

antiphonel.     Vide  planchette. 


DICTIONARY    OF    TERMS 


73 


an'tiphonic.  Not  in  unison  ;  made  up 
of  2  or  more  parts. 

antistro'fa.    An  ancient  Spanish  dance. 

antith'esis.  i.  Contrast.  2.  Coun- 
tersubject.  3.  In  fugues  applied  to 
the  anszver. 

anto'de,  Gr.     Responsive  singing. 

Antwort  (jint'-vort),  G.     Answer. 

anwachsend  (an'vakh-zent),  G.  Cres- 
cendo. 

aoi'dos,  Gr.     Singer. 

aper'to,  /.  i.  Open,  broad.  2.  In 
piano  music,  ' '  use  the  damper  pedal." 

aper'tus,  L.  Open  ;  as  diapason,  ca- 
non, pipes. 

Apfelregal  (ap'fel-rakh-il),  G.  "Ap- 
ple-register," an  obsolete  reed-stop. 

aphony,  aphonic  (i-fo-ne),  F.  Dumb- 
ness,    aph'onous.     Without  voice. 

apoggiatura.    Vide  appoggiatura. 

apolli'no,  Gr.  An  invention  combin- 
ing the  qualities  of  several  instru- 
ments. 

apol'lo,  apol'lon.  A  20-stringed  lute 
inv.  in  1678,  by  Prompt,  of  Paris. 

apollo  lyra.  An  improvement  made 
by  Schmidt  in  1832, on  the  Psalmmelo- 
dicon  (q.  v.). 

apollo'nicon.  A  gigantic  orchestrion 
exhibited  in  1817,  by  Flight  &  Robson, 
and  containing  5  manuals,  45  stops, 
1,900  pipes,  and  kettle-drums.  It 
could  be  played  automatically  or  by 
five  performers  at  once. 

apollo'nion.  An  instr.  inv.  by  Voller  in 
1800  ;  a  piano  with  double  key- board, 
organ-pipes  and  automatic  performer. 

apostrophe.  In  singing,  used  to  mark 
a  breathing-place. 

apot'ome,  Gr.  A  major  semitone,  in 
Greek  music. 

appassionato  (ap-pas'-sl-o-na'-to),  ap- 
passionatamente,    /.      Passionate- 

(ly). 

appeau  (ap-po),  F.     Bird-like  tone. 

Appel  (ap-pel'),  F.  &  G.  Drum  call ; 
assembly. 

appenato  (ap-pa-na-to),  /.  Dis- 
tressed. 

application  (ap-plT-kas-yon),  F.,  ap- 
plicatura  (ap-pll-ka-too'-ra),  /.,  Ap- 
plikatur  (toor),  G.     Fingering. 


appoggiando  (ap-pod-jan'-do),  ap- 
poggiato  (ja'-to),  /.  Leaning  upon, 
as  a  tone  that  slides  into  the  next 

appoggiatura  (ap-p6d-ja-too'-ra),  pi. 
e,  /.  "  Leaning  note."  i.  The 
short  or  lesser  a.,  or  grace  note,  is 
written  small  with  a  Hne  through  its 
hook,  it  receives  the  accent,  but  has 
the  minimum  of  duration  ;  the  double, 
or  compound  a.,  contains  more  than 
one  note  and  follows  the  same  rule, 
the  first  note  taking  the  stress  ;  the 
unaccented  a.  {A''ac/ischlag)  follows 
its  principal,  is  connected  with  it  by  a 
slur,  and  like  other  grace  notes  bor- 
rows its  time  from  the  principal,  but 
unlike  them  has  no  accent.  2.  The 
long  a.  was  written  small  in  old  music 
but  played  at  its  full  value.  It  is  now 
written  large  as  an  unprepared  sus- 
pension. Almost  any  dissonantial 
note  can  be  introduced  unprepared  as 
an  a.  3.  A  superior  a.  is  one  placed 
above  its  principal  ;  an  inferior  a.  one 
below.     Vide  grace. 

apprestare  (ap-pra-sta'-re),  /.,  ap- 
preti(e)ren  (ap-pre-te'-ren),  G.  To 
prepare,  as  an  instrument. 

Appretur  (ap-pre-toor'),  G.  The  prop, 
er  set-up  of  an  instrument. 

apre  (apr),  F.  Harsh,  aprement  (apr- 
man).  Harshly.  apret6  (ap-rii-ta). 
Harshness. 

Ar  (ar).  Fort.     All. 

Arabeske  (ar-a-bes'-ke),  G.,  ara- 
besque (ar-a-besk),  F.  1.  An  em- 
bellishment. 2.  A  light  and  graceful 
form  of  music,  resembling  the  rondo. 

arbit'rio.  Pleasure.  A  sua  a.  —ad  lib. 
arbit'rii  (tri-e).  Embellishments  im- 
provised at  pleasure  while  singing. 

arc,  /.  The  bow  ;  an  abbr.  of  arco. 
areata  (ar-ka -ta).  Use  of  the  bow. 
arca'to.     Played  with  the  bow. 

Arche  (ar-khe),  G.     Sounding-board. 

arch-,  E.  &  F.,  archi-,  Z.,  arci- 
I.  A  prefix,  meaning  "chief,  prin- 
cipal"; of  instruments  "the  great- 
est." 

archeggiare  (ar-ked-ja'-re),  /.  To 
use  the  bow,  to  fiddle. 


74 


THE    MUSICAL    GUIDE 


archet  (ar-sha), /'.,  archetto  (ar-ket'- 
to),  /.      Violin  bow. 

archlute,  archiluth  (ir-shT-lut),  F., 
arciliuto  (ar-chel-yoo'-to),  /.  A  the- 
orbo in  whicli  the  bass  strings  were 
doubled  with  an  octave  and  the  small 
strings  with  a  unison. 

arcicetnbalo  (ar-chl-cham'-ba-l5),  /. 
A  harpsichord  inv.  by  Vincentino  in 
the  i6th  century  with  6  key-boards 
and  a  diatonic,  chromatic,  and  en- 
harmonic scale.  He  also  inv.  the  so- 
called  arci-organ. 

arco  (ar'-ko),  /.  The  bow.  a  pun'ta 
or  colla  punta  d'arco.  With  the 
point  of  the  bow.  coll'  arco,  or 
simply  arco  after  pizzicato. 
"  Resume  the  bow."  a.  in  giil  (joo). 
Down-bow.  a.  insu(soo).  Up-bow. 
contr'  arco.  Bowing  against  the  rule. 

arden'te,  ardentemen  te,  ardentis- 
simo,  /.     Ardent(ly). 

arditezza  (ar-di-ted  -za),  /.    Boldness. 

ardito,  arditamen'te.     Bold(ly). 

Aretin'ian.  Concerning  Guide  D'Arez- 
zo  or  Aretinus,  as  the  A.  syllables. 
Vide  SOLMISATION  (and  GUiDO  in  the 
B.  D). 

argentin  (ar-zhan-tafi),  F.     Silvery. 

arghool'.  An  Egyptian  cane  pipe  with 
reed  mouthpiece. 

aria  (a -rl-a)  (pi.  e),  /.  A  song  ;  a  me- 
lodic composition  for  a  solo  voice  with 
instrumental  accompaniment.  It  is 
usually  elaborate.  The  a.  da  capo 
with  two  parts  (the  first  repeated  af- 
ter the  second)  was  the  first  important 
form,  though  the  rondo  and  even  the 
sonata  idea  have  been  used.  Various 
sorts  of  aria  are  a.  buffa  (boof'-fa), 
humorous  ;  cantabile,  lyrical  ;  con- 
Cfrtane  (c6n-cher-tan'-te)  or  da 
conc-T  o,  for  concert  use,  elaborately 
accompanied;  d'abilita  (da-be-le-ta), 
for  a  display  of  virtuosity  ;  d'entra- 
1  a  (dgn-tra'-tii),  or  sor  ita  (s6r-te'-ta), 
for  the  first  appearance  or  entrance 
of  an  operatic  character  ;  di  bravura, 
highly  florid  ;  da  chitsa,  for  church 
with  accompaniments  of  full  orches- 
tra ;  fuga  ta  parlan'te,  declama- 
tory ;   tedes'ca,  with  closely  related 


accompaniment.  A.  d'ostinazione 
(dos-tl-na-tsl-o'-ne),  /.  An  aria  with 
a  basso  osiinaio.  aggiunte.  One 
introduced  into  an  opera,  ariettina 
(te'-na),  arietta,  /.  A  short  air  or 
melody. 

ariette  (ar-I-et),  F.  Literally  "  a  short 
aria,"  actually  a  grand  aria. 

arigot  (a-rl-go),  F.     A  fife. 

ario'sa  (or-o),  /.  Melodious(ly),  can- 
tabile. ariose  cantate  (a-rl-6'se  kan- 
ta  te),  /.  Airs  in  a  style  between 
a  song  and  recitative,  introducing 
frequent  changes  in  time  and  manner. 
arioso.  In  the  style  of  an  air  ;  be- 
tween an  aria  and  a  recitation.  A 
rather  melodious  declamation. 

arm.  Iron  end-piece  in  an  organ- 
roller. 

Armandine  (ar-man-den),  F.  A  grand 
piano  with  gut-strings  and  no  key- 
board, invented  by  Pascal  Taskin, 
and  named  after  the  singer  Mile. 
Armand. 

arma'rius,  L.     Precentor. 

armer  la  clef  (ar-ma  la  kla),  F.  To 
mark  the  signature  on  the  clef. 

Armgeige  (arm'-gl-khe),  G.  Viola  da 
braccia. 

armoneggiare  (ar-mo-n^d-ja-rS),  /. 
To  harmonize. 

armonia  (ar-mo-ne'-a),  /.  Harmony  ; 
union,  a.  militare.  Military  band. 
armonia'co  (a  -ko),  armonia'le,  ar- 
monia to,  armo'nico,  armonio'so, 
armoniosamen'te,  /.  Harmonized  ; 
harmonious(ly). 

armonica,  /.  i.  Early  form  of  the 
accordeon.  2.  Musical  glasses.  Vide 
HARMoxic.\.  armonica  guida  (gwe- 
da).     Text-book  in  harmony. 

armure  (ar-mlir),  F.  i.  The  key  sig- 
nature.    2.   Action,  mechanism. 

ar'pa(pl.  e), /.  Harp,  a,  d'eolo.  Mo- 
Han  harp,  a.doppia.  i.  Formerly  a 
harp  with  double  strings  for  each  tone. 
2.  Now  a  double-action,  arpanet'- 
ta,  arpinel'la.    A  small  harp  or  lute. 

Vide  SI'1TZH.A.RFE. 

arpfege  (ar-pezh),  arpegement  (ar- 
pezh-man),  F.  Arpeggio,  arpeger 
(ir-pe-zha).     To  arpeggiate. 


I 


DICTIONARY    OF    TERMS 


75 


arpeggi  (ar-ped'-je),  /.  PI.  of  Arpeg- 
gio. 

arpeggiare  (iir-ped-ja're),  /.  i.  To 
play  the  harp.  2.  To  play  chords  in 
harp-manner,  i.  e.,  waved,  broken. 
arpeggiamento  (ar-ped-ja-men  -to), 
arpeggian  do  (ped-jan'-do),  arpeg- 
giato  (ja'-to).  Played  arpeggio,  in 
imitation  of  the  harp. 

arpeggiatura  (too'-ra),  /.  A  series 
of  arpeggi. 

arpeggio  (ar-ped'-jo),  /.  i.  The  play- 
ing of  the  notes  of  a  chord  quickly, 
one  after  another,  in  the  harp  style, 
ripplingly.  2.  Such  a  chord  written 
out. 

arpeggione  (jo'-ne).  A  small  6- 
stringed  'cello  tuned  like  a  guitar, 
inv.  by  Stauffer  in  1823. 

arpicor'do,  /.     Harpsichord. 

arpo'ne,  /.  A  harp  with  horizontal 
strings,  inv.  in  the  i8th  century  by 
Barbieri. 

arrangement.  The  translation  of  a 
composition  to  an  instr.  or  instrs.  for 
which  it  was  not  originally  written. 

arranger  (ar-ran-zha),  F.  arrangiren 
(ar-ran-zheren),  G.    To  arrange. 

ar'sis,  Gr.  A  raising  as  opposed  to 
thesis.  In  accent  it  means  the  stress  ; 
in  metre  it  means  the  up-beat,  and 
therefore  the  unaccented  part.  It  is 
musically  most  common  in  the  latter 
sense. 

ars  musica,  L.     The  art  of  music. 

Art  (art),  G.  Species,  quality,  as  Ton- 
art,  key. 

articolare  (ar-te-ko-la'-re),  /.  articu- 
ler  (ar-te-kii-la),  F.,  artikuliren 
(ar-te-koo-le'-rSn),  G.  To  articulate. 
articolato  (la'to),  /.  Articulated. 
articolazione  (la'-tst-6'-ne),  /.  Ex- 
act and  distinct  pronunciation  ;  articu- 
lation. 

artific'ial.     Vide  harmonic. 

artiglich  (ar'tlkh-likh),  G.  Neat(ly). 

As  (as),  G.  The  note  A  flat.  Asas, 
or  Ases.     The  note  A  double  flat. 

ascaulos  or  askau'los,  Gr.  A  bag- 
pipe. 

As-dur  (as-door),  G.  The  key  of  A 
flat  major. 


Ashantee  trumpet.  One  made  of 
the  tusk  of  an  elephant. 

asheor  (ii-'she-or).  Hebrew  instr.  of 
10  strings. 

As-moll  (as-moU),  G.  The  key  of  A 
flat  minor. 

Asperges  me,  Z.  "Cleanse  me." 
The  opening  of  the  Catholic  Mass. 

aspirare  (as-pl-ra-re),  /.  To  breathe 
audibly. 

aspiration,  i.  The  dot  indicating 
Spiccato.  2.  An  obsolete  grace  note 
having  the  effect  of  a  beat  in  a  sus- 
tained tone. 

asprezza  (as-pred'-za),  I.    Harshness. 

assai  (as-sa'-e),  /.  Very  ;  as  allegro 
a.,  very  fast. 

assemblage  (as-sah-blazh),  F.  Double 
tonguing  ;  rapid  execution. 

assembly.     A  rallying  call  for  troops. 

assez  (as-sa),  F.     Enough  ;  rather. 

assoluto  (loo'-to),  /.  Absolute  ;  alone  ; 
of  a  chief  singer. 

assonant,  E.,  assonan'te,  /.  Having 
resemblance  in  sounds,  concordant. 
Assonanz  (as-so-nants'),  G.,  asso- 
nanza  (as-so-nan'-tsa),  /.  Conso- 
nance. 

assourdir  (as-soor-der),  F.  To  muf- 
fle ;  to  deafen,  assourdissant  (dls- 
sari).     Deafening. 

at'abal.     A  large  Moorish  drum. 

Athem  (a'tam),  G.  Breath,  a.-los. 
Breathless.  A.-zug  (tsookh).  Res- 
piration. 

athmen  (at'-man),  G.     To  blow  soft- 

ly- 

attacca  (at-tak'-ka),  /.,  attaquer  (St- 
ta-ka'),  F.  To  attack,  attacca  su- 
bito,  /.  Attack  or  begin  what  fol- 
lows immediately.  attacca-Ansatz, 
G.  The  attack-touch,  a  quick  stroke 
from  near  the  keys. 

attacco,  /.,  attaque  (at-tak),  F.  i. 
A  brief  fugue  theme.  2.  A  subject 
for  imitation  in  fugue. 

attack.  The  manner  or  act  of  begin- 
ning a  tone,  a  phrase  or  a  movement. 

attendant.     Related. 

atto  (at'-to),  /.  An  act.  a.  di  ca- 
denza. Point  where  a  cadence  may 
occur. 


76 


THE    MUSICAL    GUIDE 


au  (6),  F.  "To  the;  in  the  style  of 
the."     Vide  al,  etc. 

aubade  (o-bad),  F.  Morning  music  ; 
a  day-break  serenade. 

audace  (a-oo-dat'-che),  /.    Audacious. 

auf  (owf),  G.  On,  upon,  in,  at,  etc. 
-blassen.  To  blow  upon,  -fas- 
sung.  Conception  ;  interpretation. 
-fiihrung  (fii-roongk).  Performance. 
-geregt  (-ge-rakht).  Agitated,  -ge- 
weckt  (-ge-vekt).  Lively,  -geweck- 
theil  (til).    Cheer. 

aufhalten,  G.  To  retard,  to  suspend. 
Aufhaltung  (owf'-hal-toongk),  G. 
A  suspension.     Vorhalt. 

Auflage  (owf'-la-khe),  G.     Edition. 

auflosen  (owf-la'-zen).  To  resolve. 
Aufiosung  (owf'-la-zoongk).  i.  Res- 
olution. 2.  The  solution  of  a  riddle 
canon.      3.   A  natural  (fl)  sign. 

Aufsatz  (owf'-zats),  G.  Tube  (of  a 
reed-pipe). 

Aufschlag  (owf'-shlakh),  G.    Up-beat. 

Aufschnitt  (owf'-shnTtt),  G.  Mouth 
(of  a  pipe). 

aufsteigende  (owf-shti'-khen-de),  G. 
Ascending. 

Aufstrich  (owf'-shtrTkh),  G.  An  up- 
bow. 

Auf  takt,  G.     Anacrusis  ;  up-take. 

Auf  tritt,  G.     A  scene. 

Aufzug  (owf-'tzookh),  G.     An  act. 

augmentant,  en  (a-nog-mah-tah),  F, 
Crescendo. 

augmenta'tio,  Z.,  augmentation  (in 
F.  og-mah-tas'-yoh).  Increase,  i. 
Of  inter\'al  (q.  v.)  a  semitone  larger 
than  major,  as  an  augmented  fifth. 
2.  Of  note-values,  as  in  counterpoint, 
where  a  theme  may  appear  with  quar- 
ter notes  changed  to  half,  etc. 

augmented,  E.,  augments  (6g-mah- 
ta),  F.  Used  of  i.  Intervals  a 
semitone  greater  than  major.  2. 
Chords    containing    such     intervals. 

Vide   ALTERED  CHORDS. 

aul'os,  Gr.  Most  important  Greek 
instrument,  probably  a  flute,  possibly 
like  the  oboe.  aul'etes.  Flute- 
player. 

aulozo'num,  Gr.  The  tuning-wire  of 
reeds. 


aus  (ows),  G.  From,  out  of.  -arbeitung 

(-ar-bl-toongk).  Elaboration,  -deh- 
nung  (-da-noongk).  Development. 
-druck  (-drook).  Expression. 

-drucksvoll.  Full  of  expression, 
-fiihrung  (fii-roongk).  Performance  ; 
exposition,  -fiillung.  The  middle 
parts.  -gabe  (-ga-be).  Edition. 
-gang.  Exit  ;  conclusion,  -gehal- 
ten.  Sostenuto.  -geigen  (gl-khen). 
To  finish,  -gelassen.  Wild ;  un- 
governable. Aus'gelassenheit  (hit). 
Extravagance  ;  wantonness.  -hal- 
ten.  To  sustain.  Aus'haltung. 
Sustaining.  Aushaltungszeichen 
(tsi-khen).  The  fermate.  -losung 
(-la-zoongk).  The  device  that  releases 
the  hammer  of  a  piano. 

ausserste  Stimmen  (is'-ser-ste  shttm- 
men),  G.     Extreme  parts. 

ausweichen(ows-vikh'n),  G.  To  mod- 
ulate. Ausweichung  (vl-khoongk), 
G.      Modulation  ;   transition. 

authentic,  E.,  autentico  (a-oo-ten'-tl- 
ko),  /.,  authentisch(ow-ten'-t1[sh),6^. 
That  part  of  a  scale  between  the  tonic 
and  the  dominant  above  ;  the  part  be- 
tween the  tonic  and  the  dominant  be- 
low being  called  Plagal.  Vide  modes. 
a.  cadence.  Vide  cadence,  a. 
melody.  One  whose  range  covers  the 
octave  above  its  tonic  or  final. 

au'toharp.  A  zither  whose  strings  are 
stopped  by  a  series  of  dampers  so  ar- 
ranged that  pressing  one  down,  leaves 
free  certain  strings.  When  these  are 
swept  with  the  plectrum  a  chord  re- 
sults. 

au'tophon.  A  barrel-organ,  whose 
music  is  cut  in  heavy  pasteboard. 

autos  sacrementale  (a'-oo-tos  sak- 
ra-men-ta'-le),  Sp.  Oratorio,  or  pas- 
sion music. 

auxiliary.  Said  of  tones  one  degree 
above  or  below  the  true  harmonic  tone, 
particularly  in  a  grace  ;  of  scales  be- 
longing to  auxiliary  or  related  keys. 

avanera.     Vide  habanera. 

ave  (a-va),  L.  "  Hail."  Ave  Ma- 
ria. "  Hail  Mary,"  the  salutation  of 
the  angel  at  the  Annunciation,  which, 
with  the  words  of  Elizabeth  (Luke  i. 


\ 


DICTIONARY    OF    TERMS 


11 


42)  and  a  concluding  hymn,  has 
formed  a  favorite  text  for  music  since 
the  7th  century.  Ave  maris  Stella,  Z. 
"  Hail,  star  of  the  sea."  A  Catholic 
hymn. 

avec  (a-vek),  F.     With. 

ave'na,  L.     A  reed  ;  a  pipe. 

avicin'ium.     A  bird-like  organ-stop. 

avoided.  Prepared  and  then  omitted, 
as  a  cadence  (q.  v.). 

avoir  du  retentissement  (a-vvvar- 
dii  rii-tafi-tes-mah),  F.  To  be  re- 
peated and  echoed. 

azione  sacra  (a'-tsI-6-ne  sa'-kra). 
Oratorio  ;  passion  music. 

B 

Bi.  A  musical  pitch,  one  whole 
step  higher  than  A,  and  its 
octaves.  In  France  and  Italy 
called  "si."  In  Germany  B 
natural  is  called  H  (ha),  and  the  term 
B  (ba)  confined  to  B  flat.  2.  The  major 
key  having  five  sharps  ;  the  minor  key 
relative  to  D  major.  In  old  works 
(and  modern  German)  square  B  (or  B 
quadratum  or  quadrum  or  durum, 
in  F.  Be  carr6)  stands  both  for  B  nat- 
ural and  for  the  natural  sign  (fl)  itself. 
"B  rotundum  (or  moUe,  in  F,  b6- 
raol)  stands  for  B  flat,  and  for  the  flat 
sign  itself  ([7),  the  tone  B  having  been 
the  first  to  be  chromatically  lowered. 
B  cancellatum  stands  for  the  sharp 
sign  (#)  first  formed  by  crossing  the  flat 
Q>)  and  originally  equivalent  merely  to 
nullifying  or  naturalizing  the  flat. 

In  old  solmization  B  flat  was  j9/rt  ; 
B  natural,  B  mi. 

As  abbr.  B — basso  ;  c.  b. — col 
basso  ;  C.  B. — Contrabasso.  Mus.  B. 
— Bachelor  of  music. 

baas  (bas)  or  base  dance.  A  dance 
resembling  the  minuet. 

baazas  (ba-za),  F.     A  kind  of  guitar. 

babara  (ba-ba-ra),  Sp.  A  Spanish 
country  dance. 

baborack'a,  bab'orak.  Bohemian 
dances  of  eccentric  rhythm. 

baccalaureus  musics,  Z.,  bachel- 
ier  (bash-iil-ya),  F.    Bachelor  of  Mu- 


sic. A  degree  granted  to  those  who 
have  proved  a  certain  standard  of 
proficiency.  Inferior  to  Doctor  of 
Music. 

bacchanale  (nal),  F.  A  Bacchic  revel. 
bacchanalian  songs.  Drinking 
songs. 

bacchia.  A  Kamschatkan  dance  in 
2-4  time. 

bacciocolo  (bat-tchI-6-k6'-lo),  /.  A 
Tuscan  guitar. 

bachelor.     Vide  baccalaurkus. 

back-block.     Wrest-block. 

badinage  (bi-dl-nazh),  F.     Banter. 

baga'na.     lo-stringed  Abyssinian  lyre. 

back.     The  under  side  of  a  violin.' 

back-fall.  i.  An  obsolete  sign  and  the 
grace  note  it  indicated.  Vide  graces. 
2.  A  lever  in  the  organ. 

back-turn.     Vide  turn. 

bagatelle  (bag-a-tel),  F.     A  trifle. 

bagpipe(s).  An  instr.  of  great  antiq- 
uity and  wide  favour,  consisting  of 
a  series  of  pipes  furnished  with  wind 
from  a  bag  in  the  player's  mouth  or 
a  bellows  under  his  arm,  or  both.  It 
has  usually  one  chanter  or  melody- 
pipe  with  a  reed,  and  6  or  8  holes, 
played  with  the  fingers  ;  3  drone 
pipes  sounding  continuously  an  octave 
and  a  fifth. 

baguette  (bS-get),  F.  i.  A  drumstick. 
2.   Bow. 

baile  (ba-e'-le),  Sp.  National  Spanish 
dances. 

baisser  (bes-sa),  F.  To  lower,  as  the 
pitch. 

bal'afo.     A  Senegambian  xylophone. 

balalaika  (ba-la-ll'-ka).  A  rude  Rus- 
sian or  Gipsy  guitar  with  2  to  4 
strings. 

balancement  (bal-ans-mah),  F.  A 
tremolo  (as  of  a  violinist's  finger). 

balance-rail.  The  wooden  strip  on 
which  piano  kevs  are  balanced. 

Bal(c)ken  (biil'-ken),  G.  i.  Bass-bar. 
2.  The  heavy  lines  connecting  the 
stems  of  a  series  of  small  notes. 

■Balg  (balkh),  G.  Bellows.  B.-zug. 
Bellows-stop. 

ballabile  (bal-la'-bt-le),  I.    In  a  dance 


78 


THE    MUSICAL    GUIDE 


bal'lad,  Ballade  (b<tl-iad'),  F.  (bal- 
la-d^),  G.  ballata  (bal-la-ta),  /. 
Originally  a  dance  tune  (from  ballare, 
to  dance)  ;  it  now  means  a  simple 
song  of  popular  tone.  In  instrument- 
al work,  it  may  be  as  elaborate  as 
■'Chopin's  Ballades,"  but  it  still  has 
an  idea  of  directness  and  melodious- 
ness, if  not  narrative.  balladen- 
massig  (mes-sikh),  G.  Ballad  style. 
ballad  of  ballads.  Solomon's  song. 
ballad  opera.  Light  tuneful  opera. 
alia  ballata.  In  ballad  style,  balla- 
tella,  ballatetta.     A  short  ballata. 

ballet  (bai-Ia),  F.,  Ballett  (bal-let),  (?., 
ballet'to,  /.  I.  An  elaborate  dance 
by  professionals,  often  spectacular 
and  narrative.  2.  A  light  glee  of  the 
i6th  cent.  Vide  fa-la.  3.  bal- 
letto  was  used  by  Bach  for  an  alle- 
gretto in  common  time. 

bal'lo  (pl-i),  /.  A  dance,  or  dance  tune, 
as  b.  della  stira,  Styrian  dance  like 
the  waltz  ;  b.  ungaresi,  a  syncopated 
2-4  Hungarian  dance  ;  da  ballo,  in 
dance  style. 

ballonchio  (bal-16n'kI-o),  /.  A  coun- 
try dance. 

band.  A  group  of  instrumentalists, 
usually  a  military  band,  sometimes  an 
orchestra  ;  oftener  a  part  of  the  or- 
chestra, as  the  string-band,  band- 
master.    The  leader  of  a  band. 

Band  (bant),  G.     A  volume. 

ban'da,  /.  i.  The  brass  and  the 
drums  of  a  theatre-orchestra.  2.  An 
orchestra  on  the  stage. 

Bande  (ban'-de,  C,  band,  F.).  i.  The 
24  court-violins.    2.   A  strolling  band. 

bando'la,  bandolon,  bandalo're, 
bandelo're.  bando'ra,  bandura 
(ban-doo'ra),  /.  Instrs.  of  the  lute 
kind,  played  with  a  plectrum. 

bando'nion.  A  concertina  named  af- 
ter the  Heinrich  Band,  invented  by 
Uhlig,  1830. 

bandurria(ban-door'-r!-a),  Sp.  A  wire- 
strung  guitar. 

ban'ia,  ban'ja.  African  instrs.  from 
which  the  banjo  may  have  been  de- 
rived. 

banjo.     A  long-necked  stringed  instru- 


ment with  a  broad,  round  body,  cov- 
ered with  a  tight  skin,  which  gives  the 
five  to  nine  strings  a  quaint  sound. 

Bankelsanger  (benk'el-zSng-er),  G. 
"  Bench-singer(s),"  vagabond  musi- 
cian(s). 

bar.  I.  A  vertical  line  drawn  across 
the  stave  just  before  the  major  accent 
of  each  measure  ;  since  the  bar  sep- 
arates the  measures,  the  word  is  in- 
correctly used  to  denote  the  measure 
itself.  In  psalmody  used  to  mark  the 
end  of  lines  and  phrases.  2.  A  gen- 
eral division  of  the  song  of  the  Meis- 
tersanger ;  it  included  2  Stollen  and 
an  Abgesang.     3.  Vide  barker. 

bar'baro,  /.     Barbarous(ly). 

barbarism.  Crudeness  of  progression 
or  combination. 

barbet',  bar  biton,  bar  bitos.  i.  An- 
cient Greek  lyre.  2.  In  i6th  cent,  a 
violin. 

barcaro'la,  barcaruola  (b.ir-ka-roo-6'- 
la),  barca  ta,  /.,  barcarolle  (bar-ka- 
rol),  F.  I.  An  air  sung  by  gondoliers, 
or  boatmen.  2.  Hence,  a  lyrical  in- 
strumental composition  usually  in  6-8 
time  (Chopin's  are  in  12-8). 

bard.     A  Celtic  minstrel. 

bardd  alan  (bard-a'-lin).  A  Welsh 
prof,  of  music. 

Bardlet,  Bardit  (biir-det'),  G.  Ancient 
German  war-song. 

bardo'ne,  /.     Vide  barytone. 

bare.     Open  ;  parallel,  as  bare  fifths. 

Barem  (ba'-ram),  G.  Obs.  soft  organ- 
stop. 

Barentanz  (bar'-en-tants),  G.  Bear- 
dance. 

bargaret,  bargeret,  barginet.  Vide 
berger?:t. 

baribas'so.     A  deep  barytone. 

bariolage  (bar-I-o-lazh),  F.  i.  A  med- 
ley. 2.  A  rapid  passage  showing  a 
distinct  design,  or  "  waist-coat  pat- 
tern." 

bar'itenor.     The  deeper  tenor  voice. 

bariton(e).     Vide  baryton. 

baroc'co,  /.,  barock',  G.,  baroque  (bS- 
rok),  F.     Eccentric  ;  uncouth. 

Barpfeife  (bar'-pfl-fe),  G.  Bear-pipe, 
an  old  growling  organ-stop. 


DICTIONARY    OF    TERMS 


79 


barquade  (bar-kad),  F.  Old  form  of 
barcarolle. 

bar'ra,  /.     Bar. 

barrage  (bar-razh),  F.     Vide  barker. 

barre  (bar),  F.  i.  A  bar;  also  b.  de 
mesure  ;  b.  de  repetition,  repeti- 
tion mark.     2.  A  bridge. 

barr6  (bar-ra),  F.     Vide  barker. 

barred  C.  The  mark  for  common  time. 
C  with  a  bar  through  it ;  a  mark  of 
alia  breve. 

barrel.     The  body  of  a  bell. 

barrel  chime.  Portion  of  a  mechanism 
ringing  a  chime  of  bells. 

barrel  organ,  i.  An  instrument,  com- 
monly portable,  in  which  the  bellows 
are  worked,  the  pipes  blown  and  the 
tune  automatically  played  by  a  crank 
turning  a  cylinder  set  with  pegs,  so 
arranged  as  to  open  valves  in  melodic 
and  harmonic  order.  2.  The  same 
principle  is  used  in  street-pianos,  the 
pegs  -releasing  hammers  which  strike 
wires. 

barrer  (bar-ra),  F.  To  bar.  Pressing 
the  strings  of  a  guitar  or  lute  with  the 
forefinger  of  the  left  hand  to  raise 
their  pitch  ;  great ,  or  grand  b.,  press- 
ing all  the  strings  ;  small  b.,  pressing 
2  or  3  strings  ;  hence  barre  and  bar- 
rage. 

Bart,  G.     Ear,  as  of  an  organ-pipe. 

bar'yton(e),  E.,  baryton  (bar-I-toh), 
Baryton  (ba-rl-ton),  G.,  barito'no, 
/.  I.  The  male  voice,  between  bass 
and  tenor,  with  a  compass  between  low 
G  and  g  (vide  pitch).  If  low  in  qual- 
ity it  is  bass-baryton,  if  high,  tenor- 
baryton.  2.  A  brass  valved  instr. 
(vide  sax-horn).  3.  The  viola  di 
bordone  {or  bardone).  An  obsolete 
l8th  cent,  instr.  resembling  the  viola 
da  gamba  ;  its  6  gut-strings  being  re- 
enforced  by  the  sympathetic  vibration 
of  from  8  to  27  wires.  4.  An  epithet 
for  any  instr.  between  bass  and  tenor, 
as b.  clarinet.  5.  b.  clef.  The  obso- 
lete F  clef  on  the  3d  line. 

barz  (barz),   Welsh.     A  Welsh  bard. 

bas  (ba),  F.  Low.  bas-dessus  (dSs- 
su).     Mezzo-soprano. 

base,  bass,  £.,  Bass  (bas),  G.,  basse 


(b5s),  F.,  basso  (bas'-s6),  /.  i.  The 
base  or  lowest  part  of  a  chord,  pro- 
gression, chorus,  etc.  2.  An  epithet 
denoting  the  deepest  instr.  of  a  class, 
as  bass  clarinet.  The  double-bass, 
q.  V.  3.  Formerly  an  instr.  of  5  or  6 
strings  between  'cello  and  double- 
bass.  4.  Affixed  to  the  name  of  an 
organ-pipe  or  stop,  it  restricts  it  to  the 
pedal.  5.  The  lowest  male  voice, 
ranging  usilally  from  low  F  to  mid.  C  ; 
basse  chantante  (shah-taht),  basso 
cantan'te,  a  flexible  "lyric"  bass 
voice  ;  basse-contre  (kontr),  basso 
profundo  (pro-foon'-do),  a  very  low 
voice  ;  basse  taille  (tl-yti),  a  high 
bass  ;  basso  buffo,  bass  comedian. 
6.  Thorough  bass,  continued  bass, 
figured  bass,  Generalbass  (ga-ng- 
ral'-bas),  bezifferte  Bass,  basse 
chiffr6e  (shif-fra),  basse  continue 
(koh-tah-u),  basse  figur^e  (fe-gu- 
ra),  basso  contin'uo,  basso  figura'- 
to,  basso  numera'to — a  species  of 
musical  shorthand  in  which  only  the 
bass-part  is  written  with  Arabic  and 
Roman  numerals  indicating  the  chords 
(vide  chord).  7.  Fundamentalbass, 
basse  fondamentale,  basso  fon- 
damentalo,  vide  fundamental.  8. 
Ground-bass,  drone-bass,  basse 
contrainte  (kon-triht),  basso  con- 
strutto,  basso  ostinato,  basso  te- 
nuto,  a  bass  phrase  or  figure  obsti- 
nately repeated.  9.  basse-contre, 
a  very  deep  voice  ;  also  the  double- 
bass  ;  b.  de  cremo(r)ne,  or,  de  cro- 
morne  or  d'hautbois  or  de  fliite 
traversi^re,  old  names  for  the  bas- 
soon ;  b.  de  cornet,  the  serpent  ; 
b.  d'harmonie,  the  ophicleide  ;  b. 
guerri^re,  a  bass  clarinet ;  bass 
orgue,  an  instr.  inv.  in  1812  by 
Sautermuiter.  10.  Bassllote,  an 
obsolete  bassoon  ;  an  8-foot  organ- 
stop  on  the  pedal.  Bassgeige, 
'cello ;  grosse  Bassgeige,  doub- 
le-bass. Bass-schliissel,  or  -zei- 
chen— F  clef.  11.  basso  concer- 
tante,  the  principal  bass  in  recitatives, 
etc.  ;  also  florid  music  for  the  lower 
strings  ;   basso  obbligato,  a  neces- 


8o 


THE    MUSICAL    GUIDE 


sary  bass-part ;  b.  ottava,  an  octave 
lower  ;  b.  ripieno,  vide  ripieno  ;  b. 
rivoltato,  inverted    bass.     12.  bass 
clef,  the  F  clef.  Alberti  bass,  vide 
ALBERTi.  given  bass,  a  bass  on  which 
harmony   is  to  be   built,    supposed 
bass,  a  bass  tone  not  the  root  of  the 
chord,      murky  bass,  vide   murky. 
bassanello,  an  obsolete  instr.  bass- 
bar,  bass-bram,  in  violins,    etc.,  a 
strip  of  wood  glued  inside  the  belly 
near  the  bass  string. 
basset  horn.     An  obsolete  clarinet. 
Bassett,  bassett'l,  Bass'l,  (7.  i.  Old 
name    for   'cello.      2.  As   a   prefix  = 
tenor.     3.   A  4-ft.   flute-stop    on  the 
pedal. 
basset'to,   /.     i.  The  little  bass.     2. 
An  obsolete  instr.  with  4  strings.     3. 
An    8    or    16    ft.    reed-stop.     4.  The 
lowest   voice    when    the    bass    is   si- 
lent. 
Bassklausel  (bas'-klow-zel).     The  pro- 
gression of  the  bass  in  a  cadence. 
Basslade(bas-la-de).  G.    Soundboard. 
basson    (bits-son),     F.     Bassoon,      b. 
quart    (kar).     One   whose  tones  are 
a   fourth    lower,     b.    quinte    (kant). 
One  whose  tones  are  a  fifth  higher. 
bassoon.     The  bass  voice  of  the  wood- 
wind.    A  9-foot  conical  tube  doubled 
on   itself,    with   a    long    double-reed 
mouth-piece.       Its  original   was   the 
long  bombardon,  from  which  it  was 
derived  in  1539.     It  is  the  bass  of  the 
oboes  ;  its  natural  scale  is  G  major ; 
its  music  is  written    in    the    V  clef, 
save  for  higher  notes  which  use  the 
tenor  clef.     All  keys  are  available  by 
means  of  cross  fingering,  and   it   is 
capable  of  considerable  brilliance.    It 
has  three  registers,   the  lowest  being 
very   reedy,    the   highest    resembling 
partly   a  'cello    and   partly   a    tenor 
voice,  the  medium  is  rather  colourless. 
The   compass   B'tj-c"  (sometimes   to 

f"). 
basta,  bastante,  /.  '  Enough  !  stop  !  " 
bastardilla    (bas-tar-del'-ya),     Sp.     A 

kind  of  flute. 
bath'yphon,  Gr.     An  obsolete  clarinet 

inv.   1829. 


batil'lus,  L.  An  Armenian  instr.  used 
in  the  place  of  bells  ;  a  board  struck 
with  a  hammer. 

battant(e)  (bat-tan(t)  ),  F.     Beating. 

baton  de  mesure  (ba-toh  dii  mu-zUr), 
/".  I.  Stick  used  in  beating  time. 
2.  A  conductor's  manner.  3.  A  rest 
of  2  or  more  measures.  4.  baton, 
The  thick  line  of  a  measure-rest.  b. 
de  reprise.    Repeat. 

battement  (bit  -man),  F.  battimen- 
to,  /.     Beat. 

battere  (bat'-te-re),  /.  The  down  stroke. 

batterie  (bat-re),  F.  i.  The  roll  of 
the  drum.  2.  Smiting  the  guitar 
strings.  3.  Broken  chords  on  string 
instrs.  4.  The  group  of  percussion 
instruments. 

battery.  A  harpsichord  effect  amount- 
ing to  a  quick  sharp  repetition  of  a 
chord. 

battre  (bStr),  F.     To  beat. 

battuta  (bat-too'-ta),  /.  i.  A  beat; 
so  a  b.,with  the  beat,  strictly  a  tevi- 
po.  2.  A  measure.  3.  A  progression 
from  the  loth  on  an  up-beat  to  the 
octave  on  the  down,  forbidden  in  old 
counterpoint. 

Bau  (bow),  G.     Construction. 

bauerisch  (bi'-er-!sh),  G.  Rustic; 
coarse. 

Bauernflote  (bow'-ern-fla-te),  Bauem- 
pfeife,  Bauerlein,  G.  i.  Rustic 
flute.  2.  A  stopped  register  in  old 
organs. 

Bauernlied  (bow'-ern-let),  G.  A  rustic 
ballad. 

baxoncillo  (bax-on-thel'-yo),  Sp.  i. 
Small  bassoon.  2.  Open  diapason 
stop. 

bayla,  bayle  (ba -e-la),  Sp.     A  dance. 

b  b  (ba-ba),  G.     Double  flat. 

B-cancellatum.     Vide  B. 

B-dur  (ba-door),  G.  B.  durum,  Z. 
The  key  of  B  flat  major. 

bearbeitet  (be-ar'-bi-tet),  G.  Ar- 
ranged. Bearbeitung  (bi'-toongk). 
Adaptation. 

beards.  Small  projections  on  the  side 
of,  or  beneath,  the  mouth  of  a  pipe, 
to  improve  the  speech  ;  hence,  cross- 
and  side-beards. 


DICTIONARY    OF    TERMS        8] 


bearings.  The  tones  and  intervals 
first  established  by  a  tuner  as  a 
basis. 

beat,  beating,  i.  The  hand-motions 
of  a  conductor.  2.  That  part  of  a 
measure  marked  by  one  beat.  3. 
One  pulsation  of  a  trill.  4.  An  old 
ornament  consisting  of  a  short  prelim- 
inary trill  with  the  next  note  below. 
Vide  GRACES.  5.  The  throb  produced 
by  the  interference  of  two  tones  of 
slightly  different  pitch.  Vide  acous- 
tics. 

bebisation.     Vide  solmisation. 

Bebung  (ba'-boongk),  G.  i.  A  tremolo  ; 
on  the  clavichord,  a  tremolo  made  by 
vibrating  the  finger  upon  the  key.  2. 
Also,  German  organ-stop. 

bee  (bek),  F.,  bec'co,  /.  The  mouth- 
piece, as  of  a  clarinet,  becco  polac- 
co.     A  large  bagpipe. 

b^carre  (ba-kar),  F.  The  natural 
sign  (G). 

Becher  (bekh'er),  G.  i.  The  cup  or 
bell  of  a  wind-instr.  2.  The  tube  of  a 
reed-pipe. 

Becken  (bek-n),  G.     Cymbals. 

bedeckt',  G.     Covered  ;  stopped. 

bedon  (bii-don),  F.  Old  name  for 
drum.  b.  de  Biscaye.  A  tam- 
bourine. 

Be  (ba),  G.  B  flat.  Be-be.  B  dou- 
ble flat. 

beffroi  (buf-frwa),  F.  i.  Belfry.  2. 
Tocsin. 

befilzen  (be-fel'-tsen),  G.  To  put  felt 
on.     Befilzung.     Felt. 

Begeisterung  (be-gls'-ter-oongk),  G. 
Enthusiasm. 

begleiten  (be-gll'-ten),  G.  To  accom- 
pany. Begleitung.  Accompani- 
ment. Begleitstimmen.  The  ac- 
companying parts.  beglei'tete 
Fu'ge.     A  fugue  with  free  parts. 

beide  (bl'-de),  G.  Both,  usually  die 
Beiden. 

Beispiel  (bi'-shpel),  G.    Example. 

Beisser  (bls'ser),  G.     A  mordent. 

Beitone  (bl'-ta-ne),  G.  Accessory 
tones ;  harmonics. 

Beizeichen  (bl'-tsl-khen),  G.  Acci- 
dentals. 


bekielen  (be-ke'-len),  G.  To  fit  with 
quills. 

beklemmt',  G.     Oppressed. 

bel  (bel),  /.  Beautiful,  perfect,  as  il 
bel  canto.    The  perfect  (art  of)  song. 

belebend  (be-la'-bent),  G.  Accelerat- 
ing, belebt  (be-lapt).  Lively.  Be- 
lebtheit  (hit).  Belebung.  Vivac- 
ity. 

beledern  (be-la-dern),  G.  To  cover 
with  leather  or  felt.  Belederung. 
Felt. 

belegt  (be-lakht'),  G.     Hoarse  ;  veiled. 

belieben  (be-le'-ben),  G.  Pleasure  ;  at 
pleasure. 

beliebig  (be-le'-bikh),  G.     At  pleasure, 

bell.  I.  A  hollow  metallic  instrument 
set  in  vibration  by  a  clapper,  or  ball, 
within,  or  by  hammers  from  outside. 

2.  The  wide  opening  of  horns,  etc. 

3.  B.  diapason.  A  diapason  stop 
with  flaring  pipes,  b.-gamba.  A  stop 
whose  pipes  are  topped  with  a  bell, 
b.-harp.  An  old  form  of  harp  which 
was  swung  when  played,  b.-metro- 
nome.  A  met.  with  a  bell-indicator. 
b.-scale.  A  diapason  for  testing  bells. 
b.-piano.    Vide  glockenspiel. 

bellezza  (bel-led'za).  /.     Beauty. 

bellico'so,  bellicosamen'te,  /.  Belli- 
cose(ly). 

bello'nion.  An  automatic  instr.  inv.  in 
18 12,  consisting  of  24  trumpets  and  2 
drums. 

bellows.  A  pneumatic  device  for  sup- 
plying air  to  various  instruments. 

bel  ly.  A  soundboard  of  an  instr., 
violin  or  piano,  over  which  strings  are 
stretched. 

bemerk  bar,  G.     Marked. 

bemol  (ba-mul),  F.,  bemolle  (ba-mol- 
le),  /.  The  mark  called  a  flat  (1>).  b^- 
moliser  (ba-m6-l!-za),  F.,  bemol- 
Uzzare  (ba-mol-lld-za're),  /.  To 
mark  with  a  flat.  b6niolis€e(za). 
Flattened. 

ben  (ban),  bent  (ba'-ne),  /.  Well, 
good  ;  as  ben  tenuto,  well-sustained  ; 
a  bene  placito,  at  the  good  pleasure. 

Benedic'ite,  Omnia  Opera.  "All  ye 
works  (of  the  Lord)  praise  Him,"  Z. 
A  canticle  for  morning  prayer. 


82 


THE    MUSICAL    GUIDE 


'•  Benedictus,  Domine,"  Blessed  be 
Thou,  O  Lord.  A  canticle.  Bene- 
dic'tus  Qui  Venit,  L.  "  Blessed  is 
He  that  cometh,"  vide  mass. 

bequadro  (ba-kwa'dro),  /.  The  natural 
sign  (5). 

berceuse  (ber-suz),  F.  A  cradle-song  ; 
hence,  an  instrumental  piece  in  that 
spirit. 

bergamask,  E.,  bergamas  ca,  /., 
bergamasque  (mask),  F.  A  rustic 
dance,  imitating  the  clumsy  peasants 
of  Bergamask  in  Italy. 

bergeret  (ber-zhg-ra),  F.  A  rustic 
song  or  dance. 

Bergkreiyen,  Bergreigen  (barkh-rf- 
khen),  G.      >'ountain  melodies. 

berlingozza  (bor-lm-godza),  /.  A 
rustic  dance. 

Bes  (bas),  G.  The  note  B  double 
flat. 

besaiten  (b^-zi'-ten),  G.     To  string. 

beschleunigend  (be-shloi'-nl-gent),  G. 
Accelerating. 

befiedern  (be-fe'-dern),  G.     To  quill. 

bestimmt  (be-shtlmt),  G.  Distinct. 
B.-heit  (hIt),G'.     Precision. 

betonend,  betont  (be-t5nt),  G.  Ac- 
cented.    Betonung.     Accentuation. 

betrubt  (be-trlipt),  G.     Troubled. 

Bet'tlerleier  (ll-er),  G.  Hurdy-gurdy  ; 
Bettleroper.     "  Beggar's  opera." 

bewegen  (be-va-khen),  G.  To  agi- 
tate, bewegt  (vakht).  Agitated. 
Bewegung.  Motion,  emotion.  Be- 
wegungsart.     Tempo,  a  movement. 

beziffert  (b6-tslf'-fert),  G.  Figured. 
Vide  BASS. 

Bezug  (be-tsookh'),  G.  The  set  of 
strings  for  an  instrument. 

bhat.     A  Hindu  bard. 

bianca  (bl-an'-ka), /.  A  "white"  or 
half  note. 

bibi  (be-be),  F.     A  pianette. 

Bible-regal.  A  regal  that  folded  up 
into  the  size  of  a  tome. 

bichord,  L.  An  instr.  (a)  having  two 
strings,  (b)  Having  two  strings  to 
each  note. 

bicin'ium.     A  2-part  composition. 

bien  (b'yah),  F.     Well. 

bifara  (be-fa-ra),  bif  fara,  bif  ra,  /.  A 


stop  with  paired  pipes  slightly  out  of 
tune,  so  as  to  produce  a  tremolo, 
biju'ga.     The  two-necked  cither. 
bina.     Vide  vina. 
bimraolle    (blm-mol'-lg),    /.      B   flat; 

the  flat  mark. 
binary.       Two-fold  ;     two-part.       b. 
form.      A    movement    with    2    chief 
themes  or    sections.      b.    measure. 
Common  time  with  its  two  accents. 

bind.  A  line,  usually  curved,  binding 
two  notes  into  a  sustained  tone  ;  or  the 
brace  binding  staves. 

Bindebogen  (bm'-dg-bo-khen),  G.  A 
slur. 

bin'den,  G.  To  bind  ;  to  perform  /<?- 
gato.  Bindung.  A  slur ;  hence,  a 
suspension  or  syncopation  ;  the  legato 
manner.  Bindungszeichen.  The 
slur. 

biquadro  (be-kwa-dro),  /.  The  nat- 
ural sign. 

bird-organ.  A  small  organ  for  teach- 
ing tunes  to  birds. 

Birn(e)  (ber  ne),  G.  The  socket  of  a 
mouthpiece. 

bis  (bes),  L.  i.  Twice,  bis  unca,  i6th 
note.  2.  Used  by  the  French  in- 
stead of  our  pseudo-French  "en- 
core !  "  meaning  "  please  repeat." 

biscan'to,  /.     A  duet. 

bischero  (bes'-ka-r5),  /.  A  peg  or 
pin. 

biscroma  (bes-kro'-ma),  /.,  biscrome 
(bes-krom),  F.     A  l6th  note. 

bisdiapa'son,  Z.  A  double  octave,  or 
fifteenth. 

biseau  (be-so),  F.     Stopper  of  a  pipe. 

bisin'ium,  L.     A  duet. 

bisogna  (be-s6n'-ya),  /.  "It  is  neces- 
sary." 

bisqua'dro  (kwa'-dro),  /.  A  natural 
sign. 

bissare  (bls-sa -r^),  /.,  bisser  (bes-sa), 
F.     To  encore. 

bis'sex,  L.     A  12-stringed  guitar. 

bit.  A  small  tube  to  supplement  a 
crook. 

Bit'terkeit  (kit),  C.     Bitterness. 

bizzarria  (bid-zar-re'-a),  /.  Eccentric^ 
ity.  bizzar'ro.  Curious,  bizzar- 
ramente.     Oddly. 


DICTIONARY    OF   TERMS 


83 


blanche  (blansh),  F.  A  "white"  or 
half  note. 

Blasebalg  (bla-ze-balkh),  G.  Bel- 
lows. 

blasen  (bla'-zen),  G.  To  blow.  Bla'- 
ser.  A  blower ;  an  instrument  for 
blowing-.  Blasemusik.  Music  for 
wind  instrs.  Blas'instrument.  A 
wind-instrument. 

Blatt  (blat),  G.     A  leaf ;  a  reed. 

Blechinstrumente  (blekh'-ln-stroo- 
m^n-te),  G.     The  brass  instruments. 

blind  (bllnt),  G.  "Blind,"  simulated, 
as  a  dummy  pipe. 

Blockflote  (bl6k'-fla-te),  G.  \.  K  stop, 
of  large-scale  pipes.  2.  A  i6th  cen- 
tury flute. 

b-mol  (be-mol),  F.  The  flat  mark  [7, 
Vide  BEMOL. 

B-moU  (ba-mol),  G.  The  key  of  B 
flat  minor. 

blocks.  Supporting  strips  in  violins, 
etc. 

boat-songs.  Water-music,  vocal  or 
instrumental. 

bob.  The  changes  to  which  a  set  of 
bells  can  be  rung  ;  6  bells  give  bob 
minor;  8,  b.  major;  10,  b.  royal ; 
12,  b.  maximus. 

bo'bisation,  bocedisation.    Vide  sol- 

MISATION. 

bocal  (bo-kai), /^.,  boc'ca, /.  Mouth- 
piece ;  mouth.  bocca  ridente. 
"  Smiling  mouth,"  believed  to  aid  the 
production  of  pure  tone,  con  bocca 
chiusa  (kl-oo'-za).  With  mouth 
closed,  humming,  bocchino  (ke'no), 
/.     Mouthpiece. 

bocina  (bo-the'-na),  Sp.  A  large  trum- 
pet. 

Bockpfeife  (bok'-pfl-fg),  G.  A  bag- 
pipe. 

Bockstriller(b6ks'-trtl-lgr),  G.  A  goat- 
ish bleat. 

Boden  (bo'-dSn),  G.  The  back  (of  vio- 
lins, etc.). 

Boehm  Flote  (bam  fla'-te).  An  im- 
proved flute  inv.  1834  by  Boehm,  in 
which  a  series  of  keys  simplify  the 
fingering  and  intonation  ;  the  system 
is  also  fitted  to  oboes  and  clarinets. 
Vide  the  B.  D. 


Bogen(bo'-khen),  G.  i.  A  bow.  2.  A 
slur,  as  Haltebogen.  Bogenfiihrung. 
Bowing.  Bogenstrich.  A  stroke  of  the 
bow.  Bogeninstrumente.  Stringed 
instruments.  Bogenfliigel,  -ham- 
merklavier,  or  -klavier.  Piano- 
violin. 

bois  (bwa),  F.  Wood,  les  (la)  bois. 
The  wood-wind. 

boite  (bwjit).  Box  ;  swell  box.  ouvrez 
(fermez)  la  b.    Open  (close)  the  swell. 

bolero  (bo-la'-ro),  Sp.  A  lively  Span- 
ish dance,  in  3-4  time,  with  castanets. 
See  chart  of  dance-rhythms. 

bombard,  E.,  bombarde  (bon-bard), 
F.,  bombar'do,  /.  i.  A  very  long 
obsolete  shawm,  the  original  of  the 
bassoon  (q.  v.).  2.  A  powerful  reed- 
stop  of  i6-ft.  tone. 

bombar'don,  E.  (in  F.  boh-bar-don  ; 
in  G.  bom-bar-don').  i.  A  large, 
valved  bass  trumpet.  2.  The  bass 
saxhorn.     3.   A  i6-ft.  reed-stop. 

bom'bix,  Gr.  Ancient  Greek  reed 
instrument. 

Bom  bart,  bom'mert,  G.     Bombard. 

bom'bo,  /.    A  figure  in  repeated  tones. 

bon  (bon),  F.  Good,  bon  temps  de 
la  mesure,  F.  The  accented  part  of 
a  measure. 

bonang.     A  Javanese  series  of  gongs. 

bones.     Castanets  made  of  bone. 

Bonn's  bridge.  A  violin  bridge  inv.  by 
Bonn  of  London  with  a  foot  under 
each  string,  aiming  at  more  reso- 
nance for  the  interior  strings. 

boot.     The  foot  of  a  reed-pipe. 

bo'ra.  A  tin  trumpet  used  by  the  Turk- 
ish. 

bordone  (bor-do'-ne), /.,  Bordun(b6r'- 
doon),  G.  I.  A  covered  i6-ft.  or  32- 
ft.  stop  ;  the  French  have  4  and  8 
foot  bourdons.  2.  The  lowest  string 
of  'cello  and  double  bass  ;  the  free 
string  of  a  hurdy-gurdy.  3.  A  great- 
bell.  4.  A  drone  bass.  B.  Flote, 
G.  A  stop,  bourdon  de  cornemuse 
(-korn-miiz),  or  bourdon  de  musette, 
F.    The  drone  of  a  bagpipe. 

bouch6  (boo-sha),  F.  i.  Stopped  (of 
horn,  etc.,  tones).  2.  Covered  (of 
pipes). 


84 


THE    MUSICAL    GUIDE 


bouche    ferni6e    (boosh    fer-ma),    F. 

With  closed  mouth  ;  humming. 
bouffe  (boof),  F.    A  buffoon,    opera  b. 

Comic  opera. 
boulon.     A  Senegambian  harp. 
bour'doti,  E.  (in  F.,  boor-doh).     Vide 

BORDONE. 

bourr^e  (boor-ra),  F.  A  lively  old 
Spanish  or  French  dance  in  4-4  or  2-4 
time.  The  second  and  fourth  quar- 
ters of  the  measure  divided.  Used  as 
an  alia  breve  movt.  in  old  suites. 
See  chart  of  dance-rhythms. 

boutade  (boo-tad),  F.  i.  An  instru- 
mental spectacular  fantasia.  2.  An 
old  French  dance.  3.  A  short  ballet, 
impromptu. 

bow.  An  elastic  wooden  rod  with  horse- 
hairs (in  recent  cases,  gut-thread) 
stretched  from  the  bent  head  or  point 
to  a  movable  nut ;  the  hair  being 
drawn  over  strings  sets  them  in  vibra- 
tion, bowhair.  Hair  used  in  mak- 
ing the  bows,  bowhand.  The  right 
hand,  bowing,  i.  The  art  of  using 
the  bow.'  2.  The  sign  for  bowing. 
The  direction  in  which  the  bow  is 
drawn  is  indicated  by  doivn-botv 
(marked  ri)  from  nut  to  point ;  or  up- 
bo7v  (marked  V  or  A )  from  point  to 
nut.  The  back  of  the  bow  is  sometimes 
used,  and  indicated  by  sul  or  col  legno, 
"  with  the  wood."  The  bow  may  be 
allowed  to  bounce  on  the  strings  (the 
bounding  or  springing  bow),  the  spic- 
cato  (marked  by  dots  over  the  notes) 
being  played  with  a  loose  wrist  near 
the  middle  of  the  bow  ;  the  saltato  be- 
ing with  higher  leaps.  boTW  instru- 
ments. String  instruments  played 
with  a  bow.  bow  guitar.  A  violin 
shaped  like  a  guitar  ;  vide  also  piano- 
violin,  and  BOW-ZITHER. 

boyau  (bwa-yo),  F.  Gut-strings,  bo- 
yaudier  (bwa-yod-ya).  A  maker  of 
them. 

bozzetto  (bod-zet'-to),  /.     Sketch. 

B-quadratum,  B-quadrum,  L.  i. 
Vide  B.     2.   B-natural. 

braban^onne  (bra-bah-siin).  The  Bel- 
gian or  Brabantine  national  hymn. 

bracclo    (brat'-sho),    /.      "Arm."      A 


term  applied  to  instruments  held  up 
to  the  neck,  as  viola  da  b.,  an  arm- 
cello.     Vide  VIOLA. 

brace,  i.  A  character  used  to  connect 
staves.  2.  Leather  slides  on  drum- 
cords. 

branches.  Parts  of  a  trumpet  that  con- 
duct the  air. 

bran  de  inglaterra  (bran  de  en-gla- 
ter'-ra),  Sp.  An  old  Spanish  dance  ; 
the  English  Brawl. 

bran(s)le  (brah'-lu),  F.  A  lively  old 
dance,  4-4  time,  led  in  turn  by 
couples. 

brass.  General  term  for  the  instrs. 
made  of  brass  (or  brass-wind), 
brass-band.  A  military  band  of  only 
brass  instruments. 

Bratsche  (brat' -she)  (pi.  -en),  G.  Vi- 
ola. 

Brautlied  (browt'let),  G.  A  wedding- 
song.  Brautmesse.  Music  before 
the  wedding. 

Bravour  (bra-foor).  G.  Bravura.  Bra- 
vour-arie  or  -stiick,  G.  A  florid 
song  or  piece. 

bravura  (bra-voo'ra),  /.,  bravoure 
(bra-voor),  F.  Dexterity,  dash,  aria 
di  b.  A  show-piece,  con  b.  With 
brilliancy,  b.  mezza.  Medium  diffi- 
culty. 

brawl(e).     An  old  dance  in  a  circle. 

break,  i.  The  point  at  which  one  reg- 
ister ends  and  another  begins.  2. 
Slips  of  various  kinds  in  tone  produc- 
tion. 3.  In  a  stop,  the  abrupt  return 
to  an  octave  lower,  due  to  insufficient 
pipes.  4.  In  compound-stops,  a  point 
where  the  relative  pitch  changes. 

breakdown.     An  hilarious  negro  clog. 

breit  (brit),  G.     Broad,  slow. 

Brettgeige  (bret'-gl-ge),  (7.  A  pock- 
et fiddle. 

breve  {E.,  brev — in  /.,  bra've).  brfeve 
(brev),  F.  i.  Formerly  the  shortest 
note,  now  the  longest,  equal  to  two 
whole  notes.  2.  In  old  music — one- 
half  the  longa.  alia  breve.  To  the 
breve,  i.  e.,  a  half  note  to  each  beat, 
formerly  four  minims  to  the  measure, 
and  in  quick  time  ;  it  is  indicated  by 
a  common-time  signature,  with  a  ver- 


DICTIONARY    OF    TERMS        85 


tical  bar  through  it  ;   also  called  alia 
cappella,  or  tempo  maggiore. 

bre'viary.     A  book  of  matins,   lauds, 

and  vespers. 
Bre'vis,  L.  and  G.     A  breve. 

bridge,  i.  A  piece  of  wood  on  which 
strings  rest  ;  itself  rests  on  the  reso- 
nance box  or  board,  to  which  it  trans- 
mits vibrations. 

brief,    i.  A  bass-viol  bridge.    2.  Breve. 

brillant(e)  (bre-yan(t)  in  F. ,  in  /.  brli- 
lan'te).     Brilliant. 

Brillenbasse  (brll'-Ien.bes-se),  G. 
"  Spectacle  basses,"  on  account  of 
its  resemblance  to  a  pair  of  spectacles  ; 
a  name  for  the  abbreviated  form  of  a 
bass  tremolo,  two  half  notes  with  thick 
connecting  bar. 

brindisi  (brin'-de-ze),  /.  A  drinking- 
song. 

brio  (bre'o),  /.  Vigour ;  fire,  con  brio, 
or  brio'so.     With  spirit ;  vivacity. 

bris6  (bre-za),  F.  Broken,  as  chords. 
cadence  b,     A  trilling  grace. 

broach.  An  old  instr.  played  with  a 
crank. 

broderies  (brod-re),  F.     Ornaments. 

broken.  Vide  ( interrupted)  cadence  ; 
of  chords  whose  notes  are  not  taken 
simultaneously,  but  in  arpeggio  ;  so 
broken  octaves. 

brpk'king.     Quavering. 

B-rotundum,  L.  i.  Flat  sign,  b.  2. 
The  note  B  flat. 

Brummeisen  (broom'ml-zen),  G.  Jew's 
harp. 

brummen  (broom'men),  G.  To  hum,  to 
drum.  Drummer.  Drone.  Brumm- 
ton.  Drone.  Brummstimmen. 
Humming  voices. 

bruscamen'te,  /.,  brusquement 
"(brlisk-mah),  F.     Brusquely. 

Bfiist  (broost),  G.  The  breast  or  chest, 
hence  B,-ton  or  -stimme.  Chest 
voice.  Brust'werk.  The  middle 
pipes  of  an  organ. 

buca  (boo'-ka),  /.     Sound-hole. 

buce'na,  Z.,  buccina  (boot-che'-na),  /. 
An  ancient  curved  trumpet. 

Biichse  (bUkh'-se),  G.     Boot  (q.  v.). 

Buch'stabentonschrift,  G.  Alpha- 
betical notation. 


bucolic,  £■.,  buccol'ica, /.,  bucolique 

(bii-ko-lek),  F.     Pastoral. 

buffa  (boof'fa),  or  (-0),  /.  Comic  ;  a 
comic  singer,  buffo  carica'to.  Comic 
character,  aria  buffa.  Comic  aria. 
opera  buffa.  Comic  opera,  buf- 
fo'ne.  Comic  singer,  buffonesco, 
-amente.     Burlesque(ly). 

buffet.  Organ  case,  buffet  organ. 
A  small  organ. 

bugle.  I.  A  hunting  and  military  horn 
in  3  or  more  keys  (Bb,  C,  Eb)  having 
7  harmonic  tones.  2.  The  key-bugle 
with  6  keys  (inv.  in  1815  by  Halliday, 
and  named  by  him  after  the  Duke  of 
Kent)  has  a  chromatic  compass  b-c  ' ' '. 
3.   Valve-bugle.     Vide  saxhorn. 

bugle  horn.     A  hunting-horn. 

Biihnenweihfestspiel  (bu'-nen-vi- 
fesht-shpel),  G.  "  Stage-consecrat- 
ing-festival-piece."  Wagner's  name 
for  his  opera  "  Parsifal." 

Bund  (boont),  G.  Fret,  bundfrei. 
Fret  free.     Vide  clavichord. 

Bunge  (boong'-e),  G.     A  kettle-drum. 

bungen    (boong'-en),    G.      To  drum. 

buonaccordo  (boo-on-ak-kor'-do),  /. 
A  child's  spinet. 

buono(-a)  (boo-6-n6(a)),  /.  Good.  b. 
nota.  An  accented  note.  b.  mano. 
A  skilful  hand. 

buras'ca,  /.  A  comp.  descriptive  of 
a  storm. 

burden.  i.  A  regular  refrain.  2. 
The  bass.     3.   The  drone. 

burla  (boor'-la),  7.  A  quip,  burlan'- 
do,  burles'co,  burlescamen'te.  Fa- 
cetious(ly).  burles'ca,  /.,  burlesque 
(biir-lesk),  F.  A  travesty,  burlet'- 
ta,  /.     A  light  farcical  work. 

burre  (bur),  /".     A  dance  melody. 

bur'then.     Burden. 

busain   (bti-san),    F.,    Busaun    (boo- 
zown),  G.     A  i6-ft.  reed-stop  on  the 
pedal. 
busna  (boos'na),  /.    A  species  of  trum- 
pet. 
bussone  (boos-s6'-ne),  /.     Obs.  instr. 

of  bassoon  type. 
button.     I.  The  knob  on  a  violin-base, 
etc.       2.   An    accordeon-key.      3.  A 
leather-disk  on  the  wire  of  a  tracker. 


86 


THE    MUSICAL    GUIDE 


bux'ea  tibia,  bux'us,  L.     Ancient  3- 

holed  flute. 
bys'synge    songes.       Early    English 

lullabies. 

c 

(For  German  words  not  found  here 
look  under  K.) 

C((7.,  C  (tsa),  F.,  ut;  /.,  do.) 
I.  A  musical  pitch  (mid-C  or 
c'  has 256 vibrations,  "philo- 
sophical pitch  "  ;  c  ",  522,  in- 
ternational pitch),  c'  called  middle- 
C  from  its  position  on  the  piano 
key-board,  is  the  tonic  or  key-note  of 
the  normal  major  scale.  2.  All  the 
octaves  of  this  pitch.  3.  The  major 
key  having  neither  flats  nor  sharps; 
the  minor  key  relative  to  E  flat  major. 
C  reversed,  an  old  sign  indicating  a 
decrease  of  one  half  of  the  note- 
values.  4.  Vide  Time  and  Notation. 
cabalet  ta,  /.  "A  little  horse."  Hence 
a  song  (usually  a  rondo  with  varia- 
tions) with  an  accompaniment  in  trip- 
lets suggesting  hoof-beats. 
cabinet  d'orgue  (k3.b-i-na  dorg),    F. 

Organ-case. 
cabinet  organ.     A  small  reed-organ, 
cabinet  pianoforte.     An  upright  pi- 
ano. 
cabis'cola,  L.     Precentor. 
caccia  (kat'cha),  /.      A  hunt,     alia  c. 

In  hunting  style. 
cach^e     (kil-sha),     F.       Hidden     (as 

fifths). 
cachucha  (ki-choo'-cha),  Sp.    A  dance 

like  the  bolero. 
cacofonia  (ka-ko-fo-ne'-a),  /.,  caco- 
phonie  (kak-o-fo-ne),  A,  cacoph- 
ony, E.  Discord,  cacofon'ico,  /. 
Discordant. 
ca'dence,  E.  (in  F.  ka-dans),  ca'- 
dens,  Z.,  cadenza  (ka-den-tsa),  /., 
Kadenz  (ka-dents'),  G.  i.  Literally 
"a  fall,"  hence,  the  subsidence  of 
a  melody  or  harmony  to  a  point  of 
rest ;  thence  any  concluding  strain, 
rising  or  falling.  Harmonic  cadences 
are  of  the  following  sorts  :  (a)  When 
the  chord  of  the  dominant  is  followed 


by  the  chord  of  the  tonic,  with  the 
roots  of  both  chords  in  the  bass  and 
the  root  of  the  second  chord  doubled 
in  the  highest  voice,  it  is  called  a  per- 
fect authentic  cadence ;  when  the 
first  chord  has  other  than  the  root  in 
the  bass,  or  when  the  highest  voice 
does  not  take  the  tonic  in  the  last 
chord  (takes  the  third  for  instance), 
this  cadence  is  called  an  imperfect 
authentic  cadence.  Other  names 
for  the  authentic  cadence  are, 
whole,  peft-fect,  full  or  complete 
cadence ;  cadence  parfaite  (pir- 
fet),  /".  voU'kommene,  or  eigent- 
liche  (I-'kheht-llkh-e)Kadenz,  G.  (b) 
When  the  cadence  is  formed  by  a  sub- 
dominant  chord  followed  with  a  tonic, 
the  cadence  is  called  plagal  (popularly 
church  or  amen  cadence) ;  cadence 
plagale  (pla-gai),  F. ;  Plagal  ka- 
denz, G.  (c)  When  a  subdominant 
chord  is  followed  by  a  dominant  and  a 
tonic,  it  is  called  a  mixed  cadence,  (d) 
When  the  mediant  is  prominent  the  c. 
is  called  a  medial  cadence,  (e)  When 
the  tonic  or  some  other  chord  is  fol- 
lowed by  the  dominant  the  cadence  is 
called  a  half-cadence,  semi-ca- 
dence, imperfect  cadence,  half- 
close  ;  c.  imparfaite(an-p&r-f^t)  or  c. 
sur  la  dominante  or  c.  irr^gulibre 
(er-rag-ul-yir),  F.  ;  unvollkommene 
or  Mittel  Kadenz,  G.  (f)  When  the 
chord  of  the  dominant  apparently  pre- 
paring a  close,  is  followed  by  other 
than  the  tonic  harmony  the  progression 
is  called  a  deceptive,  avoided,  bro- 
ken, interrupted,  irregular  or  sur- 
prise cadence ;  cadence  6vit6e 
(a-vl-ta)  or  interrompue  (ah-tSr- 
ron-pu),  or  rompue,  F.  ;  cadenza 
d'ingann'o,  c.  sfuggita  (sfood-je'- 
ta)  or  fin'ta,  /.  ;  Trug'kadenz  or 
-schluss,  or  ab'gebrochene  K.,  G. 
(g)  When  various  modulations  are  in- 
troduced between  the  dominant  and 
its  tonic,  the  cadence  is  said  to  be 
suspended  ;  or  sospesa  (s6s-pa -za), 
I.  (h)  When  any  dissonant  harmony  is 
followed  by  a  consonance  the  French 
call  this  a  cadence  pleine  (plSn), 


DICTIONARY    OF    TERMS 


87 


(i)  A  cadence  of  any  kind  in  which  the 
chords  have  their  roots  in  the  bass  is 
called  a  radical  cadence. 

2.  When  the  cadence  is  highly  ornate 
it  is  called  fioritu'ra  or  fiorita  (fe-6- 
re'-ta).  So  the  word  cadenza  has 
in  English  and  Italian,  and  the  word 
Kadenz  in  German,  a  wide  use  for 
designating  the  florid  passage  preced- 
ing the  actual  cadence.  This  may 
be  vocal  or  instrumental,  may  go  up 
as  well  as  down,  and  may  be  written 
out  by  the  composer  or  some  other 
musician  or  left  to  the  skill  of  the 
performer.  This  cadenza  usually  fol- 
lows a  sustained  chord  in  the  second 
inversion  (a  6-4  chord)  with  a  fermate 
or  hold-mark  over  it  (in  F.  pointe 
d'orgite).  The  Germans  accord- 
ingly call  this  an  auf  gehaltene 
Kadenz,  the  F.  call  it  a  pointe 
d'orgue. 

3.  The  French  use  cadence  of  a 
brief  trilling  ornament  as  c.  brillan- 
te,  or  c.  perl6e  ;  c.  pleine  is  a  trill. 

4.  Cadence  is  used  of  rhythm  and 
velocity  also  as  the  "cadence"  of 
double-time  in  a  military  sense,  is  180 
steps  to  the  minute. 

ca'dent.  An  old  ornament  like  a  short 
anticipation. 

c(a)esura,  j5'., /.,  and  Z.  caesure 
(se-ziir),  F.  i.  A  minor  rhythmic  pause 
dividing  a  line  or  period  ;  hence,  2. 
The  last  accented  note  preceding  a 
caesura,  c.  tedesca.  A  lo-stringed 
zither. 

caisse  (kes),  F.  A  drum.  c.  plate 
(plat).  A  shallow  side-drum,  grosse 
(gros)  c.  The  bass-drum.  c.  roulan- 
te  (-roo-lant).  The  side-drum,  of 
wood,  caisses  claires  (kes-klSr). 
The  drums. 

calamus,  c.  pastoralis,  or  tibialis, 
L.     A  reed  used  by  shepherds. 

calan'do,  /.  Diminishing  and  retard- 
ing. 

calandro'ne,  /.     A  small  clarinet. 

calascione  (ka-la-shi-6'-ne),  /.  A  2- 
stringed  guitar  of  lower  Italy. 

calata  (ka-la'-ta),  /.  A  lively  dance  in 
2-4  time. 


calcando  (kal-kan'-do),  /.     Hurrying. 
Calcant  (kill'-kant),  G.    Bellows-tread- 

er. 
Calliope.      i.  The    Greek    muse    of 
heroic  verse.     2.   An  instr.  played  by 
an   engine  that  fills  its   metal  pipes 
with  steam  instead  of  air. 

callithump'ian.     Vide  shivaree. 

calma  (kal-ma),  I.  Calm,  calma'to. 
With  calm. 

calore  (ka-lo'-re),  /.  Warmth.  Calo- 
ro'so.     Animated. 

cambiare  (kam-bT-a  re),  /.  To  change. 
nota  cambia'ta.     Changing  note. 

camera,  /.  Chamber,  used  in  dis- 
tinction from  a  large  auditorium,  as 
musica  di  c,  sonata  di  c,  alia  c. 

camminan'do,  /.     Andante. 

campana  (kam-pa'-na),  I.  A  bell. 
campanel'la  (or  o),  /.  A  little  bell. 
campanile  (ne'-le),  /.  A  belfrey. 
campanol'ogfy.  The  art  of  ringing 
or  making  bells,  campano'ne,  /. 
A  great  bell,  campana'rum  con- 
cer'tus,  or  modula  tio,  L.  Chimes. 
campanarum  pulsa'tor,  Z.  A  ring- 
er of  bells. 

canarder  (ka-nSr-da),  F.  To  imitate  a 
duck  ;  to  coiiac. 

canarie  (ka-na-re),  F.,  cana'ry,  ca- 
na'ries,  E.,  canario  (ka-na'-rI-6),  I. 
A  lively  old  dance  in  3-8,  6-8  or  12-8 
time.  Named  from  the  Canary  Isl- 
ands. 

cancan  (kan-kan).  A  boisterous  French 
dance. 

cancel.  The  natural  sign,  11.  cancel- 
latum,  Z.     Vide  b. 

Cancellen  (kan'-tsel-len),  G.  Grooves 
in  an  organ. 

can'crizans,  cancrica'nus,  Z.,  can- 
crizzante  (kan'-krid-zan'-te),  /.  Re- 
trograde.    Vide  CANON. 

canere  (ka'ne-re),  Z.  To  sing  ;  to  play. 

cangiare  (kan-ja -re),  I.  To  change  ; 
to  alter. 

can'na,  I.  A  reed,  or  pipe.  c.  d'an- 
ima.  Flue-pipe.  c.  alingua.  Reed- 
pipe. 

cannon-drum.     East  Indian  tomtom. 

can'on  (in  F.,  ka-non),  canone  (ka- 
no'-ng),  Z,  G.  Canon  or  Kanon  (ka'- 


THE    MUSICAL    GUIDE 


non).  The  most  rigid  form  of  imi- 
tation, a  subject  (antecedent)  being 
followed  accurately  by  an .  answer 
(consequent);  once  the  playground  of 
musical  ingenuity,  all  forms  of  com- 
plication being  indulged  in.  A  ca- 
non written  out  completely  was  full 
or  aper'to.  Often  only  the  antece- 
dent (or  canon)  was  written  out,  the 
consequent  (now  called  fuga  or  con- 
sequenza)  being  left  to  the  perform- 
er's skill ;  this  was  called  close  or 
chiuso  (kl-oo'-zo).  If  the  entrances  of 
the  other  parts  were  indicated  by  cab- 
alistic signs,  it  was  a  riddle-canon 
(Rathsel-Kanon),  or  enigmatical 
or  enigmatico.  Canons  were  named 
by  the  interval  between  answer  and 
antecedent  and  by  the  general  treat- 
ment as  in  Imitation  (q.  v.). 

canonic  hours.     Vide  hor.e. 

cano'nici,  L.  The  Pythagoreans,  who 
developed  musical  science  from  the 
abstract  mathematics  of  intervals ; 
opposed  to  Aristoxenos  and  the  har- 
monici,  who  developed  it  from  the 
actual  practice  of  music. 

cantabile  (kiin-ta -bl-le),  /.  Lyrical. 

cantajuolo  (kan-ta-yoo-6'-l6),  can- 
tamban'ca,  /.     A  street  singer. 

cantamen'to,  /.     Air  ;  cantilena. 

cantan'do  (kan-tan'-do),  /.  In  a  melo- 
dious, singing  style. 

can'tans,  L.     Singing. 

cantan'te,  /.  A  singer  ;  also  a  vocal 
part.  c.  ariose.  A  form  of  melody 
transitional  between  air  and  recita- 
tive. 

cantare  (ta'-re),  /.  To  sing.  c.  di 
maniera  (man-ya'-ra)  or  maniera- 
ta.  To  sing  with  mannerism,  c  a 
orecchio  (o-rek'-kI-6).  To  sing  by 
ear.  c.  a  aria.  To  sing  with  impro- 
vised cadenzas. 

cantarina  (re'-na),  Sp.  A  woman- 
singer. 

cantata  (kan-ta'-ta),  /.,  cantate  (kah- 
tat),    F.,    Cantate     (kan-ta-te),    G. 

1.  Originally,  something  sung,  in  dis- 
tinction to  something  played  {sonata). 

2.  Now  a  work  for  chorus  and  solo, 
often  with  orchestral  accompaniment; 


a  short  oratorio  of  a  narrative  style  ; 
a  short  opera  not  meant  for  the  the- 
atre, c.  amoro'sa, /.  A  cantata  hav- 
ing love  for  its  subject,  c.  mora'le 
or  spiritua'le.  A  sacred  cantata  de- 
signed for  the  church,  cantatil'la, 
cantatille  (te'-yii),  cantati'na.  A 
short  cantata  ;  an  air  preceded  by  a 
recitative. 

canta'tor,  L.    A  singer  ;  a  chanter. 

cantato're,  /.  A  male  singer,  can- 
tatrice  (tre-che).  A  female  singer. 
c.  buffa.  A  woman  who  sings  in 
comic  opera. 

cantato'rium,  L.  The  Roman  Cath- 
olic book  containing  the  music  of  the 
Antiphonary  and  Gradual. 

Canterei  (kan'-te-ri),  G.  i.  The  dwell- 
ing-house of  the  cantor.  2.  A  class 
of  choristers. 

canterellare  (kan-te-rel-la-re),  /.  To 
sing  softly,  canterellan'do.  Sing- 
ing softly. 

canti  carnascialeschi  (car-na-sha-les'- 
ke),  canti  carnevali  (kar-ne-va -le),/. 
Songs  of  the  carnival  week. 

canticles,  E.,  can'tico,  /.,  can- 
tique  (kah-tek),  F.,  can'ticum,  L.  i. 
Biblical  lyrics,  the  Song  of  Songs 
(canticum  canticorum).  2.  A  sa- 
cred chant  with  scriptural  text.  3. 
The  cantica  majora  include  the 
Magnificat,  Benedictus  and  Nunc 
dimittis.  The  cantica  minora  are 
seven  texts  from  the  Old  Testament. 

can'tillate,  F..  To  recite  with  occa- 
sional musical  tones  ;  hence,  cantil- 
lation. 

cantilena  (kan-ti-la'-na),  /.  The  mel- 
ody ;    air. 

cantilla'tio,  L.  A  singing  style  of 
declamation. 

cantino  (te'-no),  /.  The  smallest 
string. 

canto,  1.  I.  A  song  ;  a  melody  ;  the 
voice,  col  canto.  "With"  (i.e., 
adopting  the  time  and  expression  of) 
the  voice  or  melody.  2.  The  art  of 
singing,  as  11  bel  canto,  the  old  art 
of  allegedly  perfect  production.  3. 
The  highest  part  in  concert  music.  4. 
The  soprano  voice.      5.  The  high- 


DICTIONARY    OF    TERMS 


89 


est  string  of  an  instrument,  c.  a 
cappella.  Vocal  music  without  ac- 
companiment, c.  ambrosiano.  Am- 
brosian  chant  (Vide  cantus).  c. 
armonico.  A  part  song.  c.  clef. 
The  C  clef  on  the  first  line.  c.  con- 
certante  (kon-cher-tan'-te).  The 
treble  of  the  principal  concerting 
parts,  c.  cromat'ico.  Chromatic 
melody,  c,  fermo.  i.  A  chant  or 
melody.  2.  Choral  unison.  3.  Can- 
tus firmus.  c.  figurato.  A  fig- 
ured melody  instead  of  figured  bass 
(q.  v.).  c.  fiorit'to.  A  much 
ornamented  air.  c.  fune'bre.  Fu- 
neral song.  c.  grego'riano.  The 
Gregorian  chant,  c.  piano.  Plain 
chant,  c.  necessa  rio.  A  principal 
part.  c.  primo.  The  first  treble  or 
soprano.  c.  recitative.  Recita- 
tive, c.  ripie'no.  Vide  ripieno. 
c.  rivolta'to.  The  treble  inverted. 
c.  secondo.  The  second  treble,  c. 
simplice.     A  simple  song. 

^antolla'no,  Sp.   Precentor. 

cantor,  L.  Singer,  c.  choralis.  Pre- 
centor, cantori  are  the  singers  that 
sit  near  the  cantor,  on  the  left  side  ; 
opposite  to  decani,  those  on  the  dean's 
side. 

can'tus,  L.  i.  A  song  ;  a  melody.  2. 
The  treble  or  soprano  part.  c.  Am- 
brosia'nus.  The  four  chants  intro- 
duced by  St.  Ambrose,  in  the  fourth 
century,  supposed  to  be  derived  from 
Greek  melodies,  c.  figura'lis  (or 
figuratus).  Mensurable  music  ;  mel- 
ody with  figurate  embellishment,  c. 
fir  mus.  (a)  The  melody  originally 
given  to  the  tenors,  later  to  the  so- 
pranos ;  (b)  plain  song ;  (c)  a  theme 
or  air  chosen  for  counterpoint ;  this 
air  remains  the  same,  i.  e.,  "  firm,"  as 
the  different  voices  take  it,  while  the 
accompanying  voices  always  change  ; 
in  distinction  to  the  c.  f.  they  are 
called  the  comiterpoint  (q.  v.). 

C.  coronatus,  A  c.  fractus  when 
accompanied  by  a  fa-burden.  c. 
durus.  A  song  modulating  into  a 
key  with  one  or  more  sharps,  almost 
the  same  as  "  major  key."    c.  eccle- 

3 


siasticus.  Church-music,  particu- 
larly plain  song  ;  also  the  singing  of 
the  liturgy,  c.  fractus.  Broken  melo- 
dy, c.  Gregorianus.  A  melody  in- 
troduced by  St.  Gregory,  c.  planus. 
Plain  song.  c.  mensurabilis.  Reg- 
ular,  or    measured,     melody.       Vide 

MENSURABLE  MUSIC.    C,  molHs.    Song 

in  the  minor. 
ca'nun,    Tur.     A  Turkish  zither. 
canzona,    canzone    (kan-ts6'-ne),    /. 

1.  A  folk-song.  2.  A  part-song.  3. 
An  instrumental  work,  in  two  or  three 
parts,  with  passages  in  imitation, 
somewhat  like  the  madrigal,  can- 
zonaccia  (nat'-cha).  A  low  song. 
canzoncina  (che'-na).  A  short  can- 
zone, or  song.  c.  sacra.  A  sacred 
song,  canzonet,  canzonnet'ta, 
canzonina.  A  short  canzone,  can- 
zoniere  (ts6n-ya'-re).     A  song-book. 

caoine,  caoineadh  (kii-en'-e-u),  Irish. 
A  funeral  song. 

capis'col.     A  precentor. 

capis'trum.  A  face  bandage  worn  by 
ancient  trumpeters. 

capo  (ka'-p6),  /.  The  head  or  begin- 
ning, da  capo  (return  and  play  again), 
from  the  beginning,  capo  d'opera, 
capo-Iavoro.  Master-piece,  chief 
work.  c.  violino.  The  first  violin. 
capo-dastro,  c.  di  tasto.  Vide 
CAPOTASTo.  c.  d'instrumenti. 
Leader,  c.  d'orchestra.  The  con- 
ductor. 

capodastre  (kap-6-dastr),  F.  Capo- 
tasto. 

capo'na.    A  Spanish  dance. 

capotasto(ka-p6-tas'-to),  /.  i.  Thenut 
of  a  fingerboard.  2.  A  strip  fastened 
across  a  fretted  fingerboard  and  serv- 
ing as  a  movable  nut  to  raise  the 
pitch  of  all  the  strings  at  once. 

cappella,  /.     i.  A  chapel,  or  church. 

2.  A  band  of  musicians.  A  c.  or 
alia  c.  (a)  Without  instrumental  ac- 
companiment, (b)  Alia  breve,  da  c. 
In  solemn  church  style. 

cappello  Chinese  (ke-na -ze),  /.    Vide 

CHAPEAU. 

caprice,  E.  and  F.,  capriccio  (ka- 
pret'-cho),  /,   A  whimsical  work  of  ir- 


90 


THE    MUSICAL    GUIDE 


regular  form,  capriccietto  (ch^t'-to), 
/.  A  short  caprice,  capricciosamen- 
te,  capriccio'so,  /.,  capricieuse- 
ment  (ka-pres-yuz'-man),  capricieux 
(ka-pres-yii),  F.     Capricious(ly). 

captandum,  ad,  L.  Takingly,  brill- 
iantly. . 

caput  scho'lae,  Z.     Precentor. 

caract^res  de  musique  (kar-ik-tir 
du  mli-zek),  F.     Musical  symbols. 

caramillo  (ka-ra-mel'yo),  Sp.  A  flag- 
eolet. 

carattere  (ka-rat'-ta-r^),  7.  Character, 
dignity. 

caressant  (k^-res-san'),  F.,  carez- 
zando  (ka-rSd-zan'-do),  carezze- 
vole  (za -v6-l^),  /.  Caressing  ;  ten- 
der. 

carica'to  (ka'-t5),  /.     Exaggerated. 

carillon  (ka-re-yon),  F.  \.  K  set  of  fixed 
bells  on  which  tunes  may  be  played 
by  hand  or  mechanism.  2.  A  com- 
position suggesting  or  using  bells. 
3.  The  simultaneous  clashing  of 
many  large  bells.  4.  A  bell-like  stop. 
c.  a  clavier,  F.  A  set  of  keys  and 
pedals,  acting  on  bells,  carillonner 
(ka-re-yo-na),  F.  To  ring  bells. 
carillonneur  (niir),  F.  A  bell- 
ringer. 

carita  (ka-re-ta  ),  /.     Tenderness. 

Carmagnole  (kir-min-yol),  F.  A  fa- 
mous French  revolutionary  song. 
It  derived  its  name  from  the  town 
Carmagnola. 

carmen,  L.  A  song.  c.  natalitium. 
A  carol  of  the  Nativity. 

carol.     I.  A  song  of  joy  and  devotion. 

2.  Ballads  for  Christmas  and  Easter. 

3.  An  old  circling  dance. 

caro'la,  /.  A  circling  dance,  resem- 
bling the  Carmagnole,  carolet'ta. 
A  little  dance. 

Carrie  (kar-ra),  F.     A  breve. 

carrure  des  phrases  (kar-rur-da  fraz), 
F.     The  balance  of  the  phrases. 

cart'el,  F.,  cartelle  (kar-tel),  F.  i. 
The  first  draft  of  a  score.  2.  A  sheet 
of  hide  or  varnished  cloth  on  which 
music  could  be  sketched  and  erased. 

cartellone  (l5'-ne),  /.  A  catalogue  of 
operas  to  be  performed, 


cas'sa,  7.  The  drum.  c.  grande,  c. 
militare.  The  great  drum.  c.  ar- 
monica.     The  body  (as  of  a  'cello). 

cassa'tio,  Z.,  cassazione  (kas-sa- 
tsI-6'-ng),  7.  I.  The  final  number. 
2.  A  serenade  consisting  of  instru- 
mental pieces. 

castagnetta  (kas-tan-yet'ta),  7.,  cas- 
taffnettes  (kis-tln-yet),  F.,  castag- 
noTe  (kas-tan-y5'-le),  Castanet- 
as  (kas-tan-ya  tas),  castanuelas 
(kas-tan-yoo-a -las),  Sj>.,  castanhe- 
ta  (kas-tanya-ta),  Port.,  castanets, 
E.  Small,  concave  shells  of  ivory  or 
hard  wood,  carried  in  the  hand  and 
rhythmically  snapped  by  dancers  in 
Spain  and  other  countries. 

castrato  (kas-tra -t6),  7.  An  artificial 
male  soprano  or  alto  ;  a  eunuch. 

catch.  A  round  in  which  the  singers 
catch  up  their  lines  at  the  cue  ;  usu- 
ally with  humourous  and  ambiguous 
effect. 

catena  di  trilli  (ka-ta'-na),  7.  A  chain 
of  trills. 

catgut.  A  small  string  for  violins, 
made  of  the  intestines  of  sheep  and 
lambs,  rarely  of  cats. 

catling.     A  lute-string  of  smallest  size. 

cattivo  (kat-te'-v5),  7.  "Bad."  c. 
tempo.     The  weak  beat. 

catzoze'rath.     Hebrew  trumpet. 

Cauda,  Z.     The  tail  of  a  note. 

cavaliet'to,  7.  i.  A  cabaletta.  2.  A 
small  bridge.  3.  The  break  in  the 
registers. 

cavata  (ka-va'-ta),  7  i.  Tone-pro- 
duction. 2.  A  recitative  ;  a  cava- 
tina. 

cavatina  (ka-va-te'na),  7,  cavatine 
(k3.v-a-ten),  F.  A  melody  of  one 
strain  only. 

c-barr6  (iit-blr-ra),  F.    Vide  barred  c. 

C-clef.  The  tenor  clef ;  wherever  it 
stands  it  indicates  middle  C. 

C-dur  (tsa-door),  G.  The  key  of  C 
major. 

cebeir.  A  theme  in  common  time  with 
variations  and  alternation  of  high  and 
low  notes.    A  sort  of  English  gavotte. 

cecilium  (su-se'-lf-un),  F.  A  key-board 
reed   instr.  the   size  and  shape  of  a< 


DICTIONARY    OF    TERMS 


«RIOt 

ereveril 


time 
lioeoi 


'cello,  the  left  hand  playing  keys,  the 
right  working  bellows. 

cedez  (sa-da),  F.     Decrease  ! 

celamustel  (sa-la-mii-stel),  F.  A  har- 
monium wnth  unusual  imitative  stops. 

celere  (cha'-la-r^),  /.  Rapid,  celerity 
(rl-ta).    Rapidity. 

Celeste  (sa-lSst),  F.  Celestial,  applied 
to  stops  of  soft,  sweet  tone,  and  to  a 
piano  pedal  of  the  same  effect. 

celestina  (cha-lSs-tena),  /.  i.  A  4-ft. 
stop.  2.  A  tremolo  stop  in  reed  or- 
gans. 

cell.     Vide  ELLIS  (b.  d.). 

'cello  (cherio).  Abbr.  and  common 
name  of  violoncello,  cello'ne.  A 
'cello  inv.  by  Stelzner  gaining  in- 
creased sonority  by  its  method  of 
stringing. 

cembalo  (cham'ba-l6),  cembolo  (cham'- 
bo-16),  /.,  cembal  (san-bal),  /'.  i.  A 
harpsichord.  2.  A  cymbal,  cembalis- 
ta,  /.  A  player  on  either,  cembal  d'- 
amour,  X  Avery  large  harpsichord. 
tutto  il  c.,/.  Loud  pedal,  c.  onni- 
cordo,  /.  Proteus,  cembalist,  E. 
A  player  on  the  harpsichord. 

cembanel'la,  cennamella,  /.  A 
flute. 

cent,  E.  The  hundredth  part  of  an 
equal  semitone.     Vide  Ellis  (b.  d.). 

cento  (chan'-to),  cento'ne,  /.,  centon 
(sah-ton),  F.  i.  The  Gregorian  an- 
tiphonary.  2.  A  patchwork  or  med- 
ley. 

cercare  (char-ka'-re),  /.  To  search,  c. 
la  nota.  A  common  effect  in  sing- 
ing where  a  note  taken  by  skip  is 
lightly  anticipated  with  a  short  grace. 

cer' valet,  cervelat.  An  obsolete  clari- 
net. 

Ces  (tses),  G.     The  note  C  flat. 
es,     C  double  flat. 

cesura,  cesure.     Vide  C^sura. 

cetera  (cha-te-ra),  /.     A  cittern. 

C.  f.     Abbr.  of  Cantus  firmus. 

cha  chi  (cha-che),    Chinese.      A 
matic  kin. 

chacona  (cha-k6'-na),  Sp.,  chaconne 
(shi-kun),  F.,  ciaccona  (chak-ko'- 
na),  /.  A  slow  dance  probably  Span- 
ish in   origin ;    in   3-4   time   with   a 


Ces- 


chro- 


groundbass  ;  almost  always  in  major, 
in  contrast  with  the  passacas^lia  ;  and 
generally  in  form  of  variations. 

chair  organ.     Vide  choir  organ. 

chalameau,  E.,  chalumeau  (shal-ii- 
mo),  F.,  Chalamau,  Chalamaus 
(shal'-a-mows),  G.  i.  An  ancient 
pipe  blown  through  a  calamus,  or 
reed.  2.  The  low  register  of  the 
clarinet ;  as  a  direction  it  means  "an 
octave  lower,"  being  cancelled  by 
clar.  or  clarinet.  3.  The  chanter  of 
a  bag-pipe. 

chalil  (ka-lel),  Heb.  Hebrew  pipe  or 
flute. 

chalotte  (sha-lot').  A  tube  to  receive 
a  reed. 

chamber  music.  Music  composed  for 
a  small  auditorium,  as  a  string  quartet 
or  a  pianoforte  trio. 

chamber-organ.     A  cabinet  organ. 

chang.     A  Persian  harp. 

change,  i.  A  tune  rung  on  a  chime. 
2.  Vide  MODULATION.  3.  Mutation. 
4.  (a)  changing-note.  A  note  for- 
eign to  the  immediate  harmony  and 
entering  (unlike  the  passing-note)  on 
a  strong  beat ;  when  two  or  more  ap- 
pear simultaneously  they  make  a 
changing-chord.  (b)  In  old  counter- 
point, a  passing  discord  entering  un- 
accented and  then  skipping. 

changeable.  Used  of  chants  that  may 
be  sung  either  in  the  major  or  minor 
mode. 

changer  de  jeu  (shan-zha  du  zhu),  F. 
I'o  change  the  stops. 

chanson  (shan-s6n),  F.  A  song ;  a 
ballad,  c.  bachique  (ba-shek).  A 
drinking-song.  c.  des  rues  (da-rU). 
A  street-song  ;  a  vaudeville,  chan- 
sonnette  (net).  A  little  or  short 
song,  chansonnier  (sun-ya).  A 
song-writer  ;  a  book  of  songs. 

chant.  I.  Originally  a  song,  and  still 
so  meant  in  the  French  word  (vide  be- 
low), since  the  Gregorian  time  used  of 
vocal  music  marked  by  the  recitation 
of  many  syllables  on  one  tone,  and 
employed  for  prose  texts  such  as  the 
Canticles  and  Psalms.  There  are  two 
sorts  of  chant,  the  Gregorian  and  the 


92 


THE    MUSICAL    GUIDE 


Anglican,  (a)  The  Gregorian  is  a  short 
tune  to  be  repeated  in  successive  sec- 
tions of  prose  ;  it  has  8  tones  and  is  in 
four  parts  ;  the  intonation  (or  incho- 
atio)  or  opening  notes  ;  the  Jirst  recit- 
ing note  (or  dominant)  ;  the  mediation  ; 
the  second  reciting  note  {or  dominant)  ; 
the  termination  (ending  or  cadence), 
(b)  The  Anglican  omits  the  intonation 
and  differs  in  the  rhythm  and  mode 
but  has  the  same  monotone  recitation 
with  modulations  in  the  middle  (me- 
diation) and  end  (termination).  The 
Anglican  has  two  parts  of  3  and  4 
measures,  7  in  all ;  this  is  the  single 
chant,  there  are  also  double,  triple, 
and  quadruple  forms  of  proportionate 
length.  In  chanting,  the  fitting  of  the 
unequal  phrases  to  the  music  is  called 
pointing,  and  consists  of  reciting  them 
strictly  within  the  duration  of  the  notes 
except  those  of  the  ist  and  4th  meas- 
ures which  are  enlarged  to  fit  the 
words.  Words  to  be  sung  to  the  ca- 
dence are  cut  ofT  from  those  to  be 
sung  to  the  reciting-note,  by  a  verti- 
cal line  called  the  cadence-mark.  2. 
Any  recitation  of  chant-like  character. 
3.  A  tone.  4.  A  cantus  Jirmus. 
5.  Vide  PLAIN-CHANT.  6.  Vide 
CHANGEABLE.  7.  Frce-chant.  A 
form  in  which  the  hemistichs  consist 
of  only  2  measures.  8.  Roman  Chant- 
Gregorian.  9.  Phrygian  chant. 
One  intended  to  provoke  wrath. 

chant  (shah),  F.  Song  ;  tune  ;  vocal 
part.  c.  amoureux.  Love  song.  c. 
d'6glise,  or  gr^gorien.  Gregorian 
chant,  c.  ^gal,  c.  en  ison.  Chant  on 
one  tone,  or  with  one  interval  of  two 
tones,  c.  figure.  Figured  counter- 
point, c.  funebre.  Funeral  song.  c. 
royal.  A  sacred  song ;  or  a  prayer 
for  the  monarch  ;  the  mode  in  which 
such  prayer  was  sung.  c.  sur  le  livre, 
i.  e.,  "on  the  book,"  vocal  counter- 
point extemporized  on  a  printed 
cantus  Jirmus. 

chanter,  E.  i.  One  who  chants. 
arch-c.  The  leader  of  the  chants. 
2.  The  tenor,  or  melodic  pipe  of  a 
bag-pipe. 


chanter  (shah-ta),  F.  To  sing.  c.  k 
livre  ouvert  (a  lev-roovgr).  To  sing 
at  sight,  chantant(e).  Lyric,  basse 
C.  Vide  HASS.  caf6  c.  (ka-fa-chan- 
taii).  A  music  hall.  chant6(e)  (shan- 
ta).  Sung,  chanteur  (euse).  A 
male  (female)  singer,  chantonner. 
Canterellare. 

chanterelle  (shant-ii-rel),  F.  The 
highest  and  smallest  string  of  an 
instrument. 

chanterie  (shah-tre),  F.  chantry,  E. 
A  chapel  endowed  for  daily  mass. 

chanterres  (shah-tSr),  F.  loth  cen- 
tury ballad-singers. 

chan'tor,  E.  A  singer  in  a  cathedral 
choir. 

chantre  (shahtr),  F.  Choir  -  leader. 
grand  c.  Precentor,  second  c.  A 
chorister. 

chapeau  (sh&-p6),  F.  A  "  hat  ;  "  a  tie. 
c.  chinois  (shen-wa).  A  set  of  small 
bells  arranged  on  a  frame  like  a  Chi- 
nese hat.      Cf.  CRESCENT. 

chapel.  Musicians  in  the  retinue  of  a 
great  personage. 

chapelle  (shi-pel),  F.     Cappella. 

characteristic.  Strongly  individual 
in  character,  or  mood,  used  of  a  com- 
position (as  Charakterstiick,  G.).  c. 
note  or  tone.  The  leading-tone  or 
any  tone  peculiar  to  a  key.  c.  chord. 
The  principal  chord.  Charakter- 
stimme,  G.    A  solo-stop. 

charivari      (sha-rl-va-rl),     F.       Vide 

SHIVAREE. 

chasse  (shSs),  F.  The  hunt,  k  la  c. 
In  hunting  style. 

chatsoteroth.     A  Hebrew  trumpet. 

che  (ka),  /.     Than,  that,  which. 

che  chi  (ka-ke).  One  of  the  eight 
species  of  Chinese  music. 

chef  (shef),  F.  Leader,  chief,  chef- 
d'attaque  (dat-tak).  i.  The  leader, 
or  first  violin.  2.  Leader  of  a  chorus. 
chef-d'oeuvre  (sha-diivr).  Master- 
piece, chef-d'orchestre  (sh^f-dor- 
kSstr).  The  leader,  ch.  du  chant. 
Leader  of  an  opera  chorus. 

cheipour.     A  Persian  trumpet. 

chel  idonizing.  Singing  a  spring  or 
"  swallow  song." 


I 


DICTIONARY    OF    TERMS 


93 


'        chel'ys.     i.  Vide  lyre.     2.  Old  name 
for  viol. 

cheng^  (ch^ng).  A  Chinese  mouth-or- 
gan, a  gourd  with  many  free  reeds  ; 
it  suggested  the  invention  of  the  har- 
monium. 

cheng  chi  (cheng-che).  One  of  the 
eight  species  of  Chinese  music. 

cherub'ical  hymn.     The  Prisagion. 

chest  of  viols.  A  group  or  set  of 
viols,  two  basses,  two  tenors,  and  two 
trebles. 

chest  tone,  chest  voice.  The  lowest 
register  of  the  voice. 

chevalet  (shgv-a-la),  F.     Bridge. 

cheville  (she-ve'-ye),  F.     Peg. 

chevroter  (shev-r6-ta),  /'.  To  bleat 
like  a  goat,  hence,  chevrotement 
(she-vrot-mon).  A  tremor  or  shake 
in  singing. 

chiarenta'na,  /.  An  Italian  country 
dance. 

chiarina  (ke-a-re'na),  /.     A  clarion. 

chiaro  (ke-a'-ro),  /.  Clear,  pure,  chia- 
ramen'te.  Brightly,  purely,  chia- 
rezza  (red'-za).  Clearness,  di  c. 
Clearly. 

chiave   (ke-a'-ve),  /.      i.  A   clef.      2. 

Key.     3.  Tuning-key.     4.  A  failure. 

5.  c.    maestro.     The    fundamental 

key  or  note. 

cor:     chiavette  (vet'-te),  /.  pi.    Transposing 

ite  clefs  of  the  i6th  century  ;  of  which 

the  high  c.  indicated  that  its  line  was 

to  be  read  a  third  higher,  the  low  c, 

a  third  lower.    Thus  the  C  clef  might 

all  indicate  e  or  eb  ;  or  a,  or  afe. 

chickera  (ke'-ke-ra)  or  chikarah.  A 
Hindu  bow  instrument. 

chiesa  (ke-a'-za),  /.  A  church,  da  c. 
For  the  church,  or  in  sacred  style,  as 
sonata  or  concerto  da  chiesa. 

chiffre  (shifr),  F.  A  figure  in  thor- 
ough bass,  basse  chiffr6e  (shif-fra). 
Figured  bass. 

chifonie   (she-fo-ne'),    F.      Old   name 
for  hurdy-gurdy. 
chat    chime.     A  set  of  bells  tuned  to  a  scale. 
chime-barrel.     Portion  of  the  mech- 
anism for  ringing  a  chime. 

chimney.  A  tube  in  the  cap  of  a 
stopped  pipe. 


Chinese  flute.     Bamboo  flute. 

Chinese  hat.     Vide  chapeau. 

Chinese  scale.  Five  notes  without 
semitones  ;  the  music  is  written  on 
five  perpendicular  lines,  the  pitches 
indicated  by  distinctive  names. 

chinnor,  chinor.     Vide  kinnor. 

chirimia  (che-re-me'-a),  Sp.  The  oboe  ; 
clarion. 

chirogym  nast.  A  mechanical  con- 
trivance for  exercising  the  fingers. 

chi'roplast  (kl'rd).  A  device  of  gloves 
and  bars,  inv.  18 14  by  Logier,  to 
keep  the  hands  and  fingers  of  piano- 
players  in  the  right  position. 

chitarra  (ke-tar'-ra), /.  i.  A  guitar,  a 
cithara.  c.  coU'  arco.  A  violin  with 
guitar-shaped  body.  chitarris'ta. 
One  who  plays  on  the  guitar,  chit- 
tarrina  (re'-na).  Small  Neapolitan 
guitar,  chitarro'ne.  A  double  guitar. 

chiterna  (ke-ter'-na),  /.     Quinterna. 

chiuso  (ke-oo'-z6),  /.  Closed.  Vide 
CANON  and  BoccA.  chiuden'do. 
Closing. 

Chladni's  figures.  Vide  nodal  fig- 
ures. 

choeur  (kiir),  F.  Choir,  chorus.  & 
grand  c.     For  full  chorus. 

choice  note.     An  alternative  note. 

choir.  I.  A  body  of  singers  usually  in  a 
church.  2.  Their  place  in  the  church. 
3.  A  subdivision  of  a  chorus  or  or- 
chestra, c.  organ.  Vide  organ. 
grand  c.  The  combination  of  all 
the  reed-stops. 

Chor  (kor),  G.  Same  as  Choir  i,  2,  3  ; 
also  on  the  piano,  or  organ,  a  unison, 
i.  e.,  all  the  strings  or  pipes  belonging 
to  one  digital  or  pipe  ;  hence  a  piano 
with  3  strings  to  each  tone  is  drei- 
chorig. 

chora'gus,  chore'gus  (ko).  The  do- 
nor of  a  choral  or  dramatic  work.  At 
Oxford  the  director  of  Church  music. 

cho'ral.  Pertaining  to  a  choir  or  cho- 
rus, choral  service.  A  service  in 
which  the  entire  liturg)'  is  intoned  or 
chanted. 

chorale,  Choral  (ko-ral),  G.  i.  Chor- 
al psalm  or  hymn.  2.  Early  German- 
Protestant  hymn. 


94 


THE    MUSICAL    GUIDE 


chora  leon.     Vide  ^olomelodicon. 

choraliter  (ko-ral'-I-ter),  choralmas- 
sig  (mes-sikh),  G.     In  choral  style. 

Choramt  (kor'-amt),  G.  Choral  ser- 
vice. 

choraul'es.     A  Greek  flutist. 

chord.  I.  A  string.  2.  Vide  vocal  c. 
3.  A  combination  of  three  or  more 
tones,  whether  pleasant  or  discord- 
ant. 

The  chords  which  are  the  building-ma- 
terial of  all  our  music  are  made  up  of 
thirds  laid  brick-wise  one  upon  an- 
other. A  single  third  is  not  counted 
a  chord,  two  thirds  (for  instance  the 
two  intervals,  g-b-d)  make  up  a  triad  ; 
another  third  (d  to  f)  makes  a  chord, 
called  a  seventh  (g-b-d-f)  because  the 
interval  (q.  v.)  from  g  to  f  is  a  sev- 
enth ;  adding  another  third  gives  a 
chord  of  the  ninth  or  a  ninth 
chord  (g-b-d-f-a),  two  other  additions 
give  the  chords  of  the  eleventh  and 
thirteenth  (g-b-d-f-a-c-e)  (these  last 
are  usually  cacophonous,  and  their 
existence  as  special  chords  is  denied 
by  some  theorists).  To  add  another 
third  brings  us  back,  on  the  tempered 
scale,  to  g,  from  which  the  chord  grew 
and  which  is  known  as  the  funda- 
mental or  root  of  the  chord. 


Chords  are  distinguished  in  mode,  as 
major  or  minor,  from  the  majority  or 
minority  of  their  intervals,  a  minor 
triad  differing  from  a  major  in  hav- 
ing a  minor  third,  the  fifth  being  per- 
fect in  both  cases.  When  the  chord 
has  been  constructed  as  above  (g-b- 
d-f)  it  is  said  to  be  in  the  first  or 
root  or  fundamental  or  perfect  po- 
sition ;  it  may  re-appear  with  any 
of  its  notes  as  the  lowest  (though  g 
always  remains  the  root).  When  the 
3d  (b)  is  in  the  bass,  it  is  said  to  be 
in  the  2d  position;  when  the  fifth  (d),  it 
is  in  its  3d  position.  With  any  of  its 
notes  other  than  the  root  in  the  bass 
the  chord  is  said  to  be  inverted.  The 
names  of  these  inversions  have  been 
cumbrously  taken  from  the  intervals 
between  the  lowest  note  and  the  others, 
no  interval  being  stated  in  terms  of 
over  an  octave,  the  greatest  interval 
being  named  first,  and  some  of  the  in- 
tervals being  unmentioned,  especially 
those  of  doubled  notes  :  thus  the  in- 
tervals in  that  inversion  of  a  seventh 
chord  in  which  the  seventh  is  in  the 
bass  might  be,  counting  upward,  II 
(-4),  16  (-2),  20  (-6),  but  it  would  be 
called,  for  short,  a  4-2  chord,  or  chord 
of  the  second  and  fourth. 


In  the  following  table  the  names  of  all  the  inversions  are  given.     In  thorough- 
bass these  inversions  are  indicated  by  Arabic  numerals  above  the  bass  notes. 

5       8 
A  triad  in  the  root  or  fundamental  position  is  marked  — 3  or  3  or  5. 

3 
A  triad  in  the  ist  inversion  is  called  a  chord  of  the  6th  and  marked  6. 
A  triad  in  the  2d  inversion  is  called  a  chord  of  the  4th  and  6th  or  a  six-four 
6 
chord  and  marked  4.  7 

A  7th  chord  in  the  root  or  fundamental  position  is  marked  7  or  5. 

3 
A  7th  chord  in  the  ist  inversion  is  called  a  chord  of  the  5th  and  6th  or  a  six-five 
6       6 
chord,  and  marked  5  or  5. 
3 
A  7th  chord  in  the  2d  inversion  is  called  a  chord  of  the  3d,  4th  and  6th,  or  a 
6 
four-three  chord  and  marked  4  or  4. 
3 


DICTIONARY    OF    TERMS 


95 


A  7th  chord  in  the  3d  inversion  is  called  a  chord  of  the  2d  and  4th  or  a  four- 
4      6 
two  chord  and  marked  2  or  4. 

2  99 

A  9th  chord  in  the  root  or  fundamental  position  is  marked  9  or  7  5  according  as  the 

3  3 
5th  or  7th  is  omitted. 


A  line  or  dash  through  any  Arabic  nu- 
meral as  Z  means  that  the  note  it 
represents  is  sharpened  ;  it  may  be 
also  preceded  by  a  natural  or  flat. 
A  sharp  or  flat  standing  over  a  bass 
note  means  that  the  third  of  the 
chord  is  to  be  sharpened  or  flattened  ; 
a  dash  or  horizontal  line  following  a 
numeral  continues  its  tone  in  the  next 
chord. 

The  character  (but  not  the  inversion) 
of  chords  may  be  indicated  by  Roman 
numerals  indicating  the  degree  of  the 
scale  on  which  they  are  founded,  the 
scale  being  noted  by  a  large  letter  for 
major  (as  C),  and  a  small  for  minor 
(as  c).  Thus  IV  means  a  triad  on 
the  fourth  degree  with  a  major  third 
and  perfect  fifth  ;  iv.  a  triad  on  the 
fourth  .degree  with  minor  3d  and  per- 
fect fifth.  An  accent  after  the  numeral 
indicates  an  augmented  fifth,  as  IV'; 
a  small  cipher  indicates  a  diminished 
fifth,  as  Vir  ;  a  small  7  indicates  a 
chord  of  the  seventh.  These  devices 
are  an  heirloom  from  an  age  of  little 
modulation  and  formal  counterpoint ; 
they  were  shorthand  then,  but  to  our 
music  they  are  handcuffs.  They  have 
only  a  dry  te.xt-book  career,  and  alert 
theorists  are  rapidly  denying  them 
the  right  even  to  this  existence. 
Other  kinds  of  chords  are  character- 
istic, the  leading  chord  ;  chromatic, 
containing  a  chromatic  tone  ;  com- 
mon, a  triad  ;  accidental,  produced 
by  anticipation  or  suspension  ;  al- 
tered, having  some  tone  chromatical- 
ly changed  with  modulatory  effect  (one 
of  the  bugaboos  of  the  theorists),  vide 
ALTERED ;  anomalous,  vide  anom- 
aly ;  augmented,  having  an  aug- 
mented fifth  ;  broken,  vide  broken  ; 
derivative,  formed  by  inversion  ;  di- 


atonic, a  triad  ;  diminished,  having 
an  imperfect  5th  and  diminished  7th  ; 
dominant,  the  triad  or  7th  chord  on 
the  dominant ;  doubtful,  equivocal, 
resolvable  in  many  ways,  as  the  di- 
minished 7th  ;  imperfect,  having  an 
imperfect  fifth,  or  having  some  tone 
omitted  ;  leading,  the  dominant 
chord ;  related  or  relative,  con- 
taining a  tone  in  common ;  solid, 
opposed  to  broken  ;  threefold,  a 
triad  ;  transient,  modulatory. 

chord'a,  L.  A  string ;  a  note.  c. 
characteristica.  The  leading  note. 
c.  dominant  septima.  The  domi- 
nant chord  of  the  seventh  ;  no'na,  the 
ninth,  chordae  essentia'les.  The 
tonic,  third  and  fifth,  chordae  voca- 
les.     Vocal  chords. 

chordaulo'dian,  chordomelo'dion.  A 
large  automatic  barrel  organ,  inv.  by 
Kaufmann,  1812. 

Chordienst  (kor'-denst),  G.  Choral 
service.  Chordirektor.  A  director 
who  trains  a  chorus  at  the  opera 
house. 

chordom'eter.  A  gauge  for  measuring 
strings. 

Chore  (kar'e),  G.  plural.  Choirs,  cho- 
ruses. 

Chorist',  G.,  choriste  (ko-rest),  F., 
chorister,  E.  i.  A  leader  of  a  choir. 
2.  A  choral  singer.  Chorsanger, 
C.-schiiler,  C.-knabe  (kor'-kna-be), 
G.     Choir-boy. 

Chorstimme  (kor-shtlm-me),  G.  .Cho- 
rus part. 

Chorton  (kor-ton),  G.  "Choir-pitch." 
I.  The  pitch  at  which  choruses  for- 
merly sang  in  Germany.  2.  Choral 
tune. 

chorus.  I.  A  company  of  singers  ;  es- 
pecially in  opera,  etc.,  the  support- 
ing  body   of   vocalists   who   do   not 


96 


THE    MUSICAL    GUIDE 


sing  solos.  2  A  composition  for  a 
chorus,  usually  in  4  parts — a  "dou- 
ble chorus  "  requires  8  parts.  3.  A 
refrain.  4.  The  compound  stops.  5. 
The  bagpipe,  or  drone-pipe.  7.  Ma- 
rine trumpet.  8.  The  free-staves  of 
the  crwth.  chorusmaster.  The 
chief  singer  in  a  chorus. 

choutarah.     Vide  tambour.\. 

Chris'te  eleison  (a-la'-e-son),  Gr. 
"Christ  have  mercy;"  part  of  the 
Kyrie. 

Christmesse,  Christmette  (krest- 
met-te),  G.    Christmas  matins. 

chroma,  Gr.  i.  A  chromatic  modifi- 
cation of  the  Greek  tetrachord.  2.  A 
sharp  or  a  flat.  c.  duplex.  A  double 
sharp.  3.  c.  diesis.  A  semitone. 
4.  (Ore.  simplex.)  An  eighth  note. 
c.  duplex.     A  i6th  note. 

chromam'eter.     A  tuning-fork. 

chromatic,  chromatique  (tek),  F., 
chromatisch  (ma-tish),  G.,  cro- 
mat'ico,  /.  i.  Literally,  "col- 
oured "  and  implying  a  foreign  or 
added  tinge,  specifically  that  given  to 
the  sober  diatonic  notes  natural  to 
a  key,  by  an  unrelated  sharp,  flat  or 
natural  that  is  not  of  modulatory 
effect.  A  whole  scale  may  be  chro- 
matic (i.  e..  progress  by  semitones) ; 
a  chord,  an  interval  or  a  progression 
altered  by  a  flat  or  sharp  is  called 
chromatic,  and  the  process  of  so  mod- 
ifying it  is  called  c.  alteration  ;  an 
instr.  playing  semitones  is  called  C, 
and  the  signs  themselves  that  sharpen 
or  flatten  a  tone  are  called  c.  signs, 
or  chromatics.    2.  Vide  modes. 

chronometer.  Metronome,  particu- 
larly Godfrey  Weber's. 

chronom^tre  (kr6n-6-metr),  F.  A  form 
of  monochord  inv.  1827,  by  Raller,  to 
teach  piano-tuning. 

chrotta  (krot  ta).     Vide  crowd. 

church  cadence.    The  plagal  cadence. 

church  modes.     Vide  modes. 

chute  (shut),  F.  An  obsolete  sliding 
embellishment. 

ciaconne.     Vide  chaconne. 

ciaramella  (cha-ra-m^l'-la),  /.  A  bag- 
pipe. 


cicogna  (che-c6n-ya),  /.     Mouthpiece, 
cicu'ta,  Z.     A  Pan's  pipe. 
cicutrenna   (che-koo-tren'-na),    7.      A 


pipe. 
ifrj 


cifrato  (che-fra'-to),  I.     Figured. 

cimbalo  (chem'-ba-16),  /.  i.  Cymbal. 
2.  Tambourine.  3.  Harpsichord  or 
dulcimer. 

cimbalon.     Vide  czimbalon. 

Cimbel  (tslm'-bel),  G.  A  high  mixt- 
ure stop.  Cimbelstern.  A  group 
of  star-shaped  cymbals  attached  to 
old  organs. 

cinelli  (che-nel-le),  /.,  Cinellen  (tse- 
nel'-len),  G.     Cymbals. 

Cink  (tsink),  G.  1.  A  small  reed-stop. 
2.  Vide  ziNK. 

cinq  (sank),  F.,  cinque  (chen'kwe),  /. 
Five  ;  the  fifth  voice  or  part  in  a 
quintet,  a  c. — in  5  parts,  cinque- 
pace  (sank-pas).  Old  French  dance 
in  quintuple  time. 

cin'yra.     Old  name  for  harp. 

ciphering.  The  sounding  of  organ 
pipes,  when  the  keys  are  not  touched, 
due  to  leakage,  cipher  system.  An 
old  notation  using  numerals  instead  of 
letters. 

circle  of  fifths.  A  method  of  modu- 
lation by  dominants.  Vide  temper- 
ament and  preliminary  essay,  intro- 
duction TO  MUSIC. 

circular  canon.  A  canon  going 
through  the  major  keys. 

circular  scale.  The  curved  row  of  tun- 
ing-pins. 

Cis  (tses),  G.  The  note  C  sharp.  Cis- 
is.  C  double  sharp.  Cis-dur.  C  #  * 
major.     Cis-moll.     C  #  minor. 

cistel  la,  Z.     A  dulcimer. 

cistre  (sestr),  F.     Cither. 

cistrum,  Z.     Vide  sistrum. 

citara  (che-ta'-ra),  7.     Cither. 

citaredo  (the-ta-ra'-dho),  Sp.,  citarisca 
(che-ta-res-ta),  7.  A  minstrel,  a  player 
upon  the  harp  or  cittern. 

citerna  (che-ter'-na),  7.     Quinterna. 

cith'ara,  Z.  The  large  lyre  from  which 
the  guitar  and  zither  are  derived,  c. 
biju'ga.  A  2-necked  c.  c.  hispanica. 
The  Spanish  guitar,     keyed  c.    The 

.  clavicitherium.    cith'aris.    The  the- 


DICTIONARY    OF    TERMS 


97 


niodu 


orbo.  citharoe'dus.  A  singing  lu- 
tenist. 

cither,  cithera,  cithern,  cittern, 
cythorn.  An  old  guitar-like  instr., 
strung  with  wire  and  played  with  a 
plectrum  ;  sometimes  with  a  bow,  or 
by  means  of  keys. 

Cito'le.     A  dulcimer. 

cit'tam.     Ancient  English  guitar. 

civetteria  (che-vet-tg-re'-a),  /.  Co- 
quetry. 

dair  (kiar),  F.     Clear,  shrill,  loud. 

daircylindre   (klar-si-landr),  F.    Vide 

CLAVICYLINDER. 

dairon  (kiar-6h),  F.  i.  Trumpet.  2. 
Reed-stop.  3.  Vide  clarinet.  4. 
A  bugler. 

dang.  I.  A  bell-tone.  2.  In  acous- 
tics a  fundamental  tone  with  its  group 
of  over  and  under-tones,  their  com- 
pleteness giving  the  clang-colour  or 
clang-tint,  Tyndall's  word. 

dang-key,  ^.,  Klangschlussel,  G. 
Riemann's  word  for  his  system  of 
chord  designation  intended  to  supplant 
thorough-bass  as  a  better  method  of 
describing  a  combination  by  its  quali- 
ties. Intervals  are  reckoned,  not  from 
the  bass,  but  from  the  principal  tone 
of  each  chord.  He  uses  Arabian  fig- 
ures for  major,  Roman  for  minor 
chords,  the  former  indicating  an  inter- 
val upwards  from  a  tone,  the  lat- 
ter an  interval  below,  as  follows: 
I  (I).  Principal  tone.  .  2  (II).  Major 
2d.  3  (III).  Major  3d.  4  (IV). 
Perfect  4th.  5  (V).  Perfect  5  th. 
6  (VI).  Major  ^th.  7  (VII).  Mi- 
nor 7th.  8  (VIII).  Octave.  9  (IX). 
Major  9th.  10  (X).  Major  loth. 
<  indicates  raising  a  tone  by  a  semi- 
tone. >  Lowering  it  a  semitone  ; 
"  tones  doubly  raised  or  lowered  be- 
ing inconceivable  musically."  The 
major  chord  (or  upper-clang)  is  ab- 
breviated -\-  (for  5-3-1),  the  minor 
chord  (or  under-clang)  is  abbr.  o  (for 
I-III-V) — thus  a+  or  ao.  Feeling  that, 
for  instance,  the  tone  C  in  the  major 
triad  a|;>-c-e|j  has  a  different  meaning 
from  the  tone  c   in  the  minor   triad 


c,  P  ! 

pjjji^  j  a-c-e,  he  has  coined  for  this  "sub- 


stitution of  clangs  "  the  word 
Klangvertretung  (klang'-f^r-tra'- 
toongk).      clang-succession    is    a 

chord-progression  with  regard  to  its 
clang-meaning,  that  is,  a  tonality 
which  does  not  consider  every  chord 
in  its  proper  absolute  key  but  in  its 
relation  to  some  other  chord  to  which 
it  plays  the  part  of  principal  or  re- 
lated clang.  Fuller  particulars  of 
this  interesting  philosophy  must  be 
sought  in  Riemann's  Dictionary  of 
Music,  and  other  of  his  writings. 

claquebois  (klak-bwa),  F.  A  xylo- 
phone. 

clar.     Abbr.  of  Clarinet. 

clarabel'la,  L.  A  soft-voiced  wood 
organ-stop. 

claribel  flute,  i.  A  flute.  2.  A  4-ft. 
clarabella. 

clar'ichord,  clarico  lo,  clar'igold.  An 
old  harp,  or  a  clavichord. 

Clarin  (kla-ren',  G.  \nF.  klar-ah).  i. 
A  clarion.  2.  A  4-ft  reed-stop. 
Clarinblasen.  Soft  notes  of  the 
trumpet. 

clarinet,  clarinette  (net),  F.,  dari- 
netto,  /.  An  important  wood-wind 
instr.  with  a  single  beating  reed,  cylin- 
drical tube  and  bell.  It  is  in  effect  a 
stopped  pipe  (q.  v.)  and  sounds  an 
octave  lower  than  other  wood-wind 
of  its  length  ;  it  has  only  the  odd- 
numbered  partials  in  the  overtone- 
scale,  and  requires  a  different  fin- 
gering from  the  oboe,  etc.  It  has 
18  holes,  including  13  with  keys,  by 
means  of  which  it  has  a  range  of 
3  octaves  and  a  sixth,  which  range 
is  sharply  divided  into  four  distinct 
qualities  of  tone:  i.  The  highest, 
or  superacute,  being  (in  the  normal 
soprano  clarinet  in  C)d"' -c"".  2.  The 
high  or  clarinetto  or  clarion  regis- 
ter (whence  the  instr.  took  its  name) 
b'-c'".  3.  The  medium,  f  -b'h>.  4.  The 
chalumeau  (shal'-ii-mo)  or  Schalmei 
(shal-mi)  g-e'  ;  the  qualities  being  re- 
spectively. I.  Shrill.  2.  Liquid  and 
clear.  3.  Veiled  and  feeble.  4.  Rich 
and  sonorous  like  a  contralto  voice. 
The  clarinet  is  a  transposing  instr. 


98 


THE    MUSICAL    GUIDE 


written  in  the  C  clef ;  it  is  made  in 
many  sizes  to  adapt  it  to  different 
keys  ;  the  large  soprano  in  C,  Bt»  (of- 
ten called  simply  "  clarinet  in  13  ")  and 
A ;  the  small  soprano  in  D,  E,  F, 
A\)  ;  the  alto  or  barytone  in  F  and 
Et>,  the  bass  (an  octave  lower  than 
the  sopranos)  in  C,  B  b  and  A.  The 
soprano  in  B  j?  is  the  most  brilliant ; 
the  soprano  in  A  is  very  tender  in  tone. 
The  small  sopranos  are  too  shrill 
for  use  except  in  military  bands  in 
which  the  clarinet  group  serves  the 
substantial  purpose  served  by  the 
strings  in  the  orchestra. 
The  clarinet  is  an  improvement  (made 
by  Denner  of  Nurnberg,  1700)  upon 
the  old  chalumeau  or  Schalmei, 
whose  name  still  persists  in  the  low 
register  of  the  clarinet.  The  ch.  had 
a  single,  beating  reed,  a  cylindrical 
tube  and  nine  holes,  each  of  which 
produced  a  tone  giving  a  compass  of 
these  natural  tones,  f-a'.  By  plac- 
ing a  hole  and  a  key  at  a  nodal  point 
dividing  the  tube  into  3  equal  parts, 
overblowing  became  possible  in  the 
twelfth,  i.  e.,  the  3d  partials  (vide 
acoustics).  This  new  register  was 
called  clarinetto  or  clarion  for  its 
clarity  of  tone,  and  from  this  word 
came  the  present  name  of  the  instr., 
all  of  whose  gaps  have  been  tilled  by 
means  of  the  Bohm  key-mechanism, 
etc.,  though  the  fingering  is  still  dif- 
ficult and  a  slip  gives  a  squawk  called 
the  "  goose  "  or  couac. 
2.  A  soft  8-ft.  reed-stop,  clarinet 
flute.  A  flue-stop  with  holes  in  the 
cover. 

clarino  (kla-re'-no),  /.,  clarion,  E. 
(in  F,  klar-yon).  i.  A  small  trum- 
pet. 2.  A  4-foot  organ  reed-stop,  an 
octave  above  the  trumpet.  3.  The 
trumpet  parts  in  score.  C  harmon- 
ique.     A  reed-stop. 

clarionet.  Obsolescent  spelling  of 
clarinet. 

clarionet-flute.     A  stop. 

clarone  (kla-ro'-ne),  /.     A  clarinet. 

clarseach  (klar'-sakh),  clarseth  (klar'- 
s6).     The  old  Irish  harp. 


claus'ula,  L.     A  dance. 

clavecin  (klav-sin),  F.  i.  The  harpsi- 
chord. 2.  The  keys  a  bell-ringer 
plays  on.  C  acoustique.  An  instr. 
of  the  i8th  cent,  imitating  various 
instruments. 

Claviatur  (kla-fl-a-toor'),  G.  The 
key-board. 

clav  ichord.  Prototype  of  the  piano, 
the  strings  being  set  in  vibration  not 
by  hammers,  but  by  small  brass 
wedges  (called  tangents)  on  the  ends 
of  the  keys  ;  these  set  only  one  sec- 
tion of  the  string  in  vibration. 

clavicyl'inder.  An  instr.  inv.  by 
Chladni,  about  1800,  consisting  of 
cylinders  of  glass  attuned. 

clavicymbalum,  Z.,  clavicembalo,  /. 
The  harpsichord. 

clavicythe'rium,  Z.  An  upright  harp- 
sichord of  the  13th  Century. 

Clavier  (clav-ya,  F.,  in  G.  kla-fer'), 
I.  The  key-board.  2.  An  old  name  for 
the  clavichord.  3.  c.  de  r6cit.  The 
swell  manual.  4.  In  French  use,  the 
gamut  included  in  the  stave.    5.  Vide 

KLAVIER. 

clav'is,  Z.  and  G.  i.  A  key.  2 
A  clef.  3.  A  note.  4.  Handle  of  a, 
bellows. 

cl6  (kla),  clef  (kla),    F.     (In   Englisbj 
pron.   "  klgf.")     A   florid  form   of  a 
letter,  used  as  a  symbol  with  a  fixedl 
note-meaning,  from  which  it  takes  it 
name,  as  the  so-called  "c"  clef  de-j 
noting  that  whichever  line  it  grips  i! 
middle   C    (c').     The   most  commorl 
clefs  are  the  "  G"  (or  treble  c.  01 
clef  sol,  or  clef*  descant,   or  vio- 
lin c.)  which  is  always  seen  now  0l| 
the   2d  line;  the  F.   (or  bass  or  c 
de  fay).     (These  two  are  those  usee 
in  piano  music.)    The  C  (orclef  d'ut 
is  used   movably   and    is   called  thi 
soprano    (or  German   soprano)  o 
discant  c. ;  or  the  alto  ;  or  the  teno 
(or  mean  or  counter-tenor)  clef,  ac 
cording  as  it  is  placed  on  the   first 
the  3d  or   the   4th   line,   in  each  c 
which  cases  it  marks  middle  C.     Th 
C  clef  is  found  in  various  forms  an 
is  still  used  in  music  for  the  'cello  an 


DICTIONARY    OF    TERMS 


99 


Mt,| 

1 


other  instruments  and  in  contrapuntal 

writing. 

The  obsolete  clefs  are  the  F  on  the 

3d  line  (the  barytone  clef),  the  C  on 

the  2d  line  (the  mezzo  soprano),  the 

G  on  the  ist  line  (the  French  violin, 

or  French  treble  clef), 

clear  flute.     Organ-stop. 

clef  d'accordeur  (dak-kor-dur),  F. 
Tuning-hammer. 

cloc'ca,  Z.,  cloche  (klosh),  F.  A  bell. 
clochette.     A  hand-bell. 

clock.  To  swing  the  clapper  of  a  sta- 
tionary bell. 

clog,  /n's/i.     A  shuffling  dance. 

:loro  ne,  7.     Alto  clarinet. 

:lose  (kloz).     A  cadence. 

:lose  harmony  or  position.  That  in 
which  the  chords  spread  over  little 
space;  when  a  chord  extends  beyond 
an  octave  it  is  said  to  be  in  open  po- 
sition. 

:lose  play.  Lute-playing  in  which  the 
fingers  remain  on  the  strings. 

:lose  score.  That  with  more  than  one 
voice  on  a  stave. 

:-moll  (tsa-mol),  G.  The  key  of  C 
minor. 

:.  0.     Abbr.  of  choir-o7-gan. 

:oalotino  (ko-a-lot-te'no),  I.  Concer- 
tino. 

•-occhina  (kok-ke'-na),  /.  An  Italian 
country-dance. 

:o'da,  /.  "Tail."  i.  An  additional 
termination  to  the  body  of  a  compo- 
sition, ranging  from  a  few  chords  to 
a  long  passage.  2.  The  stem  of  a 
note. 

:odet'ta.  i.  A  short  coda.  2.  A 
short  passage  in  fugue,  between  the 
end  of  the  subject  and  the  entry  of 
the  answer. 

-odon,  Gr.  i.  A  little  bell.  2.  The 
bell  of  a  trumpet. 

:oelesti'no  (or-a).  A  name  formerly 
applied  to  various  keyed  instruments. 

:offre  (kofr),  F.  The  frame  of  an 
instrument. 

;ogli  (kdl'-ye),  coi  (ko'-e),  col,  coll', 
colla,  collo,  /.  Forms  of  the  prepo- 
sition "con,"  and  the  definite  article 
meaning  "  with  the." 


colachon  (ko-la-shoh),  F.  An  instr.  like 
a  lute  with  longer  neck. 

colascione.     Vide  calascione. 

collet  (kol-la),  F.  The  neck,  as  of  a  vio- 
lin. 

collinet  (kol-ll-na).  A  flageolet,  named 
from  a  famous  virtuoso  on  it. 

colofo'nia,  /.,  colophane  (k61-6-fan), 
/".,  Colophonium  (k6-16-f5'-nI-oom), 
G.,  colophony,  E.     Resin. 

colorato  (k6-l6-ra'-to),  /.     Florid. 

coloratura  (k6-16-ra-too'ra)  (pi  e),  /., 
Coloraturen  (ko-lo-rii-too'-ren),  G. 
Ornaments  and  ornamental  passages, 
in  vocal  or  instrumental  music  ;  brill- 
iant vocalization. 

coloris  (ko-lo-re'),  F.,  Colorit  (ret'), 
G.     The  ' '  colour  "-scheme  of  a  work. 

colour.  I.  Vide  NOTATION.  2.  Timbre. 
3.  Literally  colour  ;  to  some  minds 
each  tone,  or  each  key,  has  a  distinc- 
tive actual  colour,  as  C  is  red  to  some, 
C#  scarlet,  C  5  blood  red,  Cb  darker, 
etc.  The  Editor  has  even  met  a 
painter  who  claimed  the  ability  to  play 
any  picture  or  paint  any  composition. 

colpo,  (Ji,  /.     "  At  a  blow,"  abruptly. 

combinational  tones.  Vide  result- 
ant TONES. 

combination  mode.  The  ambiguous 
mode  resulting  from  resolving  a  dom- 
inant chord  in  a  minor  key  to  the 
tonic  major. 

combination  pedals.  Vide  compo- 
sition PEDALS. 

come  (k5'me),  /.  As,  like,  the  same  as. 
c.  prima.  As  before,  as  at  first,  c. 
sopra.  As  above,  c.  sta.  Exactly 
as  it  stands. 

co'mes,  L.  i.  In  fugue,  the  companion 
or  answer,  to  the  dux  (leadci-),  or  sub- 
ject.    2.   In  canon,  the  consequent. 

comiquement  (ko-mek-man),  F.  Com- 
ically. 

com'ma.  i.  A  breathing-mark.  2.  A 
theoretical  term  indicating  the  minute 
difference  between  two  tones  nearly 
identical,  (a)  The  comma  synto- 
num,  or  c.  of  Didymus,  is  that  be- 
tween a  major  and  a  minor  tone  80 :  8 1. 
(b)  The  comma  ditonicum,  or  c.  of 
Pythagoras,  is   that   by  which  six 


lOO 


THE    MUSICAL    GUIDE 


whole  notes  with  the  ratio  q  :  8  exceed 

the  octave,  or  531  +    :    524  +. 
com(m)odamen'te,     com'(in)odo,     /. 

With  ease. 
common.     Vide  chord  and  turn.     c. 

measure  or  time.     4-4  time. 
compass.     Range  of  a  voice  or  instr. 
compiacevole        (l<6m-pla-cha'-v6-Ie), 

compiacevolmen  te,    /.      Pleasant- 

(ly). 

complainte  (kon-plant),  F.  A  religious 
ballad. 

com'plement.  That  quantity  or  inter- 
val which  fills  up  an  octave,  as  a 
fourth  is  c.  to  a  fifth. 

complementary  part.  In  fugue,  the 
part  added  to  the  subject  and  counter- 
subject. 

complete.     Vide  cadence. 

completo'rium,  Z.,  com'pletory,  E. 
I.  An  Ambrosian anthem  supplement- 
ary to  the  antiphon.     2.  A  compline. 

complin(e),  L.     Vide  Horae  canon- 

TCAE. 

componis'ta,  /.     A  composer. 

compo'num.  A  machine  inv.  by  Win- 
kel  to  present  a  given  theme,  in  end- 
less variety  of  forms. 

composition,  /.  The  act,  art  or  sci- 
ence of  writing  original  music. 

composition  pedals.  Pedals  inv.  by 
J.  C.  Bishop,  connected  with  a  mech- 
anism for  bringing  into  use  several 
stops  simultaneously. 

composizione  di  tavolino  (kom-po-ze- 
tsI-6'-ne  de  ta-vo-le'-no),  I.  Table- 
music. 

compos'to,  /.     Composed,  quiet. 

compound.  Of  intervals,  those  ex- 
ceeding the  octave,  c.  stop.  One 
having  more  than  one  rank  of  pipes. 
c.  measures  or  times.  Those  which 
contain  more  than  one  principal  ac- 
cent, as  6-4,  9-S,  etc. 

compressed  score.     Close  score. 

comprimaria  (kom-pre-ma'-rl-a),  /. 
The  next  in  rank  to  9.  prima  donna. 

con  (kon),  /.  "  With  ;  "  it  is  often  com- 
bined with  the  article  "the,"  vide 
coGLi,  etc.     con.  Sva,  vide  ottava. 

concave  pedals.     Radiating  pedals. 

concealed.     Vide  hidden. 


concento  (kon-chen'-to),  7.  i.  Concord. 

2.  Non-arpeggiation. 
concen'tus,  L.     i.  Concord,  vide  ac- 

CENTUS. 

concert  (in  F.  koh-sar').  i.  A  public 
performance.  2.  c.  spiiltuel.  Sa- 
cred concert.  Dutch  c.  An  impro- 
vised chorus  of  little  regularity  and 
much  hilarity.  3.  A  concerto.  4.  A 
set  of  instrs.   of  different  size,    vide 

CHEST  OE  VIOLS. 

concertante  (kon-cher-tan'-te),  /.  i. 
A  piece  in  which  each  part  is  alter- 
nately principal,  as  a  duo  concer- 
tante. 2.  A  concerto  for  two  or 
more  instrs.,  with  orchestral  accomp. 
c.  style.  In  brilliant  concert  style. 
c.  parts.  Parts  for  solo  instrs.  in  an 
orchestral  work. 

concertato  (ta'-to),  /.,  concerted,  E. 
Used  of  music  for  several  voices  01 
instruments. 

concert-grand.  The  largest  size  of 
the  piano. 

concertina  (k6n-sgr-te'na).  Chas. 
Wheatstone's  improved  accordeon 
(q.  V.)  inv.  1829.  It  is  double-action, 
producing  tone  on  being  drawn  oul 
or  compressed.  Its  2  key-boards  ar( 
hexagonal,  and  the  English  treble  c 
(much  superior  to  the  German)  has  j 
range  of  four  octaves  from  g  belov 
middle  C  with  all  the  chromatic  tones 
The  c  is  to  be  had  also  in  alto,  tenor 
bass  and  double-bass  ranges. 

concertino  (kon-cher-te'-no),  /.  i.  / 
small  concerto.  2.  Principal  as  op 
posed  to  ripieno,  e.  g.,  violino  c. 
principal  violin.  3.  The  first-violii 
part. 

concertis'ta,  /.     Virtuoso. 

Concertmeister  (kon-tsert-mlshter) 
G.  I.  The  leader.  2.  The  first  c 
the  first-violins. 

concerto  (kon-cher'-to),  /.  i.  A  cor 
cert.  2.  A  composition  for  one- 
two  {double)  three  {triple) — or  moi 
solo  instruments  with  orchestral  a( 
companiment.  It  is  usually  in  sonat 
form  with  modifications  to  alio 
of  virtuosity,  notably  the  cadenzf 
played  by  the  performer  of  the  soJ 


( 


DICTIONARY    OF    TERMS 


lOl 


part  just  before  the  concluding  tutti 
of  the  first  and  last  movement.  For- 
merly the  word  was  applied  to  con- 
certante.  Torelli  is  credited  with 
the  modern  form.  The  c.  without 
orchestral  accompaniment  (c.  a.  solo) 
is  very  rare.  c.  da  camera.  Cham- 
ber concerto,  opposed  logrosso.  c.  da 
chiesa  (kl-a'-za)  or  c.  ecclesiastico. 
(a)  In  Viadana's  work,  merely  motets 
with  accomp.  for  organ,  (b)  A  con- 
certo for  church  use.  c.  doppio.  a 
C,  for  two  or  more  instruments,  c. 
gros'so.  A  composition  for  full  or- 
chestra, c.  spirituale.  Sacred  con- 
cert. 

concert  pitch.  Vide  a,  of  which  the 
French  standard  is  now  generally 
adopted.  By  this  all  the  tones  are 
regulated.  In  England  c.  p.  refers 
to  a  pitch  almost  half  a  tone  higher 
than  the  international  pitch. 

Concertspieler  (kon-tsert'-shpe-ler),  G. 
A  solo  or  concerto  player.  Con- 
cert stiick  (shtiik).  I.  A  concert- 
piece.     2.  A  concerto. 

concitato  (kon-chl-ta-to),  /.  Agi- 
tated. 

conclusione  (kloo-zT-o'-ne),  /.  Con- 
clusion. 

concord.      An    harmonious    combina- 
tion,   concordant,     i.  Harmonious. 
2.  In  P'rench  use  (pron.  kon-kor-dah), 
a  barytone. 
/;J|con-dissonant.     Used  of  a  triad  which 
is  consonant  with  each  of  two  mutual- 
ly dissonant  triads. 
as(Konducten(dook'-ten),  G.  Wind-tubes. 
jliuoi  conductor.    The  time-beater  and  direc- 
tor of  a  chorus  or  orchestra. 

COnduct'us,  Z.  That  form  of  discant 
in  the  12th  century  in  which  not  only 
the  improvised  counterpoint  of  the 
singers  was  original,  but  the  central 
melody  (or  cantiis  firmiis)  also. 

Jconduit   (kon-dwe),    F.       i.  A   wind- 
trunk.     2.  Conductus. 
Jicone-gamba.     The  bell-gamba. 

coniinal.     Vide  final. 

conjoint,  or  conjunct,  £.,  congiunto 
(joon'-to),  /.     I.   Used  of  notes  lying  , 
immediately  next  to  each  other ;  of 


the  I 


motion  or  succes^sijn  proceeding  legu- 
larly  by  single  degrees.  2.  Applied 
by  the  Greeks  to  tetrachords,  in  which 
the  highest  note  of  the  lower,  was  also 
the  lowest  note  of  the  upper,  tetra- 
chord. 
connecting  note.     One    common    to 

successive  chords. 
consecutive.     Following  in  immediate 
succession.     Chiefly  applied  to  pro- 
gressions of  intervals  such  as  perfect 
fifths  and  octaves,  strictly  forbidden 
in  most  cases. 
conseguente   (gwen'-te),   /.,    conse- 
quent, E.     In   fugue  or  canon,  the 
imitation  or  answer  of  the  subject. 
conservatoire     (kon-ser-va-twar),    /"., 
conservato  rio,     /.,     Conservato- 
rium  (oom),  C,  conservatory,   E. 
A  school  of  music. 
consolan'te,  /.    Consoling,     consola- 

tamen'te.  Cheeringly. 
consonance,  E.,  consonanza  (nan- 
tsa),  /.  An  accord  of  sounds,  not 
only  agreeable  but  restful,  cf.  disso- 
nance, imperfect  c.  A  major  or 
minor  third  or  si.xth.  perfect  c.  An 
octave,  fifth  or  fourth,  consonant. 
Harmonious,  c.  chord.  One  with- 
out a  dissonant  interval. 
consort,     i.  To  be  in  accord.    2.  A  set, 

as  of  viols,  cf.  CHEST. 
constituents.     Partial  tones. 
cont.     Abbr.  of  coiitaiio. 
contadines'co,  /.     Rustic. 
contano,  /.     "  They  count,"  of  instrs. 

which  "  rest." 
continua'to  (tin-oo-a'-to),  /.  Sustained. 
continued  bass.     Vide  bass  (6). 
continuo,  /.     Vide  bass  (6). 
contra.     Against  or  under.    As  a  pre- 
fix to  names  of  instruments,  or  of  or- 
gan-stops,   it    indicates    a    pitch    an 
octave    lower  than  the  standard,    as 
Contraposaune,     contra  -  octave. 
(Vide  pitch),  contra-arco.    Bowing 
against   the   rule.        contra-tempo. 
Syncopation,     contrabass  (kon-tra- 
bas).  The  double-bass,    contrabom- 
barde.     A  32-ft.  stop  in  the  pedal. 
contraddanza    (kon-trad-dan'tsa),    /. 
A  country-dance. 


102 


THE    MUSICAL    GUIDE 


cont-ralto  (kon-tral'-to),  /.  The  deepest 
female  voice.  The  term  means  lower 
than  the  alto  (high),  the  former  name 
of  male  soprano. 

contrappunto  (poon'-t5),  /.  Counter- 
point, contrappuntista.  One  skilled 
in  cpt.  c.  alia  decima.  .  Double 
counterpoint  in  the  tenth.  c.  alia 
mente.  Improvised  cpt.  alia  zop- 
pa,  or  syncopata.  Syncopated  cpt. 
c.  doppio.  Double  cpt.  c.  doppio 
alia  duo  decima.  Double  cpt.  in 
the  twelfth.  c.  sciolto  (shol'-to). 
Free  cpt.  c  sopra  (sotto)  il  sog- 
getto  (s6d-jet'-to).  Cpt.  above  (be- 
low) the  subject. 

contrapunct'us,  L.  Counterpoint,  c. 
flo'ridum,  L.  Florid  cpt.  c.  in 
decima  gradi.  Double  cpt.  in 
which  the  parts  move  in  tenths  or 
thirds  below  the  subject,  c.  simplex. 
Simple  cpt. 

contrapuntal.  Relating  to  counter- 
point, contrapuntist.  One  skilled 
in  counterpoint. 

contrario(tra-rr-6), /.  Contrary.  Vide 
MOTION,  contrary  bow.  A  re- 
versed stroke. 

contrasogetto  (s6d-jet'-to),  /.  Coun- 
ter-subject. 

contratenor.     Vide  counter-tenor. 

Contratone  (kon'tra-ta-ne),  G.  The 
deeper  bass  tones. 

contraviolo'ne,  /.     Double-bass. 

centre  (kofitr),  F.  Contra,  or  coun- 
ter, as  contrebasse.  Double-bass. 
c.  6clisse.  Lining,  c.  partie.  Apart 
contrasted  with  another,  as  bass 
and  soprano,  contrepoint  (kontr- 
pwin).  Counterpoint,  contresujet. 
Counter-subject,  contre-temps.  Syn- 
copation. 

contredanse  (koii-tru-dans),  F.  A 
country-dance,  in  which  the  dancers 
stand  in  opposite  ranks. 

conver'sio,  L.     Inversion. 

coper  to,  /.  I.  Covered  (as  fifths).  2. 
Muffled  (as  drums). 

copula,  /.  I.  A  coupler.  2.  A  stop 
requiring  a  coupler. 

cor.     Abbr.  of  cornet. 

cor  (kor),  F.     Horn,     cor-alt.   Alta 


horn,  cor-basse.  Bass-horn,  c-an- 
glais.  "  English  horn,"  in  reality 
an  alto  oboe  (q.  v.).  c.  de  basset. 
Basset-horn.  c.  de  chasse  (shas). 
Hunting-horn  ;  the  French  horn.  c. 
de  postilion.  Postilion's  horn.  c. 
de  signal.  A  bugle,  c.  de  nuit. 
The  Cremona  stop.  c.  de  vaches. 
Cow-horn.  c.  omnitonique.  A  Sax- 
horn. 

corale  (ko-rale),  /.     Chora. 

coranto   (k6-ran'-to),    /.      Vide   cou- 

R.\NTE. 

corda  (kor'-da),  /.  A  string  ;  tina  corda, 
one  string,  i.  e.,  the  soft  pedal  ;  dtte 
(two)  or  tre  (three)  or  tutte  (all)  le 
corde  (the  strings),  "  release  the  soft 
pedal !  "  In  violin-playing,  diie-corde, 
means  ' '  play  the  same  note  on  2  strings 
simultaneously  ;  "  iina.  2da,  jza,  or 
4ta  corda,  means  that  the  passage  is 
all  to  be  played  on  the  string  indi- 
cated. 

cordatura  (too'-ra),  /.  Vide  ac- 
cord (3). 

corde  (kord),  F.  A.  A  string,  c.  a 
boyau.  Catgut,  c.  a  jour  (zhoor). 
c.  a  vide  (ved).  Open  string,  c. 
de  luth.  A  lute-string,  c.  fausse 
(fos).  A  false  string.  c.  sourde. 
(soord).     A  mute-string. 

cordier  (kord-ya),  F.  cordiera  (kor- 
dl-a-ra'),  /.     Tail-piece. 

cordometre  (kor-do-metr),  F.  String- 
gauge. 

corifeo  (k5-rT-fa'-6),  /.  Leader  of  a 
ballet,  corimagistro  (ma-jes'-tro). 
Leader  of  a  chorus. 

corista  (ko-res'-tii), /.  i.  Chorister.  2. 
Tuning-fork  or  pitch-pipe. 

cormorne.  i.  A  soft-toned  horn.  2. 
A  reed-stop. 

corn  (korn).      Welsh.     Horn. 

cornamusa  (kor-na-moo'-za),  /.,  cor- 
nemuse  (korn-mliz),  F.     Bagpipe. 

cor'net  (not  cornet'),  E.  (in  F.  kor-na), 
Cornett',  C.  i.  Loosely  used  of  the 
cornet  d  pistons  (q.  v.)  2.  An  obso- 
lete wind  instr.  of  the  15th  cent,  made 
straight  {diritto  or  muto)  and  bent 
i^curvo  or  torto)  ;  the  latter  was  also 
called  cornon  or  cornetto  basso 


DICTIONARY    OF    TERMS       103 


and  was  the  original  of  the  serpent. 
3.  Various  reed-stops  as  echo  c, 
mounted  c,  grand  c,  c.  de  r^cit, 
C.  dreifach  (or  3-ranked). 

corneta  (kor-na'-ta),  cornet'to,  /.  A 
i6-ft.  reed-stop. 

cornet  a  bouquin  (boo-kan),  F.  Bugle- 
horn. 

cornet  a  pistons  (kor-na  ta  pes-toii), 
F.  A  3-valved  chromatic  brass  in- 
strument of  the  trumpet  family.  It 
has  a  plebeian  voice  of  great  agility. 
It  is  a  transposing  instr.  written  in 
the  G  clef.  It  is  usually  in  Bf?,  and 
has  crooks  (A,  A[;),  G).  It  has  a 
chromatic  compass,  f#  -c'" 

COr'no,  /.  Horn.  c.  alto.  A  horn 
of  high  pitch,  c.  basso.  A  bass- 
horn,  c.  di  basset'to.  i.  The  bas- 
set-horn. 2.  A  soft-reed  stop.  c.  di 
caccia  (kat'-cha).  The  hunting  or 
French  horn.  c.  dolce  (dol'che). 
An  organ-stop.  c.  in  B  basso.  A 
low  B  horn.  c.  inglese  (en-gla'ze). 
The  English  horn  (vide  oboe),  c. 
ventile  (ven-te'-le).  Chromatic  horn. 
c.  sor'do.     A  horn  with  dampers. 

COrnope'an.  i.  Cornet  a  pistons.  2. 
An  8-ft.  reed-stop. 

co'ro,  /.  and  Sp.  Chorus,  c.  della 
chiesa,  /.  Church-choir,  c.  primo. 
The  first  chorus. 

coro'na,  /.     A  pause  or  fermate  (O). 

coronach  (k6r'-6-nakh).  A  Gaelic 
dirge. 

corps  (kor),  F.  Body  (as  of  an  instru- 
ment), c.  de  ballet  (bal-la).  All 
the  dancers  in  a  ballet,  c.  d'har- 
monie  (dar-mo-ne).  A  fundament- 
al chord,  c.  de  musique.  A  band. 
c.  de  r^change.  The  crook  of  a 
horn.  c.  de  voix.  Body  or  range 
of  a  voice. 

corren'te,  /.     Vide  courante. 

Coryphaeus,  G.  i.  The  conductor  of 
the  chorus.  2.  At  Oxford,  a  special 
instructor  in  music. 

coryphee  (ko-rl-fa),  F.  i.  The  leader 
of  dancers.     2.  A  ballet-dancer. 

cosaque  (ko-sak),  F.  The  Cossack 
dance. 

cotillon  (ko-te-yon),  F.     "  Petticoat." 


An  elaborate  ceremonial  dance  of 
many  couples,  not  unlike  the  Ger- 
man. 

couac  (kwak),  F.     Vide  goose. 

couched  harp.     Spinet. 

coul6  (koo-la),  F.  r.  Slurred.  2.  A 
grace  note  consisting  of  two  or  three 
sliding  notes,  indicated  by  a  dash  be- 
tween the  notes. 

coulisse  (koo-les),  F.  i.  Slide  (vide 
trombone).  2.  Side-scene,  wing  (of 
a  theatre). 

count.  A  beat.  To  count  time,  to 
measure  the  beats  audibly  or  men- 
tally. 

counter-.  A  prefix  indicating  contrast, 
as  cotinter-tenor  (once  a  name  for  the 
alto  voice),  is  higher  than  the  usual 
tenor  ;  often  falsetto  or  artificial  tenor  ; 
counter-bass  is  lower  than  the  usual 
bass  ;  counter-tenor  clef,  vide  clef  ; 
counter-subject,  vide  FUGUE. 

counterpoint.  Originally  notes  were 
called  "  points  ;  "  the  literal  meaning 
of  counterpoint  is  therefore  "note 
against  (or  in  accompaniment  with) 
note  ;  "  it  is  loosely  used  of  the  combi- 
nation of  independent  voices  as  in  a 
quartet.  It  is  more  strictly  used  (a)  of 
the  art  of  writing  simultaneous  melo- 
dies or  (b)  of  the  melodic  part  added  to 
a  given  part  called  the  cantus  finnus 
(q.  v.).  The  contrapuntal  style  dif- 
fers from  the  harmonic  in  that  while 
the  latter  consists  of  melody  accom- 
panied by  chords,  the  former  is  a  com- 
bination of  melodic  parts.  The  su- 
preme contrapuntal  forms  are  Canon 
and  Fugue.  Of  counterpoint  there 
are  five  species  :  i.  Note  against  note 
— a  semibreve  against  a  semibreve. 
2.  Two  notes  against  one ;  3.  Four 
notes  against  one.  4.  Syncopation. 
5.  Florid  counterpoint — a  mixture  of 
the  preceding  species.  Counterpoint 
is  also  Simple  and  Double.  In  the 
latter,  the  parts  are  invertible,  i.  e., 
may  be  transposed  an  octave,  or 
ninth,  tenth,  twelfth,  etc.,  above  or 
below  one  another.  Counterpoint  is 
triple  (or  quadruple')  when  3  or  4 
parts  are  mutually  invertible. 


.04 


THE    MUSICAL    GUIDE 


Counterpoint. 

By  Homer  A,  Norris. 

THE  art  of  combining  melodies  is  called  counterpoint.  When  a  pianist 
"  plays  *  Old  Hundred  '  in  one  hand,  and  •  Yankee  Doodle  '  in  the 
other  "  he  illustrates  the  contrapuntal  idea.  Weingartner's  arrange- 
ment of  Weber's  "Invitation  to  the  Dance"  represents  most  ingenious 
counterpoint.  In  strict  (plain,  simple)  counterpoint,  no  combination  of 
notes  representing  more  than  three  sounds  is  allowed  ;  no  dissonances  except 
passing  notes ;  no  chromadcs.  ^[Counterpoint  is  double  when  it  may  be 
correctly  used  either  as  an  upper,  or  a  lower  part  ;  i.  e.,  when  it  admits  of 
double  employment.  Double  counterpoint  may  be  so  written  as  to  invert  in 
the  8th,  9th,  I  2th,  or  any  other  interval.      The  following  is  an  example  of 


double  counterpoint,  fi  Within  the  confines  of  strict  counterpoint  ecclesiastical 
music  reached  its  loftiest  expression  through  Palestrina,  in  about  1600.  ^In 
modern  harmony  chords  may  be  built  up  of  three,  four,  five,  and  even  more 
different  sounds.     When  the  contrapuntal  idea  is  applied  to  modern  harmony, 


DICTIONARY    OF    TERMS       105 


'piaiis 

■m  0 

may  it 
lilniitsol 
invert  i 
fflipleol 


the  result  is  caWed  free  counterpoint.  Free  counterpoint  is  simply  a  contra- 
puntal manipulation  of  modern  harmony,  as  opposed  to  strict  counterpoint 
which  is  limited  to  chords  of  three  sounds.  Bach  re-established  the  counter- 
point_o£Palesmna  OTL  the  modern-harmonic  Jbass.  In  JbisJigues  ihe  contra- 
puntal,^or  polyphonic,  idea  is  found  in  its  most  perfect  form.  ^[The  very 
essence  of  Wagner's  music  is  counterpoint.  When  the  melodies  of  "Die 
Meistersinger  "  are  brought  together  in  the  overture  it  is  modern  counter- 
point ;  not  an  end  in  itself,  but  as  a  means  to  direct,  emotional  expression. 
^So  from  out  this  old  counterpoint  has  come  a  new,  which  to-day  permeates 
all  music.  Neither  Brahms  nor  Richard  Strauss  could  exist  but  for  the  industry 
of  those  early  savants,  who,  piling  notes  upon  notes,  laid  a  foundation  for 
the  cathedral  of  music  which  has  risen  majestically  under  Bach,  Handel, 
Mozart,  Beethoven,  Brahms,  and  Wagner.  It  is  modern  counterpoint, 
counterpoint  with  a  soul  in  it,  which  distinguishes  all  great  work  to-day  and 
stamps  it  for  posterity. 


^ 


i 

1 


counterynge  ye  songe  (kovvn'-ter- 
ing  the  song)  (old  E.).     Descant. 

country-dance.  Whatever  the  ety- 
mology, a  country-dance  is  a  contra- 
dance  (in  duple  or  triple  time)  in 
which  partners  are  ranged  opposite 
each  other. 

coup  (koo),  F.  Blow.  c.  d'archet 
(dSr-sha).  A  stroke  of  the  bow.  c. 
de  glotte(glot).  A  snappy  vocal  at- 
tack, double  c.  de  langue.  Double- 
tonguing.  c.  de  baguette  (ba-get). 
Beat  of  the  drum.  c.  de  cloche 
(klosh).     Stroke  of  a  bell. 

couper  le  sujet  (koo-pa  lii  soo-zha),  F. 
To  cut  or  contract  the  subject. 

coup'ler.  An  organ  mechanism  con- 
necting 2  manuals,  or  manuals  with 
pedals. 

couplet.  Two  notes  occupying  the  time 
of  a  triplet. 

Courante  (koo-rant),  F.  "Running," 
an  old  dance  in  3-2  and  6-4  time. 
Hence  an  instrumental  piece  in  the 
same  style.  Vide  Suite.  The  sec- 
ond part  of  the  suite,  usually  in  pas- 
sage work. 

couronne  (koo-run),  F.     A  hold. 

course.  A  group  of  strings  sounding 
in  unison. 

COurtal  (koor-tal),  courtaud  (koor-to), 


courtaut  (koor-to),  F.  An  old  short 
bassoon. 

couvre-feu  (koovr-fti),  F.     Curfew. 

covered,  i.  Hidden,  used  of  progres- 
sions (q.  v.).  2.  Used  of  pipes  and 
stops  (q.  v.).  3.  Used  of  strings 
wrapped  with  fine  wire. 

C.  p.  Abbr.  of  colla  parte,  or  counter- 
point. 

or.,  ores.,  cresc.     Abbr.  of  crescendo. 

crackle.  I  n  lute-playing,  to  play  chords 
brokenly. 

cracoviak,  Pol,  cracovienne  (kra- 
ko'vl-en),  F.  A  Polish  dance  in 
syncopated  2-4  time. 

creanluidh  (kran'-loo-e).  Vide  pi- 
broch. 

Cre'do,  L.     "I  believe."  Vide  mass. 

crem'balum,  L.     Jew's  harp. 

Cremona  (kra-mo'-na),  /.  i.  A  town  in 
Italy,  hence  an  instr.  made  there  by 
the  Stradivari,  the  Amati,  or  Guar- 
nerius.  2.  A  corrupt  form  of  crom- 
horn. 

cremorn.     Vide  crom-horn. 

crepitac'ulum  or  crepun'dia,  L. 
Ancient  frictional  castanets. 

crescendo  (kre-shen'-do),  /.  "  Increas- 
ing," i.  e.,  in  loudness,  c.  il  tempo. 
Increasing  in  speed.  C-zug,  G.  The 
swell-box,  or  crescendo  pedal. 


io6 


THE    MUSICAL    GUIDE 


cres'cent.  A  Turkish  instr.  of  crescent- 
shaped  metal  plates  hung  on  a  pavil- 
ion ;  or  small  bells  on  an  inverted  cres- 
cent. 

criard(e)  (kre-ar(d)),  F.     Bawhng. 

crib  rum,  L.     Sound-board. 

croche  (krosh),  F.  An  eighth  note. 
c.  double.  Sixteenth  note.  c.  quad- 
ruple. A  sixty-fourth  note.  C. 
triple.     32d  note. 

crochet  (kro-sha),  F.  The  hook  of  a 
note.  croche  ta,  L.  A  quarter 
note. 

croisement  (kwaz-mah),  F.  Crossing 
(as  of  parts). 

croma  (kro'-ma)  (pi.  e),  /.  An  eighth 
note.  "  crome,"  written  under  notes 
of  larger  value  Indicates  that  they  are 
to  be  played  as  eighth  notes. 

cromat'ica,  /.     Chromatic. 

crom'-horn.  i.  A  melancholy  double- 
reed  wood-wind  instr.  of  the  i6th 
cent.     2.  A  4,  8  or  i6-ft.  reed-stop. 

crom'mo,  /.     A  choral  dirge. 

cromor'na,  /..  cromorne  (kro-morn), 
/''.     Crom-horn. 

cronach.     Same  as  coronach. 

crook.  I.  A  curved  tube  inserted  in 
horns,  etc.,  altering  the  length  of  the 
tube,  therefore  the  key.  2.  The 
mouth-piece  of  a  bassoon.  3.  A  de- 
vice in  old  harps  for  raising  a  string 
a  half  tone. 

crooked  flute.  An  Egyptian  instru- 
ment. 

crooked  horn  or  trumpet.     Buccina. 

crope'zia,  Gr.  Wooden  clogs  worn 
by  the  Greeks  in  beating  time. 

croque-note  (krok-nut),  F.  An  unin- 
telligent virtuoso. 

cross.      I.  The   head   of   a   lute.      2. 

Vide  FINGERI.NG. 

cross-beards.     Vide  beards. 

cross-fingering.  A  method  of  play- 
ing old  flutes. 

cross  flute.     A  transverse  flute. 

cross-relation.     Vide  false. 

crotale  (kro-tal),  F.,  crota'lo,  /., 
cro'talum,  L.  An  ancient  small 
cymbal  or  castanet. 

crotchet.  A  quarter  note.  crot'- 
chet  rest.     A  quarter  rest. 


crowd.     The  crwth  (q.  v.). 

crowie.  Old  English  instr.  of  the 
bassoon  type. 

Crucifix'us,  Z.  "Crucified,"  part  of 
the  Credo.     Vide  mass. 

cruit  (kru  It),  Irish.     Old  Irish  Crwth. 

crush-note.     Acciaccatura. 

crutch'etam.  Name  originally  given 
to  the  crotchet. 

crwth  (krooth),  Welsh.  An  old  instr. 
of  Welsh  or  Irish  origin ;  it  was 
somewhat  lyre-shaped,  had  six 
strings,  and  was  the  first  European 
instr.  played  with  a  bow. 

C.  S.      Abbr.  of  Con  sordino. 

csardas  (tsiir-dash),  Magyar.  A  Hun- 
garian (Magyar)  dance  in  2-4  or  4-4 
time.  Triple  time  is  very  excep- 
tional, and  not  true  to  the  national 
character.  The  Csardas  (from  csar- 
da,  "  inn  on  the  heath  ")  is  often  pre- 
ceded by  a  moderate  movement  called 
lassu  (from  lassait,  slow).  The  quick 
movement  is  called  fris  or  friska 
(cf.  the  German  frisch,  fresh,  brisk, 
lively). 

C-Schlussel  (tsa-shliis-sel),  G.  C 
clef  (vide  clef). 

cto.     Abbr.  of  Concerto. 

cue.  Notes  from  another  part  inserted 
as  a  guide. 

cuivre  (kwevr),  F.  les  cuivres.  The 
brasses,  faire  ciiivrer  (fir  kwev-ra). 
To  half-stop  a  French  horn  with  clan- 
gourous  effect. 

Cum  sancto  spiritu,  L.  "  With  the 
Holy  Ghost."  Part  of  the  Gloria. 
Vide  MASS. 

cupo  (koo'-po),  I.     Dark,  reserved. 

Currenda'ner,  Curren'de,  G.  Young 
carol-singers. 

cushion  dance.  An  old  English  round 
dance  in  triple  time,  each  dancer 
placing  before  another  of  his  or  her 
choice  a  cushion  on  which  both  kneel 
and  kiss. 

custo  (koos'-to),  /.,  custos,  L.  A 
direct. 

cuvette  (kii-vet),  F.  Pedestal  of  a 
harp. 

cycle.  A  complete  set  (as  of  songs). 
cyclical  forms  {G.  cyclische  For- 


DICTIONARY    OF    TERMS       107 


men).  Those  made  up  of  a  set  or 
cycle  of  movements,  as  the  sonata, 
suite  or  symphony. 

Cylinder,  G.     Ventil  piston. 

cymbals,  E.,  cymbales  (saii-bal),  F. 
I.  Circular  metal  plates,  clashed  to- 
gether. 2.  A  steel  triangle  with  a 
number  of  rings.  3.  A  high-pitched 
mixture-stop. 

cymbalum,  L.  i.  Cymbal.  2.  A  medi- 
eval series  of  eight  drums  to  a  scale. 

czakan  (tshak'-an).  A  Bohemian  bam- 
boo flute. 

czardas  (tshar'-dash).     Vide  csardas. 

czimken  (tschlm'-ken).  A  Polish 
country-dance. 

czymbaiom  (tsMm'-ba-16ni).  The 
Hungarian  dulcimer. 

D 

Din  G.  pron.  da,  F.  r6  (ra), 
/.  re  (ra).  i.  A  musical  pitch, 
the  next  full  step  above  C  in 
all  its  octaves.  2.  The  ma- 
jor key  having  two  sharps  ;  the  minor 
key  relative  to  F  major.  3.  Abbr.  d  = 
discantus,  or  dessus  ^  in  da  capo,  dal 
segno,  main  droit,  mano  dritto,  d' 
abbr.  of  de  before  a  vowel. 

da  (da),  L.  By,  from,  for,  through,  in 
the  style  of,  etc. 

dabbuda  (diib-boo'-da),  /.     A  psaltery. 

da  capo  (da  ka'-po),  /.  "  From  the 
beginning."     A  sign  of  repetition. 

Dach  (dakh),  C.  "Roof."  The  belly 
of  a  violin,  etc. 

Dachschweller  (dakh'-shvel-ler),  G. 
Swell-box. 

dactyl'ion,  Cr.  An  apparatus  of  10 
rings  hung  from  steel  springs  above 
the  key-board,  used  to  strengthen  the 
fingers;  inv.  by  Herz,  1835. 

dada.  A  term  in  drum  music — the  left 
hand. 

daddy-mammy.  A  colloquial  term 
for  a  roll  on  the  side-drum. 

dagli  (dal-ye),  dai  (da-e),  dal,  dall', 
dalle,  dal'lo,  /.  Combinations  of 
the  prep,  da  with  the  article  "  the." 

daina  (da-e'-na),  dainos,  A  tender 
Lithuanian  folk-song. 


daire  (da-e'-ra),  /.     The  tambourine. 

dal,  /.     Vide  dagli. 

dalzimr.  An  Egyptian  reed  instru- 
ment. 

damenisa'tion.     Vide  solmisation. 

damper,  i.  In  pianos  a  cushion  which 
when  raised  by  the  touch  of  the  key 
or  the  use  of  the  da !?i per  pedal  {oiian 
called  the  "  loud  pedal  ")  permits  the 
vibration  of  strings  ;  when  released 
it  silences  the  vibration.  2.  A  mute 
for  brass  instruments. 

dampfen  (demp'-fen),  G.  To  muffle. 
Damp'fer.  A  mute  or  damper. 
Damp'fung'.      Damping  mechanism. 

Danklied  (dank'-let),  G.  A  thanks- 
giving song. 

danse  (dans),  F.  A  dance,  or  dance- 
tune,  centre  d.  (kontr).  A  country- 
dance,  a  quadrille,  d.  de  matelot 
(mat-l6).  A  horn-pipe,  danseries 
(dahs-re).     Dance-tunes. 

danza  (dan'-tsii),  /.  A  dance  or  dance- 
tune,     danzet'ta.     A  little  dance. 

daraboo'ka  or  darabuk'keh.  A  small 
Arabian  drum. 

dar  la  voce  (dar  la  vo'-che),  /.  Give 
the  key-note. 

Darmsaite  (darm'zi-te)  (pi.  en),  G. 
Gut-string. 

Darsteller  (dar'-shtel-ler),  G.  A  per- 
former.  Darstellung.   Performance. 

dash.  I.  A  staccato  mark.  2.  Vide 
CHORD.     3.  Vide  couL^. 

Da'sian-notierung,  G.  Hucbald's  no- 
tation, using  forms  of  the  letter  F  for 
14  tones. 

Dauer  (dow-er),  G.     Duration. 

Daumen  (dow'-men),  G.  The  thumb. 
D.-aufsatz.  Thumb-position.  D.- 
klapper.     Castanet. 

D.  C.     Abbr.  of  da  capo. 

D-dur  (da-door),  G.     D  major. 

de  (du),  F.  Of,  in,  from,  by.  De  plus 
en  plus  vile.    More  and  more  quickly. 

dead  march.     Funeral  march. 

debile,  debole  (da'-bo-la),  /.     Feeble. 

decachord,  decachor'don,  deca- 
cor'do,  L.  An  ancient  harp  or  gui- 
tar with  ten  strings. 

dec'ad.     Vide  ellis  (B.  D.). 

d^'cani,  L.  pi.    Vide  cantori. 


io8         THE    MUSICAL    GUIDE 


Chart  of  Dance-Rhythms. 


(  Spanish  national  dance.  A  pan- 
BOLERO.  Ktomime  in  honor  of  Cupid,  ac- 
I  companied  with  castanets. 

Accomp.  or  ,    ^,_^ 

-       (  French  or  Spanish.    The  peri- 
BOURREE.  <  ods  commence  on  the  fourth 
I  and  end  on  the  third  beat. 


L.^ENDLER.    Slow  Tyrolese  waltz. 

Polish  national  dance  of  state- 
MAZURKA.-^ly  character,  with  varied  ac- 
cents. 


(  Old  French,of  stately  character. 

Minuet.  <  The  third  beat  is  slightly  ac- 

f  cented. 

I  «i  Moderate.  I 


CHACON(N)E.  \  Begyis  on  the  second  beat 


^ 


T-r 


(  Moorish, Spanish,  or  Italian. 
X  Begins  on  the  second  beat . 
\  contains  a  basso  ostmato. 
Moderato.  or      ,  -^ 


(  Polish.    Full  of  syncopa- 
Cracovienne.-  tionsand  unexpected  ac 
(  cent. 
Allegro. 

li- 

1  Hungarian  national  dance,  be- 
einning  with  a  slow,  sad  Las- 
san,  followed  by  a  fiercely 
rapid  Friska.  The  rhythm  is 
too  varied  to  plot,  but  this 
germ  usually  appears  : 

(  Spanish    dance    with    guitar 
Fandango.  \  and  castanets,  performed  be- 
\  tween  verses. 

f  Old  French.   Periods  begin  on 
1  the  third  and  end  upon  the 
Gavotte.   \  second  beat.    It  is  generally 
[  combined  with  a  Musette. 


Musette. 


Old  French  dance.now  usual- 
ly  part   of   the  Gavotte.     Its 


bag-pipe    orij 
drone-bass.    ' 

T>/^,  LTA    (Bohemian     (not 
fULKA.  -j  j-Qund  dance. 
Allei 


...    gives   it   a 
jee  Gavotte. 

Polish)     rapid 


1  Polish  dance,  formerly  very 
stately.    It  commences  with 
a  strong  accent  and  closes 
on  the  last  beat,  thus  : 
,      Moderato.  i  close.     >         d>  I 

( Italian  and  Spapish  dance 
SALTARELLO.-^of    leaping  and    bounding 

(  Spanish  or  Moorish  dance  of 
Sarabande.  -j  J/^^;h  solemnity. 
.     Anda7ite.      .  i  o  or 

itT-rVrrrtrr 


'rf 


J-J4J-J-LJ- 


J2^ 


r  Cuban  national  dance.     Ac- 
^„ .    J  companiment      of     marked 
HABANERA.  J.  rhythm,  theme  greatly  va- 
1,  ried  and  syncopated. 
Theme.  or _       or 

1 1  1 1  r_i 


TARANTELLA. 


Old  Italian  dance  of  great 
violence,  said  either  to  be 
the  result  of,  or  an  anti- 
dote for,  the  tarantula 
bite.  Also  said  to  ^be  of 
Tarentine  origin, 
and 


rnnH 


(  A  dance  of  uncertain  origin  ; 
Waltz,  -y  varied  speed. 

Vienna,  or       la  I      ^  •  ^ J 

Quick  Waltz.  ^-S-j-f      \^    I 


German,  or 
Slow  Waltz 


DICTIONARY    OF    TERMS       109 


Decern  (da-ts^m),  G.  Vide  decima  (2). 

deceptive.     Vide  cadence. 

d6chant  (da-shan),  F.     Discant. 

d6cid6  (da-se-da),  d6cid6ment  (da-se- 
da-mafi),  F.     Decisive(ly). 

decima,  Z.  i.  A  tenth.  2.  An  organ- 
stop  sounding  the  tenth,  d.  plena 
de  tonis.  A  major  tenth,  d.  non 
plena  detonis.  A  minor  tenth,  d. 
tertia,  quarta,  quinta.  Intervals 
of  the  13th,  14th,  I5lh. 

D6'cime  (da  sem),  /'.  (da-tsem'),  G.  A 
tenth. 

dec'imole.  A  group  of  ten  equal 
notes. 

46'cisif  (da-se-sef),  d6cisivenient 
(sev-man),   F.    _Decisive(ly). 

decisione  (da-che'-zl-6'ne),  I.  Decis- 
ion, decisive  (da-ch!-se'v6).  de- 
ciso  (da-che'-z6).  In  a  bold  manner, 
decisively. 

Decke  (dek'e),  G.  i.  Sound-board.  2. 
Belly.  3.  Cover  or  top  for  organ- 
stops. 

declaman'do  (da-cla-man'-do),  7.  With 
declamatory  expression. 

declamation,  dedamazione  (da-kla- 
ma-tsI-6'-ne),  /.  Singing  in  declam- 
atory style. 

d^claver  (da-kla-va),  F.  To  change 
the  key. 

d6compos6  (da-koh-po-za)^,  F.  Dis- 
connected. 

d6compter  (da-kon-ta);  F.  To  use 
the  portamento. 

decoration  (da-ko-ras-yoh),  F.  The 
signature. 

decorative  notes.  Notes  of  embel- 
lishment. 

d^couplez  (da-koo-pla),  F.    Uncouple. 

d6cousu(e)  (da-koo-sii),  F.    Disjointed. 

deer.,  decres.  Abbr.  of  decrescen- 
do. 

decrescendo  (da-kresh-Sn'-do),  /.  Di- 
minishing in  loudness. 

dec'uplet.  A  group  of  ten  equal 
notes. 

dedicate  (da-dt-ka  to),  /.,  d6di6  (dad- 
ya),  F.     Dedicated. 

deduct'ie,  L.  i.  Resolution.  2.  In 
Guido  d'Arezzo's  hexachords,  the  as- 
cending series. 


deficiendo  (da-fe-chen'-do),  /.  Dying 
away. 

degli  (dal'-ye),  dei  (da-e),  del,  dell', 
del'la,  del  le,  del  le,  /.  Of  the  ; 
than  the. 

degr6  (dfi-gra),  F.,  degree,  E.  i. 
Line  or  space  on  the  staff.  2.  One 
of  the  diatonic  tones  of  a'  scale. 

dehnen  (da'-nen),  G.  To  extend. 
gedehnt  (ge-dant).  Prolonged,  slow. 
Dehnung.  Prolongation.  Deh- 
nungsstrich.  i.  The  line  or  dot  in 
vocal  music  holding  one  syllable  over 
several  notes.     2.  A  long  bow-stroke. 

ddlassement  (da-las-mah),  F.  A  light 
piece. 

deliberate  (da-le-be-ra'-to),  deliber- 
atamen'te,  /.     Deliberate(ly). 

d61icatesse  _(da-ll-ka-tes),  A.,  deli- 
ca-tezza.  (da-U-ka-ted'-za),  /.  Deli- 
cacy. 

delicate  (da-ll-ka -to),  delicatamen- 
te,  /.  Delicate(ly).  delicatissima- 
men'te,  delicatis'simo.  Most  del- 
icate(ly). 

d^lie  (dal-ya),  F.     Light,  easy. 

delir'io,  /.     Frenzy,  excitement. 

delizio'so  or  -amente,  7.     Delicious- 

(ly). 

dem  (dam),  G.  "To  the."  Dative  of 
"the." 

d^mancher  (da-mah-sha),  F.  To 
change  or  cross  hands  ;  to  shift  on 
the  'cello  or  violin ;  hence  d^man- 
ch6,  d^manchement  (da-mansh. 
man). 

demande  (du-mand),  7".  The  "  ques- 
tion,"  subject  of  a  fugue. 

demi  (dCi-me),  F.  Half,  d.-baton- 
(ba-toh).  A  semibreve  ;  or  2-meas- 
ure  rest.  d. -cadence  (ka-dans).  A 
half  cadence,  d.-croche.  A  i6th 
note,  d.-jeu.  With  half  power,  m/. 
d.-mesure.  Half  measure,  d. -stac- 
cato. Lightly  staccato,  d.-pause. 
A  half  rest,  d.-quart  de  soupir. 
A  32d  rest,  d.-seupir.  An  8th  rest. 
d.-temps.  A  half  beat,  d.-ton.  A 
half  tone. 

demi-dit'enus,  L.     A  minor  3d. 

demi-quaver.  A  i6th  note,  or  semi- 
quaver. 


1  10 


THE    MUSICAL    GUIDE 


dem'isemiquaver.     A  32d  note. 

dem  itone.     A  semitone. 

demoiselle  (dem-wa-zel),  F.     Tracker. 

Denis  d'or  (dun-e-dor).  A  piano  with 
pedals  and  many  qualities  of  sound, 
inv.  1762  by  Procopius  Divis. 

depen'dent^  Used  of  a  chord  requir- 
ing resolution. 

depres'sio,  /.  Lowering,  as  of  the 
hand  in  time-beating  ;  or  of  a  tone 
chromatically. 

De  profun  dis,  L.  "  From  the  depths." 
One  of  the  penitential  psalms. 

der  (der),  G.     i.   The.     2.  Of  the. 

derivative,  i.  The  root  of  a  chord. 
2.  An  inversion. 

d6riv6  (da-re-va),  F.  i.  Derivative. 
2.  An  inversion.     3.   Inverted. 

derniere  (dern-yar),  /'.  Last.  d.  fois. 
The  last  time. 

Des  (des),  G.  i.  The  note  Dfc*.  2. 
From  the  ;  of  the. 

d6saccorder  (da-zak-kor-da),  F.  To 
untune,     desaccord^.     Untuned. 

des  cant.     Vide  discaxt. 

descend.  To  pass  from  higher  to  low- 
er pitch,  descent.  Such  a  pass- 
ing. 

descendere  (da-shen'-de-re),  /.,  de- 
scendre  (du-sahdr),  F.  To  descend. 
d.  d'un  ton.  To  descend  a  step. 
descendant  (du-sah-dah).  Descend- 
ing. 

deschant  (dii-shafi),  F.     Discant. 

Desdes  (dasdas)  or  Deses  (dasas),  G. 
D  double  flat. 

Des-dur  (das'door),  G.     Yi\)  major. 

desiderio  (da-se.da-rl-o),  /.  Desire, 
passion. 

desinvolturato  (v6l-too-ra'-to),  /., 
avec  d^sinvolture  (a-vek  da-sah- 
vol-tiir),  F.     Free,  easy. 

Des-moU  (das-mol),  G.     Dp  minor. 

desperazione.     Vide  disperazione. 

Dessauer  Marsch  (des'  sow-er  marsh), 
G.  One  of  the  national  march-songs 
of  Germany. 

dessin  (dus-sih),  F.     Sign. 

dessus  (dus-su),  F.  i.  Treble  or  up- 
per part.     2.   Old  name  for  violin. 

desto  (das'-to),  /.     Brisk,  sprightly. 

desterita  (ta-re-ta'),  /.     Dexterity. 


destra  (das'-tra),  /.  Right,  d.  mano. 
Right  hand,  colla  d.  With  the  right 
hand. 

d6tach6  (da-ta-sha),  /'.  Detached  ; 
with  separate  bow  movements,  but 
not  staccato.  grand  d.  With  a 
whole  bow-stroke  to  each  note. 

determinazione  (da-ter-ml-na-tsl-o'- 
ne),  /.  Determination,  determina- 
te (na'-to).     Determined,  resolute. 

detoni(e)ren  (da-to-ne'-ren),  G.,  de- 
tonner  (da-tun-na),  /".  To  sing  or 
play  off  the  key ;  hence  d^tonna* 
tion  (da-tun-nas'-yoh). 

detto  (det'-t5),  /.     The  same  ;  ditto. 

deuferus.     Vide  modes. 

deutlich  (doit'-likh),  G.     Distinctly. 

Deutsch  (doitsh),  G.  "German." 
deutsche  Flote.  The  German  or 
transverse  flute,  deutscher  Bass. 
An  obsolete  5  or  6  stringed  double- 
bass,  deutsche  Tabulatur.  Vide 
TABLATURE.  deutsche  Tanze.  Old 
slow  waltzes. 

deux  (du),  F.  Two.  a  deuxhuit  (duz- 
wet).  In  2-8  time,  a  d.  mains. 
For  2  hands,  d.-quatre.  2-4  time. 
d.-temps.  The  two-step,  or  a  fast 
waltz  with  two  measures  to  the  beat, 
also  called  Valse  a  d.  t.  deux  fois. 
twice. 

deuxieme  (diiz-yem),  F.  Second,  d. 
position  (p6-zes-y6h).  i.  The  sec- 
ond fret.  2.  The  second  position  or 
half-shift. 

development.  Working  out ;  free  fan- 
tasy.   Vide  FORM. 

devo  to,  /.  Devout,  devozione  (da- 
v5-tsI-o'-ne).     Devotion. 

dex'tra,  Z.,  dextre  (dextr),  F.  i. 
Right;  the  right  hand.    2.  Vide  tibia. 

Dezem  (da-tsam'),  G.     Vide  decima. 

Dezime  (da'-tse-me),  G.     A  tenth. 

di  (de),  /.  Of,  with,  for,  from,  by,  etc. 
di  molto.  Extremely,  as  allegro  di 
7)1  olio. 

di'a,  Gr.     Through. 

diacon'icon,  Gr.  Collects  in  the  Greek 
Church. 

di  adrom,  Gr.     Vibration. 

diagonal  bellows.  The  old  form  with 
slanting  flap. 


DICTIONARY    OF    TERMS 


diagram' ma,  Gr.  Diagram,  i.  The 
Gspek  scale.  2.  The  staff.  3.  A 
score. 

dialogo  (de-a-lo'-go),  /.,  dialogue (de- 
a-16g),  /".     Dialogue  ;   a  duet. 

diamond-shaped  notes.  Vide  har- 
monics. 

diana  (de-a-na),  /.,  Diane  (dTt-an),  F. 
The  reveille. 

diap.     Abbr.  of  diapason. 

diapason,  Gr.  pron.,  in  E.  (di-a-pa'- 
son  ;  in  /".,  de-ap-a-s6h).  i.  An  oc- 
tave, d.  (cum)  diapente.  An  octave 
with  the  hfth — a  twelfth,  d.  con  di- 
atesseron.  An  octave  with  the  fourth 
— an  eleventh.  2.  Range.  3.  Abso- 
lute pitch,  as  d.  normal,  internation 
al  pitch,  vide  \  (i).  4.  In  the  organ 
the  sonorous  chief  foundation-stops 
one  of  S  and  one  of  16-foot  pitch  on 
the  manual,  on  the  pedal,  16-foot 
the  open  d.  has  metal  pipes  open  at 
the  top,  the  stopped  d.  has  wooden 
pipes  closed  at  the  top.  In  other 
countries  they  are  C3.\\&d  priucipal. 

diapente,  Gr.  A  perfect  fifth  ;  vide 
DIAPASON  (4).  d.  col  dito'no,  A  ma- 
jor 7th.  d.  col  semidito'no.  A  mi- 
nor 7th.  d.  cum  semitonio.  A 
minor  6th.  d.  cum  tono.  A  major 
6th. 

diapentisa're,  Mediceval  L.  i.  To 
discant  at  the  interval  of  a  5th.  2. 
To  proceed  by  5ths.  3.  To  tune  by 
5ths.  4.  In  French  usage,  discant  at 
the  intervals  of  the  2d,  3d,  6th,  and 
7th. 

diaphonics.  The  science  of  refracted 
sounds. 

diaph'ony.  i.  In  Greek  music,  dis- 
sonance. 2.  In  the  middle  ages,  the 
earliest  form  of  2-voiced  counter- 
point. 

diapla'sion.     Vide  vis-a-vis. 

diaschis'ma  or  diaskhisma,  Cr. 
Vide  SCHISMA  and  ellis  (B.  D.). 

dias'tema,  Gr.     An  interval. 

diastolic(s),  (7;-.,  Diastolik  (lek'),  G. 
Art  of  phrasing. 

diates'seron,  Gr.    Interval  of  a  fourth. 

diatonic,  E.,  diato'nico,  /.,  diaton- 
ique   (de-a-toh-ek),    F.,    diatonisch 


(de-a-ton'-Ish),  G.  I.  Going  through, 
or  confined  to,  the  tones  of  any  one  key, 
with  no  flats,  sharps,  or  naturals  be- 
longing to  another  key — opposed  to 
chromatic;  hence  a  d.  scale  is  the  regu- 
lar scale  of  any  predominant  key  ;  a  d. 
interval,  chord,  or  progression  is  an 
unaltered  interval,  chord,  or  progres- 
sion containing  no  tones  foreign  to  the 
key  ;  a  d.  melody  or  harmony  clings  to 
one  scale  ;  a  d.  instrument  sounds  only 
the  tones  of  the  one  key  from  which  it 
takes  its  name  ;  a  d.  modulation  goes 
to  the  nearest  related  key.  2.  One  of 
the  three  genera  in  Greek  music. 
Vide  MODES. 

diaul'os,  Gr.  A  double  flute  with  2 
tubes,  I  mouthpiece. 

diazeux'is,  Gr.  The  separation  of  two 
tetrachords  by  a  tone  ;  the  tone  sep- 
arating them ;  hence  the  adjective 
diazeuc'tic.     Vide  modes. 

di'chord.  An  instrument  (a)  with  2 
strings ;  (b)  with  2  strings  to  each 
note. 

dictation,  dict^e  musicale  (dek-ta 
mii-zl-kal),  F.  The  performance  of 
musical  phrases  to  be  written  on 
paper  by  the  listener(s). 

die  (de),  G.     The. 

die,  E.  A  steel  punch  for  engraving 
music. 

diecetto  (de-a-chet'-to),  /.  A  compo- 
sition for  10  instruments. 

diesare  (de-a-sa'-re),  /.,  di^ser  (de-a- 
za),  F.     To  sharpen  a  tone  or  note. 

di^se  or  difeze  (de-ez),  F.     Sharp  (#). 

Dies  i'rae,  L.  "  Day  of  wrath,"  sec- 
ond movement  of  the  Requiem. 

diesis  (de-a'sls),  Gr.  and  /.,  di6sis(dl- 
ase),  F.  I.  The  sharp  (^).  2.  The 
enharmonic  d.  is  the  difference  be- 
tween a  diatonic  and  a  chromatic  semi- 
tone (ratio  128  :  125),  or  between  3 
major  thirds  and  one  octave.  3.  A 
quarter  tone,  the  unit  of  tone-division 
in  Aristotle's  system.  4.  The  Pytha- 
gorean semitone  or  limma. 

diezeug'menon,  Gr.  Disjunct.  Vide 
modes. 

difference  tones.     Vide  resultant 


12 


THE    MUSICAL    GUIDE 


differen'tiale  or  distinct'io  tonorum, 
L.  Differenzen  (en'-tsen),  G.  The 
different  cadences  available  for  the 
saeculorum  amen  of  each  psalm- 
tone. 

difficile  (dif-fe'che-la).  /.  (dif-fl-sel),  F. 
Difficult. 

digital.  A  key  to  ,  be  pressed  by  a 
finger  (as  opposed  to  pedal  =  foot- 
key). 

digito'rium,  A  dumb  instr.  with  five 
keys  for  exercising  the  fingers. 

dignita  (den-yl-ta),  dignita'de,  dig- 
nitate  (ta -td),  /.     Dignity. 

digressio'ne,  /.     Deviation. 

dilettant(e)(de-lgt-tah(t)),  /.  An  am- 
ateur. 

dilettosamen'te,  /.     Pleasantly. 

dilicato (de-ll-ka-to),  dilicatamen'te, 
/.  Delicate(ly).  dilicatezza  (ted  - 
za).  Delicateness.  dilicatis'simo. 
Most  delicate. 

diligenza  (de-lI-jSn'-tsa),  /.  Diligence, 
care. 

dilu'dium,  Z.     An  interlude. 

diluendo  (de-loo-en'do),  /.  Fading 
away. 

dim,  dimin.     Abbr.  of  diminuendo. 

diminished.  1.  Used  of  intervals 
which  are  a  semitone  smaller  than 
the  minor  intervals ;  used  also  of 
chords  containing  such  intervals. 
Fourths,  fifths  and  octaves,  however, 
being  called  "perfect"  instead  of 
"  major,"  are,  when  contracted  a 
semitone,  said  to  be,  not  "  minor," 
but  diminished.  When  inverted,  d. 
intervals  become  augmented  and  vice 
versa.  A  d.  triad  contains  a  minor 
3d  and  an  imperfect  (or  diminished) 
fifth.  The  chord  of  the  d.  seventh 
is  the  7th  chord  built  on  the  leading 
tone  of  a  minor  key.  d.  imitation, 
subject  or  theme,  is  used  when  the  an- 
swer reappears  in  notes  of  lessened 
time-value. 

diminuendo  (de-me-noo-en'-do),  /.  Di- 
minishing gradually  in  loudness,  d. 
molto.  With  extreme  diminution  of 
power. 

diminuer  (dl-me-nii-a),  F.  To  dimin- 
ish.     diminu6    (dl-men-ii-a).       Di- 


minished, en  diminuant  beaucoup. 

Diminuendo  molto.  • 

diminution,  E.  (in  F.  de-me-ntis- 
yoh),  diminuzione  (de-mT-noo-tsI- 
o'-ne),  /.  In  cpt.,  the  repetition  or 
imitation  of  a  theme,  in  notes  of  shorter 
duration  ;  opposed  to  augmentation. 

diox'ia,  Gr.     Diapente. 

dip.  The  extent  to  which  a  key  or 
pedal  may  be  depressed. 

dipho'nium.     A  vocal  duet. 

direct',  r.  A  mark  placed  at  the  end 
of  a  staff  (a)  to  indicate  the  position  of 
the  note  next  following  (m/)  ;  (b)  = 
&c.  2.  Vide  TURN'.  3.  To  conduct. 
d.  motion.  Similar  or  parallel  mo- 
tion. 

directeur  (df-rek-tur),  F.,  diretto're, 
/.     Director  ;  conductor. 

diriger  (de-re-zha),  F.,  dirigiren 
(de-re-je'-ren),  G.     To  conduct. 

dirit  to(a), /.  Direct,  allad.  Straight 
on. 

Dis  (des),  G.     The  note  D  sharp. 

disaccentato  (at-chen-ta'-to),  /.  Un- 
accented. 

disarmo'nico,  /.  Discordant,  dis- 
armonia  (ne'-a).     Discord. 

dis'cant,  E.,  discant  us,  Z.  "  Diverse 
song."  I.  The  early  form  of  cpt.,  the 
addition,  usually  by  improvisation,  of 
one  or  more  parts  to  a  given  melody. 
Contrary  motion  was  much  used  and 
elaborate  rules  made.  Double,  triple, 
quadruple  d.  refer  to  the  number  of 
parts.  2.  The  highest  part,  voice  or 
register  ;  the  highest  of  a  family  of  in- 
strs.    d.  clef.     The  soprano  clef. 

discendere  (de-shan'-de-re), /.  To  de- 
scend. 

disciolto  (de-shol'to),  7.  Skilful,  dex- 
terous. 

discord,  E.,  discorde  (des-kord),  /"., 
discor'dia,  Z.,  discordanza  (dan'- 
tsa),  I.  I.  Ugliness  of  sound;  an 
inharmonious  combination  of  tones. 
2.  Loosely  used  for  dissonance  (q.  v.). 
discordan'te,  discordantemen'te, 
I.     Discordant(ly). 

discrete  (dis-kra'-to),  I.  Discreet, 
discrezione  (dis-kra-tsl-o'ne).  Dis- 
cretion. 


DICTIONARY    OF    TERMS       113 


disdiapa'son.  In  mediseval  music,  a 
double  octave,  a  15th. 

Dis-dis  (des-des),  G.    D  double  sharp. 

Dis-dur    (des-door),    G.      D  JJ  major. 

Disharmonie(des-har-m6-ne'),  G.  Dis- 
cord, disharmo'nisch  (nish).  Dis- 
cordant. 

disinvol'to,  disinvolturato  (v6l-too- 
ra-to),  /.  Easy.  disinvoltura 
(too'-ra).     Ease. 

Disis  (des-es),  G.     D  double  sharp. 

disjunct'.  Disjoined.  A  term  applied 
by  the  Greeks  to  tetrachords  where 
the  lowest  sound  of  the  upper  was 
one  degree  higher  than  the  highest 
sound  of  the  lower.     Vide  modes. 

disjunct  succession.  A  succession  of 
skips. 

Diskant  (des-kant'),  G.  Discant  i. 
and  2.  D.-schliissel.  The  soprano 
clef.  D.-geige.  The  soprano  of 
the  strings,  i.  e.,  the  violin.  Diskan'- 
tist,  D.-sanger.  Treble  singer.  D.- 
register,  D.-stimme.  Half-stops. 
D.-saite.     The  highest  string. 

Dis-moll  (des-mol),  G.     D#  minor. 

dispar'te,  /.     Aside. 

dispera'to  (a'-to),  /.  Desperate,  dis- 
perazione  (dis-pe-ra-tst-o'-ne),  /. 
Despair. 

dispersed.  Used  of  chords  or  har- 
monies whose  elements  are  at  wide 
intervals. 

disposition,  i.  Arrangement  of  parts 
of  a  score,  chorus,  or  orchestra.  2. 
Estimate  as  to  make-up  and  cost  of 
an  organ. 

dissonance,  J?.  {F.  dis-s6-nahs),  Dis- 
sonanz  (des-so-nants'),  G.,  disso- 
nanza  (dTs-so-nan'-tsa), /.  1.  Loose- 
ly used  for  discord.  2.  In  acoustics 
used  of  combinations  producing 
beats.  3.  In  composition  used  of 
tones  or  combinations  (irrespective 
of  their  pleasantness  or  unpleasant- 
ness of  effect)  that  do  not  give  a 
sense  of  rest,  but  demand  motion  and 
resolution  in  some  other  tone  or 
chord. 

dis'sonant,  E.  {F.  dts-so-nah),  disso- 
nan'te,  /.     Dissonant. 

dissonare  (dTs-s6-na-re),  /.,  dissoner 


(des-s6-na),  F.,  dissoniren  (dTs-so- 
ne'-ren),  G.     To  form  dissonance. 

distance.     Interval. 

distanza  (des-tan'-tsa),  /.  Interval, 
distance,     in  d.     In  the  distance. 

distincfio.  r.  VideDiFFERENTiALE.  2. 
A  pause  in  Gregorian  vocal  music. 

distin'to,  distintamen'te,  /.  Dis- 
tinct(ly). 

distonare  (to-na'-re),  /.,  distoniren 
(des-to-ne'-ren),  G.  To  be  out  of 
tune. 

distro'pha.  In  plain-song,  a  double 
square  note  of  lesser  stress  than  the 
tristropha. 

di'tal.  A  key  raising  the  string  of  a 
lute  or  guitar  a  semitone,  d.  harp. 
A  chromatic  lute  with  a  dital  to  each 
of  its  12  to  iS  strings  ;  inv.  by  Light, 
1778. 

diteggiatura  (de-ted-ja-too  -ra),  /, 
Fingering. 

dithyramb,  E.,  dithyrambe  (de-tt- 
ramb),  F.,  Dithyrambe  (de-ti-ram'- 
be),  G.,  ditirambo  (de-te-ram'-bo), 
/.  A  rhapsody  in  honour  of  Bacchus  ; 
a  wine-rapture. 

dito  (de'to),  /.  Finger,  d.  grosso. 
The  thumb. 

di'tone,  E.,  diton  (de-toh),  F.,  dito- 
no  (de-to'-no),  /.,  dito'nus,  Z.  A 
Pythagorean  major  third  greater  by  a 
comma  than  our  major  third. 

ditty.     A  naive  little  song. 

div.     Abbr.  of  divisi. 

diver'bia,  Z.,  diver'bio,  /.  A  mu- 
sical dialogue. 

divertimento,  Z,  divertissement 
(dT-ver'-tes-man),  F.  i.  A  musical  di- 
version ;  a  potpourri,  a  series  of 
songs  or  dances  inserted  in  operas 
and  plays  ;  a  short  ballet,  in  one  or 
several  movements.  2.  In  fugue,  an 
episode. 

divide.     Vide  division. 

divisi  (de-ve'-ze),  I.  Divided.  When 
2  parts  are  written  on  one  stave,  to 
ensure  their  not  being  played  as  doub- 
le-stops by  one  instr.  they  are 
marked  '"divisi."  When  a  single 
note  is  to  be  played  by  two  instrs.  the 
sign  is  a  due,  separated. 


114 


THE    MUSICAL    GUIDE 


divisio  modi,  L.  A  point  formerly 
serving  the  purpose  of  the  present 
bar. 
division,  i.  A  variation.  2.  A  long 
note  divided  into  short  notes.  3.  A 
series  of  notes  sung  to  one  syllable. 
To  "divide"  or  "run  a  division"  is 
to  execute  such  a  series,  d.-viol.  The 
viola  da  gamba.  division-mark.  A 
figure  and  a  slur  binding  a  number  of 
notes  of  foreign  rhythm,  as  a  triplet 
or  quintole. 
division  (de-vez'-yoh),   F.      A  double 

bar. 
divo  to,  divotamen'te,  /.    Devout(ly). 
divozione    (de-v6-tsI-6'-ne).     Devo- 
tion. 
dixieme  (dez-yem),  F.     A  tenth. 
d.  m.     Abbr.  of  destra  mano. 
D-moll  (da-mol),  G.     D  minor. 
do   (do),   /.     I.  A  syllable  applied   to 
the  first  note  of  a  scale  in  solmisation. 
In  the  '■'fixed  do"  system,  the  name 
do  is  always  applied  to  C.     In  the 
"movable  do"  system,  do   is  always 
the    tonic   or   key-note ;    it   has   dis- 
placed the  original  syllable  ut.    Vide 
S0LMis.\Ti0N.       2.    in    France    and 
Italy,  the  name  for  C. 
Docke  (dok'-e),  G.     A  wooden  jack. 
Doctor   of  Music.     The  highest  mu- 
sical degree,  generally  honorary,  fre- 
quently   meaningless.      In    England 
secured  by  examination. 
dodechachor  don,  Cr.    i.  The  bissex. 

2.  Vide  GLARE.A.Nrs  in  the  B.  D. 
dodecupla  di  cro  me,  /.      12-8  time. 

d.  di  semicrome.     12-16  time. 
dodec'uplet.      A  group  of    12   equal 

notes. 
doglia  (dol'-ya),  /.     Grief. 
doh  (do).     Vide  toxic-sol-f.\. 
doigt  (dwa),  v^.    Finger.    doigt6  (dwa- 
ta).   Fingered,  or  fingering,    doigter 
(dwa-ta).     To  finger  ;   the  art  of  fin- 
gering    any     instrument,     doigtes 
fourchus  (dwa-ta  foor-shii).      Cross- 
fingerings. 
dol.     Abbr.  of  doke. 
dolce  (dol'-che),  /.     Sweet,  soft,     dol- 
cezza      (dol-ched'-za).       Sweetness. 
dolceraente.    Softly,    dolcis  simo. 


I.  With    extreme   sweetness.       2.  A 
very  soft  flute-stop. 
Dolcian    (dol-tsi-an),     6".,    dolciana 
(o)     (dol-che-a'-na),     dolcino     (dol- 
che-no),  /.    I.  An  obsolete  small  bas- 
soon.    2.  A  reed-stop. 
dolciato  (dol-cha'-to),  /.     Softened. 
dolciss.     Abbr.  of  dolcissimo. 
dolemment   (do-Iem-mah),   F.      Dole- 
fully. 
dolen  do,  dolente,  /.    Sad.    dolente- 

mente.     Sadly. 
dolent  (do-lah),  F.     Sorrowful,  mourn- 
ful. 
dolore    (d6-l5're),    /.       Grief,    sorrow. 
doloro  so,    dolorosamen'te.      Sor- 
rowful(lv). 
Dolzfiote     (dolts'-fla-te),    G.      i.    An 

obsolete  flute.  2.  A  flute-stop. 
Dom  (dom)  or  Domkirche  (ker'-khe), 
G.  A  cathedral.  Domchor  (kor). 
The  cathedral  choir. 
dominant,  E.,  dominante  (dom-T- 
nant),i^.,  Dominante(d6-ml-nan'-te), 
G.  &  /.  I.  The  fifth  tone  of  a  scale,  so 
called  because  it  is  the  principal  tone 
after  the  tonic  and  its  chord  or  har- 
mony indicates  the  key  and  demands 
resolution  in  the  tonic ;  hence  d. 
chord,  the  triad  or  the  7th  chord 
built  on  the  dominant.  2.  The  key 
whose  tonic  is  the  dominant  of  the 
principal  key  ;  hence  the  expression, 
"  to  modulate  to  the  dominant,"  thus 
the  key  of  G  is  the  dominant  to  the 
key  of  C.  In  the  sonata  formula  the 
dominant  key  is  the  one  usually  chosen 
for  the  contrasting  second  subject, 
after  which  the  tonic  key  is  re-estab- 
lished ;  hence  the  dominant  sectio7i, 
3.  Vide  CH.A.NT  (i)  a. 
Domine,  salvum  fac,  Z.  "  Lord, 
make  him  hale,"  first  words  of  a  Cath- 
olic prayer  for  the  health  of  the  sov- 
ereign. 
Domin  icali  Psalmi,  L.   Psalms  in  the 

Vespers. 
Dona  nobis   pa'cem,  Z.    "  Grant  us 

Thy  peace."     Vide  mass. 
donna,    I.      Lady.       prima    donna. 

Leading  lady  in  opera. 
do'po,  /.     After. 


DICTIONARY    OF    TERMS       115 


doppel  (dop'l),  G.  Double,  doppel- 
B  or  doppel-Be  (d6p"l-ba).  The 
double  flat  (tif).  D.-blatt.  Double 
reed.  D.-chor.  Double  chorus.  D.- 
fagott.     Double  bassoon.     D,-flote. 

1.  Double  flute.  2.  A  stop-pipe  with 
two  mouths.  D.-fuge.  Double 
fugue.    D.-flugel.     i.  Vide  vis-.-^-vis. 

2.  Vide  PIANO  A  CLAVIERS  REN- 
VERSES,  d.-gedeckt.  Double-stopped 
diapason.  D.-geige.  An  organ-stop. 
D. -griff.  Double  stop  on  the  violin, 
etc.  ;  paired  notes  on  other  instru- 
ments. D.-kanon,  Canon  with  two 
subjects.  D.-kreuz  (kroits).  The 
double  sharp.  D.-okta've.  Double 
octave.  D.-punkt.  Double  dot  after 
a  note.  D.-quintpommer.  A  large 
bombard.  D.-schlag.  A  double 
beat,  a  turn.  D.-schritt.  A  quick 
march.  D.-zunge.  Double  tongu- 
ing. 

doppelt   (dop'-plt),    G.     Doubled,     d. 

Trillerlauf.    Double  cadence,    dop- 

peltgestrichene     Note.      A    i6th 

note.      doppelte    Noten.      Double 

notes. 
dop'pio  (or  a),  /.    Double  ;   sometimes 

used  to  mean  "  play  also  the  octave  "  ; 

with  names  of  instrs.  it  means  larger 

and  deeper,      d.  movimento   or   d. 

tempo.     Twice  as  fast.     d.  pedale. 

Playing   the    pedals    in    octaves,     d. 

lyra.     A  double  lyre. 
do-re-mi.     Vide  solmisation. 
Dorian,  Doric,  E.,  dorien  (do-rl-an), 

F.     Vide  MODES. 
dossologia  (d6s-s6-l6'-ja),  /.     Doxol- 

dot,  I.  A  point  placed  after  a  note  to 
increase  its  duration  one  half,  double 
dot.  Two  dots  placed  after  a  note  to 
increase  its  duration  three  fourths.  2. 
A  point  placed  above  or  below  a  note 
to  indicate  that  it  is  to  be  played  stac- 
cato ;  if  slurred,  mezzo-staccato.  3.  A 
series  of  dots  above  a  note  indicate 
that  it  is  to  be  divided  into  that  num- 
ber of  small  notes.    4.   Vide  repeat. 

double.  As  a  noun.  I.  A  repetition. 
2.  A  variation.  3.  Any  16-foot  stop. 
4.  A  change  rung  on  5  bells.     As  a 


verb.  I.  To  add  the  superior  or  in- 
ferior octave  to  the  written  tones  of 
any  part.  2.  To  give  the  same  tones 
to  different  instrs. 

As  an  adjective.  I.  Doubled,  paired, 
as  the  2-mouthed  d.  flageolet.  2. 
Repeated  in  the  octave  or  in  other 
instrs.  3.  Vide  pitch,  concerning 
double  C,  double  octave,  d.  chant, 
vide  CHANT  lb.  d.  drum.  One  beaten 
at  both  ends.  d.  reed.  The  combina- 
tion of  2  reeds  in  the  mouthpiece  of  one 
instr.  d.  flute,  (a)  A  flute  capable  of 
producing  two  tones  at  once,  (b)  An 
organ-stop.  d.  grand  pianoforte. 
An  instr.  inv.  by  James  Pierson,  of 
New  York,  with  a  set  of  keys  at  either 
end.  d.  action  harp.  Vide  harp. 
d.  lyre.  A  double  lyre.  d.  demi- 
semiquaver.  A  64th  note,  double 
flat.  A  symbol  of  two  flats  (bb)  low- 
ering its  note  two  semitones,  dou- 
ble sharp.  A  symbol  (  x  )  raising  a 
note  two  semitones,  d.  note.  A 
breve,  d.  time,  (a)  2-4  time,  (b)  In 
the  army  a  running  step  or  cadence  of 
180  to  the  minute,  d.  concerto  or 
sonata.  A  concerto  or  sonata  for  two 
solo  instrs.,  as  violin  and  piano,  d. 
octave.  An  interval  of  a  15th  or  2 
octaves,  d.  quartet.  Eight  singers. 
d.  chorus.  Two  choirs,  d.  after- 
note.  2  after-notes,  d.  beat.  A  beat 
repeated,  d.  shake  or  trill.  Two 
notes  (3ds  or  6ths)  shaken  together,  d. 
backfall.  An  old  grace,  d.  relish, 
vide  relish,  d.  suspension.  The 
suspension  of  two  notes  of  a  chord. 
d.  triplet.  A  se.xtole.  d.  pedal. 
Pedal-point  on  2  notes,  double  bar. 
Two  thin  or  thick  lines  vertically  cleav- 
ing the  stave  to  show  the  end  of  a 
major  part,  or  of  the  whole  composi- 
tion. 

"  doubled  "  is  used  of  notes  repeated 
in  the  octave  or  in  other  instruments, 
as  "the  'cellos  are  d.  by  the  bas- 
soons." 

Concerning  the  double  letters  (AA, 
BB,  etc.,  or  D.A,  D.B,  etc.),  vide 
PITCH.  In  England  d.  is  applied  to 
the  tones  from  G  to  F  inclusive. 


i6 


THE    MUSICAL    GUIDE 


4.  Deeper  by  an  octave,  d.  bassoon. 
An  instr.  an  octave  lower  than  the 
bassoon.  Its  compass  extends  from 
B,,t>  to  F.  d.  bourdon,  A  32-ft.  stop. 
d.  diapason.  A  stop  an  octave  below 
diapason,  i6-ft.  on  the  manuals,  32-ft. 
on  the  pedals,  d.  dulciana.  A  i6-ft. 
dulciana.   d.  hautboy.   A  i6-ft.  stop. 

5.  double  counterpoint  and  d.  des- 
cant refer  to  parts  so  written  that 
they  may  be  inverted.  Vide  coun- 
terpoint,    d.  fugue.     A  fugue  with 

2  subjects. 

6.  double  stopping.  The  playing  of 
two  or  more  notes  at  once  on  a  stringed 
instr.  d. -stopped  diapason.  A  doub- 
le diapason  with  covered  pipes,  doub- 
le tonguing  or  d.  tonguing.  In  flute 
and  trumpet  playing,  the  production 
of  rapid  staccato  tones  by  striking 
the  upper  teeth  and  the  hard  palate 
alternately  with  the  tongue,  double 
trouble.  A  quick  shuffle  of  the  feet  in 
The  breakdown,  double  trava'le. 
The  trill  of  a  tambourine  made  by 
drawing  the  wet  thumb  across  it. 
d.  twelfth.  A  stop  sounding  the  fifth 
above  the  foundation-stops.  The  dou- 
ble-bass got  its  name  from  an  ob- 
solete higher  instr.,  the  bass  of  the 
stringed  instrs.,  and  of  the  orchestra. 
Its  compass  is  from  E   or  G,  to  a,  its 

3  strings  being  tuned  by  the  Italian 
and  French  system,  G,-D-A,  by  the 
English,  A,-D-G.  With  4  strings  it 
is  tuned  E,-A,-D,-G.  Its  music  is 
written  an  octave  higher  than  it 
sounds. 

double  (doo-bl),  F.  i.  Repetition  with 
variations,  pi.  doubles.  Obsolete.  2. 
In  the  minuet,  a  short  trio  with  the 
main  harmonies  of  the  first  subject 
retained.  As  an  adjective.  Double, 
d.-barre.  Double  bar.  D.-b6mol. 
Double  flat,  d.-corde.  (a)  Double 
stopping,  (b)  Playing  the  same  note 
on  2  strings  simultaneously,  d.'coup 
de  langue  (koo-du  lang).  Double 
tonguing.  d.  croche.  A  i6th  note. 
d.  di^se.  Double  sharp,  d.  main. 
An  octave-coupler.  d.  octave. 
Double  octave,     d.  touche  (toosh). 


In  harmoniums,  etc.,  a  key-fall  ad- 
justable at  two  heights  to  regulate  the 
volume  of  tone.    d.  triple.     3-2  time. 

doubl6  (doo-bla),  F.  i.  A  turn.  2. 
Doubled. 

doublette' (et),  F.  i.  A  2-ft.  stop.  2.  A 
stop  with  2  ranks  of  pipes.  Vide  fif- 
teenth. 

doublophone.  A  combination  of 
euphonium  and  trombone  inv.  by 
Besson,  Paris,  1891. 

doubtful.     Vide  equivocal. 

douleur  (doo-lur),  F.  Grief,  doulou- 
reux (doo-ioo-rii').  Sad.  doulou- 
reusement  (doo-loor-uz-mah).     Sad- 

ly. 

doux  (doo),  douce  (doos),  F.  Soft, 
sweet,   doucement  (doos-mah).  Soft- 

ly- 

douzi^me  (dooz-yem),  F.    A  twelfth. 

downbeat,  i.  The  fall  of  the  hand  in 
time-beating,  marking  the  major  ac- 
cent of  the  measure.  2.  The  accent 
itself,  or  thesis. 

downbow.     Vide  bow. 

doxolo'gia,  Z.,  doxologie  (dox-ol'o- 
zhe),  F.,  doxol'ogy,  E.  A  sacred 
hymn  of  praise  ;  strictly,  the  Greater 
(or  major  or  magna)  D.  is  the  glo- 
ria in  excelsis.  The  Lesser  (or  mi- 
nor or  parva)^.  is  the  gloria  Patri. 

drag.  I.  A  retardation.  2.  In  lute- 
music,  a  portamento  downward. 

Drahtsaite  (drat'-zl-te),  G.  Wire 
string. 

dramma  lir'ico  or  per  musica  (moo'- 
zl-ka),  7.  An  opera  or  musical 
drama. 

drammat'ico,  /.  Dramatic,  dram- 
maticamen'te.     Dramatically. 

drangend  (dreng'-ent),  G.     Hurrying. 

drawknob  or  drawstop.  In  the 
organ  a  knob  which  when  pulled  ad- 
mits the  wind  to  a  stop,  or  couples 
certain  stops,  d.  s.  action.  The 
mechanism  of  stops. 

Dreher  (dra'er),  G.  An  obsolete  Aus- 
trian waltz  like  the  Landler. 

Drehorgel  (dra'-6rg-el),  G.  Barrel-or- 
gan. 

Drehsessel  (dra-zes-sel),  Drehstuhl 
(dra-shtool),  G.     A  music-stool. 


DICTIONARY    OF    TERMS       117 


drei   (dri),    G.      Three.     Dreiachtel- 

tact  (dri-akht'-el-takt).  3-8  time. 
-handig  (hen-dlkh).  For  three  hands. 
-angel  (dri'-ang-el).  Triangle. 
-chorig(kar-rkh).  Three-choired.  Ap- 
pHed  to  (a)  pianos  having  three  strings 
to  each  note,  (b)  Compositions  for 
three  choirs,  -gesang  (drige-ziing). 
Trio,  -gestrichen.  3-lined  ;  vide 
PITCH,  -klang.  A  triad,  -mal  (drl'- 
mal).  Thrice,  -spiel  (dri'shpel).  A 
trio,  -stimmig.  Three-voiced.  Drei- 
vierteltakt  (dri-fer'tel-takt).  3-4 
time.  Dreizweiteltakt  (drl-tsvi'-tel- 
takt).  3-2  time. 

dreist  (drisht),  G.  Brave,  confident. 
Dreistigkeit  (drls'tlkh-klt).  Bold- 
ness. 

drem'la,  Pol.     A  Jew's  harp. 

dringend  (drtng'ent),  G.     Hastening. 

Dritte  (drit'-te),  G.     Third. 

drit'to,  /.  Right,  mano  d.  Right 
hand. 

driving  note.     A  syncopated  note. 

droit  (dwa),  droite  (dwat),  F.  Right. 
main  droite.     Right  hand. 

Drommete  (drom-ma'te),  G.  A  trum- 
pet. 

drone  or  drone-pipe.     Vide  bagpipe. 

drone-bass.  A  form  of  monotonous 
pedal-point    suggesting    a    bagpipe. 

Vide  MUSETTE. 

dronen  (dra'nen),  G.     To  drone. 

Drucker  (drook'er),  6".  i.  A  tour-de- 
force in  performance.     2.  Sticker. 

Druckwerk  (verk),  G.  In  an  organ, 
an  action  exerted  through  stickers. 
Druckbalg  (drook-balkh).  A  con- 
cussion bellows. 

drum.  An  instr.  of  percussion,  of  great 
antiquity  and  variety  ;  it  consists  of 
one  or  two  membranes  stretched  taut 
over  the  ends  of  a  hollowed  chamber 
of  wood  or  metal.  The  tightness  of 
this  membrane  regulates  the  pitch  of 
the  one  tone  of  which  it  is  capable. 
Many  drums  do  not  produce  a  musi- 
cal tone,  but  are  merely  of  rhythmic 
value  ;  besides  the  savage  forms,  there 
are  (a)  the  small,  shrill  side  drum 
(or  tenor-drum)  with  two  heads,  the 
upper  only   being   beaten    with  two 


wooden  sticks  ;  this  is  capable  of  a 
sharp  rattling  roll,  which  may  be 
emphasized  by  drawing  strings  (or 
snares)  of  gut  across  the  lower  head; 
the  drum  is  then  called  a  snare- 
drum  ;  (b)  the  tambourine ;  (c)  the 
big  deep-booming  bass-drum  beaten 
on  both  sides  or  on  one,  with  padded 
sticks.  The  musical  drum  is  the 
kettle-drum  (q.  v.).  drum-major. 
The  officer  conducting  a  band  on  the 
march. 

dru'ma,  Irish.     A  drum. 

drum-bass.  The  monotonous  giving 
out  of  the  tonic  and  dominant  in 
double-bass  music. 

D.  S.     Abbr.  of  Dal  Segno. 

duc'tus,  L.  Melodic  progression,  i. 
d.  rectus.  Ascending.  2.  d.  rever- 
sus  or  revertens.  Descending  ;  or 
3.  d.  circumcurrens.  Ascending 
and  descending. 

Dudeler  (doo'del-er),  G.  A  wretched 
singer  or  player. 

Du'delkasten,  G.     Barrel-organ. 

Dudelsack  (doo'd'1-zak),  Dudelkas- 
tensack,  G.     A  bagpipe. 

due  (doo'-e),  /.  Two  ;  in  two  parts. 
Vide  Divisi.  d.  corde.  Vide  CORDA. 
d.  cori.  Two  choirs  or  choruses. 
d.  pedali,  /.  Both  pedals  to  be  used, 
due   volti.      Twice.     A    due,   vide 

DIVISI. 

duet,  Duett  (doo-et'),  C,  duet'to,  /. 

A  composition  for  two  singers,  or  in- 
strumentalists ;  a  2-hand  piece  fof 
two  manuals  of  an  organ,  duettino 
(te'no),  /.     A  short  duet. 

dul^dina  (dool-sa-e'na).  Port.  A  beak 
flute.     Also  do9aina. 

dulcet.     A  stop. 

dulcian.  i.  Vide  dolcian.  2.  An 
organ-stop. 

dulciana  stop,  dolcan,  dolcin,  dul- 
can,  or  dulzain.  i.  An  8-ft.  stop  of 
soft  sweet  quality,  d.  principal.  A 
4-ft.  stop.     2.   A  dolcian. 

dulcimer.  A  very  ancient  instr.  with 
a  wooden  frame,  a  sound-board  with 
sound-holes,  two  bridges,  and  wire 
strings.  It  is  played  upon  with  two 
padded  hammers  ;  compass  g  to  d." 


k 


ii8 


THE    MUSICAL    GUIDE 


The  czimbalom  is  a  very  familiar 
form. 

dulzaina  (dool-tha-e'-na),  Sp.  A  small 
trumpet. 

dumb  piano,  dumb  spinet,  A  key- 
board without  strings  or  hammers 
meant  for  silent  practice. 

dummy  pipes.  Ornamental  organ 
pipes  that  make  no  sound. 

dump.  An  obsolete  slow  dance  in  4-4 
time. 

dumpf  (doompf),  dumpfig  (doomp'- 
flkh),  G.  Dull,  mutfied.  Dump- 
figkeit  (kit).     Dulness. 

duo  (doo'  o),  /.  Two  ;  in  two  parts  ; 
a  duet,  especially  of  2  voices  or  instrs. 
of  the  same  kind.  d.  concertante. 
A  duo  in  which  each  part  is  alternate- 
ly principal. 

duodecima  (doo-6-da'chK-ma),  /.  The 
twelfth  ;  a  stop,  a  twelfth  above  the 
diapasons,  d.  acuta,  Z.  A  twelfth 
above,  d.  gravi,  L.  A  twelfth  be- 
low. 

duodecimole,  /.  A  group  of  twelve 
equal  notes. 

duode  nal,  duodena'rium,  duodena'- 
tion.     See  A.  J.  Ellis  in  the  B.  D. 

duodram'ma,  /.  "  A  dramatic  piece  for 
2  actors  or  singers. 

duoi  (doo-6'e),  /.     Two. 

duole,  G.     Vide  couplet. 

duolo  (doo-6'16),  7.     Sorrow,  grief. 

duomo  (doc-o'mo),  /.     A  cathedral. 

dupla   (doo'-pla),    L.     Double.      Vide 

NOTATION. 

duple  time.  Double  time  ;  2  beats  to 
the  measure.     Vide  time. 

duplex  longa.     Vide  notation. 

duplication.     Doubling. 

duplo  (doo-pl6),  /.     Double. 

dur  (door),  G.     Major,  as  A-dur. 

dur  (dur),  F.  i.  Hard,  harsh  of  tone. 
2.  Major. 

durament'te  (doo-ra-men'-te),  I. 
Sternly. 

durchaus  (doorkh-ows),  G.  Through- 
out. 

durchdringend(doorkh'-drtng  ent),  G. 
Penetrating,  shrill. 

Durch'fiihrung  (fur-oongk),  (7.  Devel- 
opment ;  working  out.     Vide  FORM, 


Durchgang  (gang),  G.  Passage. 
Durch  gangston.  Passing  note,  or 
changing  note,  called  regtlmassig, 
when  on  a  weak  beat;  utiregehniissig, 
on  a  strong  beat  (or  schwerer  DurcK- 

gang)- 

durchgehend  (doorkh'ga-ent),  G.  i. 
Passing,  transitional.  2.  Complete. 
d.  Stimmen.  Complete  organ-stops. 

durch  komponirt  (nert),  G.  "  Com- 
posed through,"  used  of  a  song  whose 
every  stanza  has  individual  treat- 
ment.    Through-composed. 

durchschlagende  (shlakh-ent-e),  G. 
Free  (of  a  reed). 

durchstechen  (stekh-en),  G.  Vide 
RUN  (2).  D.-stecher.  Notes  made 
by  running. 

duree  (dii-ra),  F.     Length,  duration. 

durezza  (doo-red'-za),  I.  Hardness, 
harshness. 

dur-moll  Tonart  (door'-mol-ton'-art), 
G.     Major-minor-mode.     Vide  COM- 

EIN.\TION  MODE. 

duro(a)  (dooro),  /.     Rude,  harsh. 

durus,  L.  I.  Major,  as  cantus  d.  2. 
Natural,  as  b.  durum. 

Dutch  concert.     Vide  concert. 

Diitchen  (dut'-khen),  G.  A  small  cor- 
net. 

duten  (doo'-ten),  G.     To  toot. 

dux,  /..  "  Leader,  guide;"  the  sub- 
ject of  a  fugue  (q.  v.) 

dyad.     A  concord  of  two  tones. 

dynam'ics.  The  theory  of  the  differ- 
ent degrees  of  power  applied  to  notes. 

Dystonie  (des-to-ne ),  G.  and  Gr.  Bad 
intonation. 


E 


major 
minor 

e  (a),  /. 
els. 

ear.  i. 
either 
pipes. 


Pron.    a  in  G.;  in  F.  and   /. 

called  mi  (me),     i.  A  musical 

pitch,  two  full  steps  above  C. 

2.  All  its  octaves.  3.  The 
scale  having  four  sharps  ;  the 
scale  relative  to  G  major. 

And  ;  written  ed  before  vow- 

A  projecting  metal    plate  on 

side    of   the  mouth  of  organ- 

2.  A  musical  sense  of  pitch, 


DICTIONARY    OF    TERMS 


119 


interval,  etc.;  the  capability  of  dis- 
tinguishing between  tone-qualities. 
ebollizione      (a-b61-let-tsI-5'-ne),       /. 
Ebullition,      overflow     of     emotion. 
ebollimen'to.     Ebullient(ly)- 
6cart  (a-kar),  F.    A  long  stretch  on  the 

piano. 
ec'bole,    Gr.       The    sharpening   of   a 

tone. 
eccedente    (et-che-den'-te),    /.      Aug- 
mented. 
ecclesia      (ek-kla'zl-a),     Z.      and      /. 
Church,      ecclesiastical       modes. 
Vide  MODES,    ecclesiastico,  /.     Ec- 
clesiastic. 
ecco  (ek'-ko).      I.   Behold.     2.   Echo. 
^chappement    (a-shap-man),  F.      Re- 
lease,    double  €.     Repeating-mech- 
anism. 
echeggiare  (a-ked-ja'-re),  /.    To  echo, 
echelon  (pi.  a),    Gr.      i.  A  drum  or 
gong.     2.   A  sound-screen.     3.    Res- 
onance-box of  a  lyre. 
6chelette  (ash-let),  F.     Xylophone. 
6chelle    (a-shel),    F.     The    scale     or 

gamut. 
Echelon  (ash-16n),  F.     A  degree. 
ech'o  (in  F.  a-ko).    i .  An  imitation  of  an 
echo.    2.  An  echo-stop.   3.  A  harpsi- 
chord-stop,    e.  cornet,  e.  dulciana. 
Organ-stops,     e.  organ.     A   set   of 
pipes  inside  a  box  or  at  a  distance 
giving  an  echo  effect. 
ech'ometer.     A  device  for  measuring 

the  power  of  an  echo. 
Pelisses  (a-kles),  F.    Ribs  (of  a  violin, 

etc.). 
ec'logue.     A  pastoral. 
ec'lysis,  Gr.    The  flattening  of  a  tone. 
eco    (a-ko),  /.     Echo. 
6cole  (a-kiil),  F.     School,  method. 
6cossais  (a-kos-sa),   ecossaise  (a-kos- 
sez),  F.,  Ecossase  (a-kos-sa'ze),  G. 
"  Scotch."     I.  A  grave  old  dance,  in 
3-2  or  3-4  time.     2    A  lively  country- 
dance  in  2-4  time. 
^cu  (a-kli),  F.     A  shield  on  the  face  of 

mandolins,  etc. 
ed  (M),  /.     And. 
edel  (a  dl),  G.     Noble. 
E-dur  (a-door),  G.     E  major. 
Effekt',  C,  effet  (ef-fS),  F.,  effet'- 


to,   /.     Effect.     Effekt-piano,     G. 

The  effect  marked  "  fp  "  (forte  piano). 
effort    (ef-for),   F.      A   guttural   vocal 

attack. 
^galement  (a-gal-mah),    F.     Equally, 
evenly.        6galit6     (a-gal-I-ta),      F. 
Equality,  evenness. 
egloga    (al'yo-ga),    /.,    6glogue  (ag- 

log),  F.     A  pastoral, 
eguale  (a-goo-a'le), /.   i.  Equal,  even. 
2.      Applied    to   a    composition    for 
voices  or  instrs.  of  one  kind,  as  female 
voices     only,      egualezza     (led'za), 
egualanza      (an'-tsa).         Evenness. 
egualmen'te.     Evenly,  alike. 
ei'domusikon.     A  melograph. 
eifrig  (if'-rlkh),  G.     Ardent. 
eigentlich    (ikh'-ent-Ukh),   G.     Right, 
strict,  in  perfect  time.     e.  Fuge.    A 
strict  fugue,     e.    Kadenz.      Perfect 
cadence. 
Eigenton  (I'-kh^n-ton),  G.     The  tone 
natural  to  a  wind  or  other  instr.,  its 
"  own  tone." 
eight  or  8.      The  octave,     con  8va. 
With   the   octave    below   or    above. 
Vide  OTT.'^VA. 
eighteenth.     A  double  octave  plus  a 

fourth. 
eight-foot.     8-ft.     Vide  foot. 
eighth.     I.  An  octave.     2.   An  eighth 
note,  eighth  note.  A  quaver,  of  half 
the  value  of  a  quarter  note,    eighth 
rest.     A  rest  of  an  eighth-note  dura- 
tion. 
eilen    (i'len),   G.      To   hurry,     eilend 
(lent).     Accelerating,     eilig  (i'-likh). 
Swift. 
ein   (In),    eine   (I'ne),    eins   (ins),    G. 
One,    once.      einchorig    (ka'-rikh). 
Used,    I.   Of  an  instr.   which  has  but 
one  string   to  each    note.      2.   Of  a 
comp.  for  one  choir,    eingestrichen 
(in-ghe-strlkh'-en).       Once-accented. 
Vide  PITCH. 
einfach    (In-fakh),   G.     Simple,    plain. 
einfache     Kontrapunkt.       Simple 
counterpoint.     Einfalt.     Simplicity. 
Eingang  (In'-gang),  G.     Introduction. 
Eingang  der  Messe.     The  Introit. 
Eingang'schliissel.       Introductory 
key. 


120 


THE    MUSICAL    GUIDE 


eingreifen  (in'-grl-fen),  G.  (a)  To  strike 
(of  strings),  (b)  To  interlace  (of  the 
fingers  in  piano-playing). 

Einheit  (In  -hit),  G.  Unity,  einhel- 
fen.  To  prompt.  Einhelfer.  Prompt- 
er. einige(n)  (I'nlkh-en).  Some, 
any.  Einigkeit  (kit).  Unity,  har- 
mony. Einklang  (In'klang).  Uni- 
son. Einlage  (In-lakh-e).  A  short 
interpolation.  Einleitung  _  (In'll- 
toongk).  Introduction.  Einleit- 
ungssatz  (zats)  or  spiel.  Overture, 
prelude,  einmal  (In-mal).  Once. 
Einmiithigkeit  (In-miit'-Ikh-kit). 
Unanimity.  Einsaiter  (zl'-ter).  The 
monochord.  Einsang.  A  solo. 
Einsatz.  (a)  Attack,  (b)  Entrance. 
Einsatzstiick.  Crook.  Einsatz- 
zeichen  (In'zatz-tslkh'n).  i.  The 
sign  the  leader  gives  the  performers 
to  commence.  2.  In  a  canon  the 
mark  indicating  the  entrance  of  the 
imitating  voice,  einschlagen.  To 
strike  in.  einschlafend.  Dying 
away,  einschmeichelnd  (shmlkh- 
glnt).  Insinuating.  Einschnitt 
(shnTt).  A  phrase,  einsetzen.  To 
enter,  attack,  einsetzender  Horn- 
ist.  A  horn-player,  whose  thick  lips 
must  surround,  instead  of  press  the 
mouthpiece,  einsingen.  (a)  To  learn 
singing  by  practice,  (b)  To  lull  to 
sleep,  einspielen.  (a)  To  get  an 
instr.  in  good  working  order,  (b)  To 
attain  command  of  a  piece.  ein- 
stimmen.  To  tune,  einstimmig. 
For  one  part.  Einstimmigkeit. 
Literally,  one-voiced-ness.  eintonig. 
Monotonous.  Eintracht.  Accord. 
eintrachtig  (trekh-tlkh).  Concord- 
ant, eintretend  (tra-tent).  Enter- 
ing. Eintritt.  Entrance,  entry, 
beginning.  Einverstandniss  (fer- 
shtent-nTs).     Agreement. 

Eis  (a'-cs),  G.  E  sharp.  Eisis.  E 
double  sharp. 

Eisenvioline  (i-'zen),   G.     A  nail-fid- 
dle. 
Eisteddfod  (es'-t^d-fod),  Welsh.     An 
assemblage  of  Welsh  bards  and  mu- 
sicians ;  first  held  in  1078. 
Eklog(u)e  (ak'-16kh-6),  G.     Eclogne. 


61a.  Name  of  the  highest  tone  in  the 
Aretinian  scale  ;  e". 

electric  organ.  One  having  elec- 
tric connections  in  place  of  trackers. 

electric  piano.  A  piano  inv.  1851, 
and  unsuccessfully  attempted  often 
since,  till  Dr.  Eisenmann  of  Berlin  in 
1 89 1  succeeded  in  obtaining  an  instr. 
capable  of  swelling  on  a  sustained 
tone,  and  securing  many  beautiful  ef- 
fects. 

6I6gamment  (al-a-gam-man),  F.,  ele- 
gantemen'te,  /.  Elegantly,  grace- 
fully, elegante  (al-e-gan'te),  /.  Ele- 
gant, eleganza  (al-e-gan'tsa),  /., 
Elegance,  grace. 

elegia  (a-la-je'-a),  /.,  616gie  (a-la- 
zhe),  /'.,  Elegie  (el-a-je'),  G^.,  elegy, 
E.  A  mournful  composition  or  dirge. 
elegiaco  (jak'-6),  /.,  616giaque 
(a-la-zhak),  F.  elegiac. 

616ment  (a-la-man),  F.  The  series  of 
tones  in  a  scale.  €.  m^trique.  A 
measure -note. 

elevamen'to,  elevatezza  (al-a-vated'- 
za), /.,  elevazione  (va-tsT-6'ne).  Ele- 
vation, elevato  (va'to).  Elevated, 
exalted,  sublime. 

eleva'tio,  Z.,  elevation.  i.  The 
upbeat.  2.  The  rising  of  a  melody 
beyond  the  compass  of  a  mode.  3.  A 
motet  or  other  comp.  performed  dur- 
ing the  elevation  of  the  Host. 

eleventh.     An  octave  plus  a  fourth. 

Elfte  (elf'te),  G.  Eleventh. 

Ellenlange  (ellen-lgng-e),  G.  An  ell 
(in  pipe-measuring). 

Ellis's  system.  See  A.  J.  Ellis  in 
the  B.  D. 

embellir(an-bel-Ier),  F.  To  embellish. 
embellissement  (les-man),  F.  Em- 
bellishment. 

embellishment.  Ornament,  decora- 
tion.    Vide  GRACK. 

embouchure  (ah-boo-shiir),  F.  i.  The 
mouthpiece  of  a  wind  instr.  2.  The 
position  the  mouth  assumes  in  play- 
ing the  instrument. 

E-moU  (a-mol),  G.     E  minor. 

emmelei'a,  Gr.  i.  Consonance.  2. 
A  tragic  dance. 

emozione  (a-m6-tsl-6'-ne),  /.  Emotion. 


DICTIONARY    OF    TERMS       12] 


empater  les  sons  (an-pa-ta  la  son),  F. 
To  produce  a  legato,  execution  or 
voix   empat6e.     A  blurred  style. 

Empfindung  (emp-flnt'-oongk),  G. 
Feeling,  emotion,  e.  svoll.  Full  of 
feeling. 

Emphase  {G.  em-fa -ze,  F.  an-faz). 
Emphasis,  emphasis.  Stress  or  ac- 
cent. 

emphatique  (an-fa-tek),  F.  emphat- 
isch  (em-fa'-tlsh),  G.  Emphatic. 
emphatiquement  (tek-mah),  F. 
Emphatically. 

empito  (em'-pe-to),  /.  Impetuosity. 
empituosamen'te.     Impetuously. 

emport6  (an-p6r-ta),  F.  Passionate, 
hurried,  emportement  (port-man). 
Passion,  transport. 

empress^  (an-pres-sa),  F.  Hurried. 
empressement  (pres-man),  F.    Zeal. 

en  (aii),  F.  In  ;  often  used  with  the 
participle,  as  en  dhcendant,  descend- 
ing ;  en  badinant,  scherzando. 

enarmo'nico,  /.     Enharmonic. 

enclavure  du  maftche  (an-kla-vilr  dii 
mahsh).  Space  for  the  insertion  of 
the  neck  (of  a  violin)  into  the  belly. 

encore  (ah-kor),  F.  Again  ;  a  recall. 
Used  by  the  English  to  demand  a 
repetition  ;  the  French  use  "  bis." 

Ende  (ent'e),  G.     End,  conclusion. 

end-man.  One  of  the  chief  negro  min- 
strels who  sits  at  either  end  of  their 
semicircle. 

energia  (en-er-je'a),  /.,  energie  (en- 
er-zhe),  F.  Energy,  energico  (en- 
ar'jt-ko),  energicamen'te,  /.  En- 
ergetic(ally).  energique  (en-er-zhek), 
F.,  energisch  (en-ar'zhlsh),  G.  En- 
ergetic, energiquement  (zhek-mah), 
F.     Energetically. 

enfasi  (en-fa'ze),  /.      Emphasis. 

enfat  ico,  enfaticamen'te,  /.  Em- 
phatic(ally). 

enfiatamerite  (en-fe-a'-ta-men'-te),  /. 
Proudly. 

enfler  (ah-fla),  F.     To  swell,  increase. 

eng(engk),  G.  Close,  compressed  ;  ap- 
plied, (a)  to  the  stretto  in  fugue,  (b) 
to  narrow  straight  organ-pipes,  enge 
Harmonie  (or  Lage).  Close  har- 
mony. 


Engelstimme  (eng'el-shtlm-mS),  G. 
"  Angel  voice."     Angelica  ;  a  stop. 

Engfuhrung  (eng'-fur-oongk),  G. 
Stretto. 

englisch  (eng'lTsh),  G.  English,  e. 
Horn.  English  horn.  e.  Mechan- 
ik,  in  pianos,  the  English  action,  e. 
Tanz.  Vide  anglaise.  e.  Viollet 
(ve-6-let').  (a)  An  old  way  of  tuning 
the  violin — e-a-e'-a'.  (b)  An  obsolete 
viola  a  amove  with  14  sympathetic 
strings  beneath  the  others. 

English  fingering.  Same  as  Ameri- 
can fingering. 

English  horn.  A  species  of  oboe 
(q.  V.) 

enguichure  (ah-ge-shUr),  F.  Embou- 
chure. 

enharmonic,  enharmon'icus,  Z.,  en- 
harmonique  (en-ar-mon-ek),  F.,  en- 
harmonisch  (en-har-mo'-nlsh),  G.  i. 
Differing  in  name  or  notation,  but 
not  in  sound,  as  c  sharp  and  d  flat. 
Mathematically  and  actually  c  '$,  and 
d  b  differ  by  an  appreciable  inter- 
val, but  for  convenience'  sake  and 
in  the  name  of  temperament  (q.  v.) 
they  are  the  same  tone  on  the  key- 
board instruments  and,  by  contagion, 
have  become  so  in  singing  and  the 
playing  of  stringed  and  wind  instru- 
ments. Tones  that  are  identical  in 
our  present  artificial  scale,  but  not  in 
actuality  or  acoustics,  are  called  en- 
harmonic ;  hence  chords  and  inter- 
vals written  differently  and  sound- 
ing alike  are  called  enharmonic,  and 
the  change  of  the  key  by  such  chords 
is  called  enharmonic  modulation  ; 
the  writing  of  the  same  chord  in  2 
notations  is  e.  change.  Instruments 
have  been  frequently  invented  mak- 
ing a  distinction  between  such  tones 
as  c  sharp  and  d  flat,  and  giving  them 
separate  digitals.  These  instrs.  are 
called  enharmonic.  The  e.  scale 
is,  strictly,  a  scale  with  more  than 
the  twelve  semitones  of  our  usual 
scale  ;  the  term  is  loosely  applied  to 
scales  as  c  sharp  and  d  flat,  having 
the  same  sound  2.  Vide  MODES. 
3.  Vide  DIESIS. 


122 


THE    MUSICAL    GUIDE 


enigmatical.     Vide  canon. 

6noncer  (a-non-sa),  F.  To  enunciate. 
enonciation  (a-noh-sas-yon).  Enun- 
ciation. 

eno  plia,  Cr.     Spartan  war-music. 

ensemble  (an-san'bl),  F.  i.  Together  ; 
the  whole  ;  all  the  factors  considered 
as  a  unit.  2.  The  quality  of  their 
co-operation.  morceau  d'e.  A 
number  requiring  more  than  one  per- 
former. 

entgegen  (ent-ga'khen),e.  -gesetzt,  G. 
Contrary,  opposite. 

entr'acte  (ah-trikt),  F.  Music  played 
between  the  acts,  or  of  such  charac- 
ter. 

entran'te,  entrata  (en-tra -ta),  /.,  en- 
trada  (en-tra'-dha),  Sp.,  entree  (an- 
tra),/^.  I.  Entrance;  introduction,  or 
music  of  such  character,  as  in  a  ballet. 
2.  An  old  polonaise-like  dance  in  4-4 
time. 

entre-chats  (afit-ru-sha),  F.  The  enter- 
ing bounds  of  a  dancer. 

entremese  (en-tre-ma -sa),  Sp.  A  bur- 
lesque interlude. 

entremets  (ant-ru-ma),  F.  Slight  in- 
terlude. 

entry  (obs).     An  act. 

Entscheidung  (ent'-shi-doongk),  C 
Decision.  entschieden  (ent-she- 
den),  G.     Decided. 

entschlafen  (ent-shla'fen),  G.  To  die 
away  (lit.  to  fall  asleep). 

Entschliessung  (ent'-shles-soongk), 
G.     Resolution. 

entschlossen  (ent-shl6s'sen),  G.  Res- 
olute. Entschluss  (ent'-shloos),  G. 
Resolution. 

Entwurf  (ent'-voorf),  G.  Sketch,  out- 
Hne. 

enunciate  (a-noon-chl-a'-to),  /.  Enun- 
ciated, enunciazione  (a-tsl-6'-ne), 
/.     Enunciation. 

en'voy.  Postscript,  or  ending,  of  a 
ballad. 

Eolia  (e-6'll-a),  Eolian  (e-6'll-an),  /. 
Vide  .-EOLIAN. 

epicede  (ep-i-sed),  F.,  epicedio  (ep-t- 
cha'dl-o),  /.,  epice'dium,  L.  An 
elegy,  dirge,  funeral-song,  or  ode. 

epigo'nion,  Gr.,  epigo'nium,  L.    An 


ancient  Greek  lyre,  with  40  strings, 
named  from  Epigon. 

epile  nia,  Gr.     Vineyard  songs. 

epinic'ion,  Gr.  i.  A  triumphal  song. 
2.  The  Triumphal  Sanctus  in  the 
Greek  Church. 

epio  dion,  Gr.     A  dirge. 

episode,  episode  (a-pe-s6d),  F.,  epi- 
so'dio,  /.  All  incidental  portions  of 
composition.  Vide  FUGUE,  episo- 
disch  (ep-l-z6-dlsh),  G.     Episodic. 

epistle  side.  The  left  or  south  side 
of  the  altar  ;  the  right  or  north  is 
the  gospel  side. 

epis'trophe,  Gr.     A  refrain. 

epitalamio  (ep-T-ta-la'ml-5),  /. ,  epi- 
th'alme  (ep-I-talm),  /".,  epitha- 
lami  on,  Gr.,  epithalamium,  epi- 
thal  amy,  L.  and  E.   Wedding-ode. 

epit'asis,  Gr.     Vide  anesis. 

epito  nion,  Gr.  i.  A  pitch-pipe.  2. 
A  tuning-wrench. 

ep'ode,  Gr.  After-song.  i.  A  refrain. 
2.  The  conclusion  of  an  ode.  3.  A 
retraction. 

ep  tacorde  (ep-ta-kord),  F.,  eptacor'- 
do,  /.  I.  A  heptachord.  2.  A 
seventh.     3.   A  scale  of  seven  notes. 

equabile  (a-kwa'bl-la),  /.  Equal,  alike. 
equabilmen'te.     Smoothly. 

equal,  i.  Of  counterpoint,  consisting 
of  notes  of  equal  duration.  2.  Vide 
temperament.  3.  Of  voices,  alike 
(all  male,  for  instance)  ;  not  mixed. 

e'quisonance,  equisonnance  (a-ke- 
sun-nahs),  F.  Unison,  as  of  octaves. 
e'quisonant.  Of  like  sbund  ;  in  uni- 
son. In  guitar  music  used  of  differ- 
ent ways  of  stopping  the  same  note. 
equiso'no  (a-kwe's6-no),  /.  In  the 
unison  or  octave. 

equivocal.  Used  of  chords  which 
may  by  slight  change  in  notation  be- 
long to  more  than  one  key. 

Erard  action.     Vide  harp. 

erbeb,  Arab.     Rebec. 

erfreulich  (er-froi'-Ukh),  G.     Joyous. 

ergrif  fen,  G.  Stirred,  affected.  E-heit 
(hit).      Agitation. 

erhaben  (er-ha'ben),  G.  Exalted,  sub- 
lime. Erhabenheit  (hit).  Sublim- 
ity. 


DICTIONARY    OF    TERMS       123 


erheben  (er-ha'ben),  G.  To  raise,  to 
elevate  ;  as  the  hand,  in  beating  time. 

erhohen  (er-ha'en),  G.  To  raise.  Er- 
hohung  (er-ha'oongk),  G.  Raising, 
sharpening.  E.-szeichen.  Sharps, 
double  sharps,  or  naturals  following 
flats. 

ermattet  (er-mat'-tet),  G.     Exhausted. 

Erniedrigung  (er-ne'-drlkh-oongk),  G. 
Depression  by  means  of  a  flat  or 
natural.  E.-szeichen.  A  sign  for 
lowering  a  note. 

ernst  (ernsht),  ernsthaft  (ernst'haft), 
G.  Earnest.  Ernsthaftigkeit 
(ernst'haf-tlkh-kit),  Ernstlichkeit 
(l!kh-kit).      Earnestness. 

Erntelied  (ern'te-let),  G.  Harvest- 
song. 

Eroffnung  (er-ef'noongk),  G.  Open- 
ing, beginning,  E.-sstiick.  Over- 
ture. 

eroico  (a-ro'I-ko  or  -a),  /.  Heroic. 
"  Sinfonia  eroica"  Beethoven's  3d 
symphony. 

erot'ico,  /.,  6rotique  (a-ro-tek),  F., 
erot'ic.  i.  Amorous,  2,  An  am- 
orous composition. 

erst  (ersht),  G.  First,  erste  Mai, 
First  time. 

ersterben,  G.     To  die  away. 

ertonen  (er-ta'-nen),   G.     To  sound. 

Erweckung  (er-vek'oongk),  G.  An- 
imation. 

erweitern  (er-vl'-tern),6'.  To  develop, 
expand,  erweitert.  Expanded,  as 
erweiterte  Harmonic,  Open  har- 
mony, erweiterter  Satz.  A  move- 
ment fully  developed  thematically. 
Erweiterung.  The  widening  of  an 
interval  in  a  fugal  theme. 

Erzahler  (er-tsa'ler),  G.  The  narra- 
tor in  Passion  music. 

Erzlaiite  (erts'-low-te),  G.  The  arch- 
lute, 

Es  (es),  G.     The  note  E  flat. 

esacordo  (a-sa-kor'do),  /.  r.  Hexa- 
chord.     2.  A  sixth. 

esat'to,  /,     Exact,  strict. 

Es-dur  (es-door),  G.     E  flat  major. 

esecuzione  (as-^-koot-sI-6'ne),  /.  Ex- 
ecution,   esecuto're.     Performer, 

eseguire  (a-sa-goo-e'-re).     To  execute. 


esem'pio,  /.     Example. 

esercizio  (a-ser-che'tst-5)  (pi.  i),  /. 
An  exercise. 

Es-es  (es-es),  G.     E  double  flat. 

esitamento  (a-se-ta-men'to),  esita- 
zione  (a-se-ta-tsl-o'ne),  /.  Hesita- 
tion. 

Es-moll  (es-mol),  G.  E  flat  minor. 

espace  (us-pas),  F.  A  space  in  the 
staff. 

espagnol  (es-pln-yol),  F.,  espagnu- 
olo  (es-pan-yoo-o'l6),  /.  "  Spanish  ;  " 
in  Spanish  style. 

esper'to,  /.     Expert. 

espiran'do,  /.     Dying. 

espr.,  espress.     Abbr.  of  Espressivo, 

espressione  (sT-6'ne),  /,  Expression 
feeling,  espressivo  (sevo),  /.  Ex 
pressive. 

espringale  (^s-prln-ga'-lg),  /.  Spring 
dance. 

essem'pio,  /.     Example, 

essen'tial.  (a)  Of  harmonies,  the  three 
chief  harmonies  in  any  key,  viz.,  th* 
tonic,  dominant,  and  subdominant. 
(b)  Of  notes,  those  that  make  up  a 
chord,  in  distinction  from  ornamen- 
tal, and  other  foreign  notes,  e.  sev- 
enth, (a)  The  leading  note,  (b)  The 
7th  chord  in  the  dominant. 

estemporale  (rale),  estemporaneo 
(ra'-ne-6),  /.     Extemporaneous. 

estinguendo  (es-tln-goo-en'do),  /. 
Dying  away. 

estinto  (es-ten'-to)  (or  a),  /.  Extin- 
guished, almost  inaudible. 

estravaganza  (es-tra-vii-gan'tsa),  /, 
Extravaganza. 

estremamente  (es-tra-ma-men'-te),  /. 
Extremely. 

estribilho  (es-trl-bel'-yo).  A  familiar 
Portuguese  air. 

estrinciendo  (es-tren-chan'do),  /. 
Playing  incisively. 

estriniendo  (es-tren-yan'do),  /.  Very 
legato. 

es'tro,  /.     Poetic  fire. 

et,  /..     And. 

et  (a),  /:     And. 

6talon  (a-ta-16n),  F.     Vide  SCALE  3. 

6teinte  (a-tafit),  F.  Almost  inaudi- 
ble. 


.24 


THE    MUSICAL    GUIDE 


6tendre  (a-tandr),  F.  To  extend, 
spread,  ^tendue  (a-tan-dii).  Com- 
pass. 

Et  Incarna'tus,  L.  "And  He  was 
born,"  etc.     Part  of  the  Credo. 

€tofi€  (a-tof-fa),  F.  Having  "  body," 
as  a  voice. 

6touffer  (a-toof-fa),  F.  To  deaden  the 
tone.  6touff6  (a-toof-fa).  Stifled, 
muffled  ;  in  harp-playing  a  deadening 
of  the  tones  by  touching  the  strings. 
6touffoir  (a-toof-war).     Damper. 

etre  en  r6p6tition  (et'rah  ra-pa-tes- 
yoh),  F.     To  be  in  rehearsal. 

Et  Res'urrexit,  L.  "  And  rose  again." 
A  part  of  the  Credo. 

-et'to  (or  a),  /.  Little ;  an  Italian 
sufifix,  as  trombetta.  A  little  trum- 
pet. 

et'tacordo,  /.    Instr.  with  7  strings. 

6tude  (a-tud),  F.  A  study.  A  comp. 
outwardly  intended  for  practice  and 
facility  in  some  special  difficulty  of 
technic  ;  often  marked  with  much 
art,  and  in  the  6.  de  concert  (du- 
koh-sSr),  concert-study,  intended  for 
public  display.  6tudier  (a-tiid-ya). 
To  study,  to  practise.     Vide  study. 

Et  Vi'tam,  L.  "And  life  everlasting." 
Part  of  the  Credo. 

etwas  (et'vas),  G.  Some,  somewhat. 
e.  langsamer.     A  little  slower. 

eufonia  (a-oo-fo-ne'a),  /.  Euphony. 
eufo'nico.     Harmonious. 

enharmonic  (ii).  Producing  harmony 
or  concordant  sounds.  Well-har- 
monied,  not  tempered,  e.  organ. 
An  instr.  of  American  origin,  inv.  by 
H.  \V.  Poole,  1848,  and  containing 
the  untempered  intervals.  Vide  en- 
harmonic. 

euouae.  The  vowels  in  the  words 
"  Seculorum,  Amen,"  at  the  end  of 
the  "  Gloria  Patri  ;  "  (a)  the  trope  of 
the  Gregorian  Lesser  Doxology  ;  (b) 
any  trope  (q.  v.) 

Euphon  (yoo-fon).  A  glass  harmonica 
(compass  from  c  to  f")  inv.  by  Chlad- 
ni,  about  1790  ;  the  tone  produced 
by  rubbing  with  wet  fingers  strips  of 
glass,  connected  with  metal  rods ; 
also  called  eupho'nium. 


eupho'niad.  An  instr.  of  American 
origin,  containing  thirty  keys,  and 
tones  of  the  organ,  horn,  bassoon, 
clarinet,  and  violin. 

euphonic-horn,  eupho  nion.  Somme- 
rophone. 

euphonious.      Harmonious. 

eupho'nium.  A  bass  brass  instr.  used 
in  military  bands.  It  has  two  tubes, 
played  from  a  single  mouthpiece. 

Euterpe,  G.  The  seventh  muse, 
patroness  of  flute-music  and  song. 

evacua'tio,  L.  In  old  notation,  the 
reduction  by  one-half  of  a  solid  note's 
value  by  writing  only  its  outline. 

Evakuant  (a-vak-oo-ant),  G.  The 
exhaust-pallet  ;  also  evacuant,  F. 

6veill6  (a-va-ya),  F.     Gay,  sprightly. 

evening,  or  even,  song.  Evening 
service  in  the  Anglican  Church. 

ever'sio,  L.     In  cpt.,  inversion. 

evirate  (a-ve-ra -t5),  /.  A  eunuch 
with  a  soprano  or  alto  voice. 

evolu  tio,  L.     In  cpt.,  inversion. 

evovae.     Vide  euouae. 

executant  (ex-a-ku-tan),  F.  A  per- 
former. 

exe'quiae,  L.,  Exequien  (ex-a'kwl- 
en),  G.     Obsequies  ;  requiems. 

exercice  (ex-er-ses),  F.,  Exercit'ium 
(ex-er-tse'tsl-oom),  G.,  exercise,  A 
practice  piece  ;  a  problem  in  compo- 
sition, or  technic. 

exhaust  pallet  or  valve.  A  stop 
opening  a  valve  which  exhausts  the 
bellows  of  an  organ. 

exposition.  Development  ;  the  work- 
ing out  of  a  theme.     Vide  form  and 

FUGUE. 

expressif  (^x-prils-ef),  F.    Expressive. 

expres'sion  (in  F.  ex-prus-yoh).  The 
psychological  and  spiritual  elements 
of  music,  its  message  and  eloquence. 
The  delivery  of  a  composition  with 
fidelity  to  its  meaning.  Hence  an 
expression-mark  is  any  sign  that 
will  aid  in  the  interpretation  of  a 
composition.  In  French  the  word  e. 
is  also  used  specifically  of  the  vibrato 
effect,  expression-stop.  An  har- 
monium-stop giving  the  pedals  close 
control  of  the  expression. 


DICTIONARY    OF    TERMS       125 


expressive-organ,     Expressivorgel 

(sef-6r-khel),  6".,  orgue  expressif, 
F.     The  harmonium. 

extemporaneous.  Without  premed- 
itation, extempore,  L.  Impro- 
vised ;  off-hand,  extempodze.  To 
improvise.  extemporizing  ma- 
chine. A  melograph  for  recording 
extemporization. 

extended,  i.  Dispersed,  as  a  chord. 
2.  Enlarged,  as  a  development,  e. 
phrase.  One  with  three  measures 
instead  of  the  usual  two,  etc.  e.  sec- 
tion. One  containing  from  5  to  8 
measures. 

extension  (ez-tans-yon),  F.  Stretch, 
or  compass  on  the  violin  ;  the  exten- 
sion of  the  forefinger  or  little  finger 
of  the  left  hand,  extension  pedal. 
Loud  pedal. 

extra'neous.  Foreign  to  the  key.  e. 
modulation.  Transition  to  an  un- 
related key. 

extravaganza  (ex-tra-va-gan'tsa),  /. 
I.  An  ornament  in  bad  taste.  2.  A 
musical  burlesque,  usually  spectac- 
ular. 

extreme,  extreme  (^x-trem),  F.  i. 
The  highest  and  lowest  parts.  2. 
Augmented,  chord  of  the  e.  sixth. 
An  altered  chord.     (Vide  altered.) 


FE.  and  G.  ;  in  F.  and  /.  called 
f^  (fa).  I.  A  musical  pitch, 
a  perfect  fourth  above  C  in 
all  its  octaves.  2.  The  major 
key  having  one  flat  ;  the  minor  key 
relative  to  A  flat  minor.  F  clef,  F 
Schliissel,  G.  The  bass  clef  grip- 
ping the  line  F.  f.  holes  (in  G.  F. 
Locher  (ef-lekh-er)  ;  in  F.  les  F.  (la- 
zef).  The  f-shaped  sound-holes  in 
the  belly  of  violins,  etc.  f,  ff,  fff,  etc. 
Abbr.  of  forte  and  fortissimo. 
fa  (fa),  /.  I.  The  fourth  of  the  sylla- 
bles of  solmisation  (q.  v.).  2.  Name 
of  F.  in  France  and  Italy,  fa-feint 
(fan),  F.,  fa  fint'o,/.,  fa  fict  urn,  L. 
Obsolete  term  for  any  flatted  note. 
fa  mi.     Formerly  the  descent  of  half 


a  tone  from  F  to  E  ;  now  any  such 
descent,  fab^mol,  F  flat,  fa  di^se. 
F  sharp,  faburden.  i.  A  counter- 
point of  thirds  and  sixths  added  by 
G.-3.X  X.O  2.cantus  firtnus.  2.  Laterany 
improvised  accompaniment.  3.  A 
burden.  4.  A  drone-bass.  5.  In- 
tonation of  the  Psalms. 

fabliau  (fab-lI-6),  F.  An  old  narrative 
poem,     fablier    (ll-a).     A    trouvere. 

faces  d'un  accord  (fas  d'un  &k-k6r), 
F.  The  positions  of  a  chord  ;  a  triad 
has  3,  a  seventh  4,  etc. 

fach  (fakh),  G.  (lit.  -fold).  Ranked  ; 
as  dreifach.  Three-ranked  (of 
pipes). 

facherfbrmiges  Pedal  (fekh'-Sr-fer- 
mlkh-espa-dal),  C  A  fan-shaped  ped- 
al-board. 

facile  (fa-sel),  F..  facile  (fa'-che-le). 
Light,  easy,  facilitii  (fa-che-ll-ta'), 
/..facility  (fa-sel-t-ta),  F.  i.  Facil- 
ity. 2.  An  easier  arrangement  of  a 
piece  or  passage,  facilement  (fa-sel- 
man),  F.,  facilmente  (fa-chel-men'- 
ta),  /.    Easily. 

Fackeltanz  (fak'el-tants),  G.  Dance 
with  flambeaux  in  a  minuet  form,  4-4 
time. 

facture  (f&k-tur),  F.,  Faktur  (fak- 
toor'),  G^.  I.  Scheme  or  construction, 
workmanship.     2.   The  scale  of  pipes. 

-fadig  (fa-dtkh),  G.  Threaded  (of 
violin-strings),  as  vierfadig.  4- 
threaded. 

fading  (fad'-Ing).  Irish.  A  dance  ;  a 
refrain. 

fag.     Abbr.  of  fagotti. 

fagot,  E.,  Fagott  (fa-got),  C,  fagot'- 
to,  /.  I.  A  bassoon.  2.  A  reed-stop 
(also  Fagottzug).  fagottino(te'no), 
/.  A  small  bassoon.  Fagottist 
(fa-got-test'),  G.  fagottista  (tes'- 
ta),  /.  A  performer  on  the  bassoon. 
fagotto  contro,  /.  A  bassoon,  an 
octave,  a  fifth,  or  a  fourth  lower. 
fagotto'ne.  A  large  obs.  bassoon, 
an  octave  lower. 

fah.     Fa  in  Tonic  sol-fa. 

Fahnenmarsch  (fa'-nen-marsh),  G. 
The  march  played  when  the  colours 
are  lodged. 


126 


THE    MUSICAL    GUIDE 


faible  (feb  1)  F.  Weak,  temps  f. 
Weak-beat. 

faire  (far),  F.  To  do,  make.  f.  des 
fredons.  A  trill,  faites  bien  sen- 
tir  la  m^lodie  (fet-bl-an-san-terla 
ma-16-de),  F.  Keep  the  melody  very 
distinct. 

fa-la.  I.  An  old  refrain.  2.  A  song 
with  such  refrain,  or  a  dance,  falal- 
el'la,  /.     A  nonsense  song. 

fall.     r.  A  cadence.     2.  Vide  fly. 

falo'tico,  /.     Fantastic. 

falsa  (fal'-sa)  (or  o),  /.,  false,  E., 
falsch  (falsh),  G.  False,  wrong,  out 
of  tune,  false  accent.  Accent  re- 
moved from  the  first  to  the  second  or 
fourth  beat.  f.  bordone.  (a)  Fa- 
burden,  (b)  The  reciting-notes.  f.  ca- 
dence. An  imperfect  or  interrupted 
cadence,  f.  fifth.  An  imperfect  fifth. 
f.  relation,  (a)  The  appearance  sim- 
ultaneously or  consecutively  in  differ- 
ent voices  of  the  same  notes  chromat- 
ically altered,  as  C  sharp  and  C  flat, 
implying  a  disagreement  or  incom- 
patibility, (b)  The  appearance  of  the 
tritone  (q.  v.)  in  different  voices. 
Though  strictly  forbidden  in  the  text- 
books, late  composers  ignore  the  rule 
altogether,  f.  string.  An  ill-made 
string  giving  a  bad  tone.  f.  triad. 
The  diminished  triad  having  a  false 
fifth. 

Falsett  (fal-zet'),  G.,  falsetto,  /. 
I.  The  top  or  artificial  register  of  the 
voice,  having  an  unnatural  or  effem- 
inate sound.  2.  One  who  uses  this 
register. 

fan'cy.  i.  A  slight  tune.  2.  A  fan- 
tasy. 

fandan'go,  Sp.  A  popular  Spanish 
dance  in  triple  time,  accompanied 
with  castanets  (or  tambourine)  and 
guitar,  the  dance  being  interpolated 
between  vocal  couplets. 

fanfare,  E.  (pron.  in  F.  fan-far), 
fanfara  (fan-fa'-ra),  /.  i.  A  trumpet- 
flourish.     2.   A  brass-band. 

fantaisie  (fah-te-ze),  F.,  fantasia  (fan- 
ta-ze'a),  /.,  Fantasie  (fan-ta-ze'),  G. 
I.  Fantasy,  caprice,  a  composition 
free  in  spirit  and  form.     2.  An  ar- 


peggiated  prelude.  3.  A  potpourri. 
4.  An  improvisation.  5.  Formerly 
a  work,  vocal  or  instrumental,  full  of 
free  imitation  free  fantasia  or 
fantasy,  same  as  Development. 
Vide  FORM,  fantasio'so,  /.  Fan- 
tastic, fantasiren  (ze'ren),  G.  To 
improvise. 

fantastico,  fantasticamen'te,  /., 
fantastique  (fan-tas-tek),  F. ,  fantas- 
tisch  (fan-tas'-tlsh),  G.      Capricious. 

faran'dola,  /.,  farandole  (far-ah-dol), 
farandoule  (far-ah-dool),  F.  A  cir- 
cle dance  in  6-8  time. 

farneticamen'te,  /.     Deliriously. 

farsa  in  musica  (moo'zi-ka),  /.  A 
burletta. 

farsia  (far'sf-a),  /.  A  canticle  in 
Italian  and  Latin  sung  at  CathoHc 
festivals. 

fascia  (fa'-sha),  /.  i.  A  tie.  2.  A 
rib. 

fasto'so,  fastosamen'te,  /.  Pom- 
pous(ly). 

fattura  (fiit-too'-ra),  /.    Vide  facture. 

faucette  (fo-set),  fausset  (fo-sa),  F., 
Falsetto. 

faux  (fo)  or  fausse  (fos),  F.  False, 
out  of  tune.  f.  accord  (fo  zak-kor). 
A  dissonance,  f.  bourdon  (fo-boor- 
doh).  Vide  faburden.  f.  quinte. 
Imperfect  fifth. 

F  clef.     The  bass-clef.     Vide  clef. 

F-dur  (ef-door),  G.     F  major. 

feathering.  The  bowing  of  swift 
staccato. 

Federklavier  (fa-der-kla-fer'),  G. 
Spinet. 

feeders.  Small  bellows  to  supply 
large. 

Feier  (fl'er),  G.  Festival,  celebration. 
F.-gesang.  Anthem,  feierlich. 
Festive,  solemn.  F.-keit.  Solem- 
nity. 

feigned  voice.     Falsetto  voice. 

feilen  (fl-len),   G.     To  polish. 

fein  (fin),  G.     Fine,  refined. 

feint.     In  drum  music,  a  figure. 

feinte  (fent),  F.  Old  name  for  semi- 
tone ;  accidental. 

Feld  (felt),  G.  Field.  F.  flote.  A 
peasant      flute.      F.    Kunstpfeifer 


DICTIONARY    OF   TERMS       127 


(koonst'pfi-fer).  A  military  musician. 
Feldmusik  (felt-moo-zek').  Military 
music.  Feldrohr  (ror),  G.  A  rural 
pipe.  F.-stiick.  A  cavalry  call. 
F.  -ton.  The  key-note  of  a  military 
windinstr.  F.  -trompete.  Military 
trumpet. 

fe'rial.     Non-festal,  secular. 

fer'ma,  /.  Firm,  fermamen'te,  /. 
Firmly. 

fermare   il  tuono.      Vide    messa    di 

VOCE. 

fer'mate,  E.  (in  G.  fer-ma-te),  fer- 
mata  (fer-ma -ta),  I.  1.  A  symbol  '^ 
or  ^  above  or  below  a  note,  rest  or 
bar  indicating  a  long  pause  upon  it  ; 
/.  ad  libitum,  often  occurring  before 
a  cadenza.  2.  A  stop,  on  the  vio- 
lin. 

{ermato  (ma'-to),  /.  Firmly,  fer- 
mezza  (fer-med'-za).  Firmness,  fer- 
mo  (fer'mo).     Firm.     Vide  cantus 

FIRMUS. 

fermement  (ferm-man),  F.     Firmly. 

Feme  (fer'ne),  G.  Distance,  wie 
aus  der  F.  (ve-ows-der).  As  if  from 
the  distance.  Fern-flote.  A  covered 
8-ft.  stop.   Fern-werk.  Echo-organ. 

feroce  (fa-ro'-che),  ferocemen'te,  /. 
Fierce(ly).  ferocita  (fa-ro-chl-ta). 
Fierceness. 

fertigtfer-tlkh),  G.  Ready,  nimble.  F.- 
keit  (kit).      Dexterity. 

fervemment  (far-ve-mSn),  F.  Fervent- 
ly- 

ferven'te,  fer'vido,  /.  Fervent,  fer- 
ventemen'te,  fervidamen'te.  Ve- 
hemently. 

Fes  (fes),  G.  The  note  Fb.  Feses 
(fes'es).  F  double  flat. 

Fest  (fesht),  G.  i.  Feast,  festival.  2. 
Firm,  steady.  Festigkeit  (fes- 
tTkh-klt).  Firmness,  steadiness,  fest- 
lich  (fest-llkh).  Festive,  solemn. 
Festlichkeit.  Solemnity.  Fest- 
lied.  A  festive-song.  Festouver- 
tiire.  A  Hrilliant  overture.  Fest- 
zeit  (tsit).     Festival-time. 

festivo  (fes-te'vo),  festivamen'te,  /. 
Gay(ly).  festivita  (fes-te-vl-ta'). 
Festivity,  gayety. 

festo'so,  /.     Merry  cheerful,  gay. 


Feuer  (foi'er),  G  Fire,  ardour,  pas- 
sion, feurig  (rlkh).  Ardent,  pas- 
sionate. 

fff.     Abb.  of  Fortissimo. 

F  holes.     Vide  f. 

fiacco  (fl-ak'ko),  /.  Feeble,  languish- 
ing. 

fiasco  (fl-as'-ko),  /.  A  failure  ;  not  so 
used  in  Italy. 

fiato  (fl-a-to),  /.     Breath  ;   voice. 

fictus(aHum),  Z.  "  Feigned."  i. 
Vide  FA.  2.  musica  ficta.  For- 
mer name  for  music  transposed. 

fiddle.  Violin,  iron  f.  An  arrange- 
me'nt  of  nails  or  rods  played  with  a 
bow,  inv.  by  Jn.  Wilde,  iSth  cent. 
fiddler.  Violinist,  commonly  a  poor 
player,     fiddlestick.     Violin-bow. 

Fidel  (fe'-del),  G.     Violin. 

fi'des,  Z.  I.  A  string.  2.  A  stringed 
instr.  fid'icen.  One  who  plays  a 
stringed  instr.  fidicina.  A  woman, 
player. 

fidic'ula,  Z.     A  small  lute. 

fiducia  (fi-doo'-cha),  /.     Confidence. 

Fiedel  (fe'dl),  G.  A  violin.  Stroh- 
fiedel.  Xylophone.  F.-bogen(b6kh'- 
en).  A  violin-bow.  F.-brett  (brdt). 
A  squeaky  violin.  Fiedler  (fet'-lSr). 
A  fiddler. 

fiel.     An  old  name  for  violin. 

field-music.       Martial  music. 

fier  (fe-ar),  fibre  (fl-ar),  F.  Proud, 
lofty,  fierce,  fiferement  (fl-ar-mah). 
Fiercely.  fiert6  (f'yar-ta').  Fierce- 
ness. 

fiero  (fe-a'-ro),  fieramen'te,  Z.  Fierce- 
(ly).    fierezza(rgd'-za).     Fierceness. 

fife.  I.  A  6-holed  octave  cross-flute, 
usually  in  the  key  of  F  or  Bj^,  chiefly 
used  in  military  music,  differing  from 
the  piccolo  in  lacking  keys ;  compass 
d'-d'".     2.  A  2-foot  stop. 

fif  faro,  Z     Fife. 

fifre  (fefr),  F.  i.  A  fife.  2.  A  fifer. 
3.   An  harmonium-stop. 

fifteenth,  i.  An  interval  of  two  oc- 
taves. 2.  A  2-ft.  stop,  two  octaves 
above  the  diapasons. 

fifth.  I.  The  fifth  tone  of  a  scale,  the 
dominant.  2.  An  interval  contain- 
ing five  tones,  the  extremes  included, 


128 


THE    MUSICAL    GUIDE 


as  C-G  (the  ratio  being  2  :  3).  Tiie 
tonic  and  the  dominant  of  a  key  con- 
stitute a  perfect  (or  less  strictly,  7)ia- 
jor)  fifth.  To  widen  the  interval  by 
lowering  the  lower  (or  raising  the  up- 
per) tone  a  half-step  results  in  an  aug- 
mented (or  superfluous,  extre7?ie, 
sharp  ov pluperfect) fifth,  as  c-g#,  or 
ct>-g  ;  to  narrow  the  interval  a  semi- 
tone by  raising  the  lower  or  lowering 
the  upper  tone  a  half-step  results 
in  a  ditninished  (or  itnperfect,  false, 
flat,  minor  ox  defective)  fifth.  Two 
parts  or  voices  according  to  the  rules 
may  not  progress  by  perfect  fifths 
either  in  consecutive  or  parallel  man- 
ner, whether  the  fifths  are  open  or 
{covered,  concealed),  hidden,  (q.  v.). 
Though  this  rule  is  the  very  ABC 
of  harmonic  law,  it  is  not  justified  by 
science,  by  history,  or  by  latest  prac- 
tice. Circle  of  fifths.  Vide  tem- 
perament, fifthy.  With  the  second 
partial  (a  fifth)  noticeably  marked. 

Figur  (fe-goor'),  G.  A  figure,  or  num- 
eral. 

figura  (fe-goo'-ra),  Z.  and  /.  Vide 
FIGURE,  f.  liga'ta.  A  ligature,  f. 
muta  (moo-ta).  A  rest.  f.  obli'qua. 
In  old  music,  an  oblique  symbol  in- 
dicating that  two  superimposed  notes 
(as  g-b)  were  to  be  sung  obliquely 
(thus  g-b-b-g). 

figural,  E.  (in  G.  fe-goo-ral').  Fig- 
urate.  F.-gesang.  Cantus  figura- 
tus,  counterpoint. 

figuration,  i.  The  use  of  figures  or 
ornamented  passages  in  the  variation 
of  a  theme.  2.  The  writing  or  the 
filling  out  of  figured  bass.  3.  In 
opt.  the  interpolation  of  figures, 
changing  notes,  etc. 

figurato  (fe-goo-ra'-t5),  /.,  figur^  (fe- 
gii-ra),  F.  figurate,  or  figured,  i. 
Ornamented  with  figures,  hence 
florid,  free.  2.  Provided  with  numer- 
als, as  figured  bass.  Vide  bass  6, 
and  CHORD. 

figure,  E.  (in  F.  pron.  fl-giir).  i.  A 
pattern  or  design  in  grouped  notes 
which  may  be  repeated  variously.  2. 
A  numeral,  f.  of  diminution.     A 


number  diminishing  the  duration  of  a 
note. 

fil  (fel),  F.     Thread  (of  a  string). 

filar  il  tuono  or  la  voce  (fe-lar  el 
too-o'-no  or  la  v5'  che),  7. ,  filer  un 
son  or  la  voix  (fe-la  run  son  or  la 
vwa),  F.  To  draw  the  tone  out  to  a 
thread  of  sound. 

filarmo'nico,  /.     Music-loving. 

filet  de  voix  (fe-la  dii  vwa),  F.  A 
mere  thread  of  tone. 

filling-up.  I.  Of  parts,  those  of  har- 
monic but  not  melodic  use.  2.  Of 
stops,  mutation. 

filo  (fe  -IC),  /.  Thread,  f.  di  voce. 
Softest  possible  tone. 

filpen  (fel'-pen),  G.     Vide  fistuliren. 

fi'lum,  L.     Stem,  of  a  note. 

fin  (f5h),  F.  The  end  ;  fine.  f.  a  qui. 
(fdniike).      End  here. 

fi'nal.  The  note  of  rest  in  church? 
modes  corresponding  to  our  Tonic ; 
in  authentic  modes  the  F.  is  on  the 
first  degree  ;  in  plagal,  on  the  4th. 
These  are  called  regular-  finals. 
Others  occur  frequently  and  are  irreg- 
ular or  confinals.  Vide  modes,  f. 
close.     A  finishing  cadence. 

finale  (fe-na'-le,  /.  /  in  F.  fl-nal).  i. 
The  conclusion,  usually  elaborate,  as 
the  closing  chorus  of  an  act  in  opera  ; 
in  sonatas,  symphonies,  an  independ- 
ent movement.     2.   A  final. 

final'is,   L.     Vide  accentus  ecclesi- 

ASTICI. 

fine  (fe'-ne),  /.  The  end  ;  it  may  ap- 
pear sometimes  before  a  da  capo 
sign,  in  which  case  the  movement  is 
to  be  played  to  the  repeat-bar  and 
then  repeated  to  the  Fine,  where  it 
ends. 

Finger  (In  E.  fing'-ger  ;  in  G.  fing- 
er). Finger.  F.-bildner,  finger-de- 
veloper, A  device  for  keeping  the 
last  joint  of  the  fingers  up  ;  inv. 
by  Seeber.  F.-brett.  Finger-board. 
F.-fertigkeit.  Agility.  F.-leiter 
(llt'-er).  The  chiroplast.  F.-satz, 
F.-setzung.  Fingering.  Enger  or 
gedehnter,  Fingersatz.  Close  (or 
stretched)  fingering.  F.-wechsel 
(vekhs'l).  Change  of  fingers,    finger- 


DICTIONARY    OF    TERMS       129 


board.  In  a  stringed  instr.  the  neck 
on  which  the  strings  are  stopped. 
finger-cymbals.  Tiny  cymbals 
fixed  on  the  fingers,  finger-holes. 
The  holes  on  wind-instrs.  by  which 
the  pitch  is  regulated. 

fingering.  i.  The  manner  of  using 
the  fingers  on  instrs.  2.  The  symbols 
indicating  a  fingering.  In  the  Ger- 
man F.  the  thumb  is  marked  i,  the 
fingers  2,  3,4,  5  ;  in  an  older  German 
method  the  thumb  was  marked  by  a 
circle  O  ;  in  the  English,  ox  Ameri- 
can F.  the  thumb  is  marked  with  a 
cross,  the  fingers,  i,  2,  3,  4. 

finire   il  tuono,   /.      Vide   messa   di 

VOCE. 

finite.  Of  a  canon,  not  repeated,  end- 
ing with  the  finish  of  the  theme  ;  not 
'■  infinite." 

finito(a)  (fl-ne'-to),  /.     Finished. 

fino  (fe'-no),  /.     To,  as  far  as,  till. 

finto(a)  (fen'-to),  /.  Feigned,  cadenza 
f.    Vide  CADENCE  (f).    fa  finto.    Vide 

FA. 

fioco(a)  (fl-o'-ko),  /.  Hoarse,  faint. 
fiochetto.  Rather  hoarse,  fiochez- 
za  (fe-6-ked'-za).      Hoarseness. 

fiore  (fl-o'-rS),  /.  Flower.  a  f.  di 
labbre.     Lightly  on  the  lip. 

fioreggiare  (fe-6-red-ja'-re),  /.  To 
add  figures  to. 

fioret'to,  /.     A  little  ornament. 

fioriscente  (fe-6-rl-shen'-te),  /.,  fiorito 
(fe-o-re'-to).  Florid,  fioritezza  (fe-6- 
rl-ted'-za).     Embellishment. 

fioritura  (fe-6-rI-too'ra)  (pi.  e),  /. 
Florid  ornament. 

first.  I.  The  highest  voice-part  or 
string  ;  the  lowest  line  or  space.  2. 
A  unison  or  prime. 

Fis  (fes),  G.  The  note  F#.  Fis-dur 
(fes-door).  FJ$  major.  Fis-fis.  The 
note  F  double  sharp.  Fis-moll.  FJf 
minor. 

Fistel  (fish-tel),  G.  Falsetto  (also  F.- 
stimme). 

Fistola  (fes'-to-la),  /.,  fis'tula,  Z. 
A  reed,  a  pipe.  f.  dulcis.  Tht  Jii^te 
a  bee.  f.  germanica.  German  flute. 
f.  panis  or  f.  pastoralis.  The  Pan- 
dean pipes,    f.  pastorica.    An  oaten 


pipe  used  in  Roman  theatres  to  ex- 
press disapprobation,  fistulator,  Z., 
fistulato  re,  /.  A  piper,  fistuli- 
ren  (fis-too-le'ren),  G.  i.  To  sing  fal- 
setto. 2.  Of  organ-pipes,  to  over-blow. 

fith'ele.     Old  English  name  for  fiddle. 

fixed-Do.  That  system  of  solmisation 
in  which  the  syllables  are  fixed,  i.  e., 
do  is  given  always  to  C  (sharp,  flat, 
or  natural),  re  to  D,  etc. 

fixed  tone  or  intonation.  Used  of 
the  piano  and  instrs.  in  which  the 
player  cannot  change  the  pitch  of  a 
tone,  as  on  the  violin,  etc. 

Flachflote  (flakh'fla-te),  G.  1.  Flage- 
olet.    2.   An  organ-stop. 

flag.  I.  Abbr.  ior  flageolet,  ox  flage- 
olet tones.      2.   A  hook. 

flageolet',  E.  {F.  flazh-6-la),  Fiage- 
olett  (fla-je-6-let'),  C,  flagioletta 
(fla-j6-let'ta), /.  i.  A  small  flute  played 
at  the  end,  compass  g'-b'"  flat. 
double  f.  An  instr.  with  2  different- 
sized  flageolets  meeting  in  one  mouth- 
piece, inv.  by  Bainbridge,  1800.  2. 
flageolet  or  flageolet-tones  or 
Tone.  Vide  harmonics.  3.  A  i- 
or  2-ft.  stop. 

flam.  In  drum  music  a  grace  note, 
close  f.,  as  short  as  possible  ;  open  f., 
with  a  brief  interval. 

Fla  minenorgel,  G.     Pyrophone. 

Flaschinett  (flash'I-net),  G.  The 
flageolet. 

flat.  I.  A  symbol  (|r)  lowering  the  note 
before  which  it  is  placed  one  semi- 
tone ;  placed  in  the  signature  it  af- 
fects every  note  occurring  on  its  line 
or  space.  The  double  flat  (bfr), 
formerly  a  great  flat,  lowers  the  note 
two  semitones.  flat  fifth.  Vide 
FIFTH,  flat  tuning.  Of  a  lute  tuned 
to  the  former  lower  French  pitch.  2. 
As  a  verb,  to  lower  a  note  a  semi- 
tone ;  preferably  to  flatten. 

flatter  la  corde  (flat-ta  la'  kord),  F. 
To  flatter  or  caress  the  string. 

flautando  (fla-oo-tan'do),  flautato 
(ta'to),  /.  I.  Drawing  the  bow  gent- 
ly across  the  strings  near  the  bridge, 
producing  a  "fluty"  tone.  2.  Pro- 
ducing harmonics. 


130 


THE    MUSICAL    GUIDE 


flauto  (fla'oo-to),  /.  Flute,  flautis'- 
ta.  Performer  on  the  flute,  flau- 
tino  (te'-no).  i.  A  small  octave- 
flute.  2.  A  piccolo.  3.  Same  as 
Jlautando.  f.  piccolo.  The  shrill 
octave-flute.  f.  a  bec'co.  Beak- 
flute,  f.  alto.  A  tenor-flute  used  in 
bands,  f.  amabile.  An  organ-stop. 
f.  amoroso.  A  4-foot  organ-stop. 
f.  dolce.  I.  A  beak-flute.  2.  An 
organ-stop,  flauto'ne.  A  large  bass- 
flute,  f.  tedesco,  transverse,  tra- 
verso.  I.  The  German  or  transverse 
flute.      2.   An  organ-stop. 

flebile  (fla -bl-le),  flebilmen'te,  /.  Sad- 
(ly),  doleful(ly). 

flessibile  (fles-se'-bT-la),  /.  Flexible. 
flessibilita  (ll-ta'),  /.     Flexibility. 

Flick'opera,  G.  An  opera  with  new 
words  to  old  tunes. 

fling.  A  Scotch  Highland  dance  in  4-4 
time. 

F-Locher,  G.     F  holes.    "Vide  F. 

flon-flon  (floh-floh),  F.  A  refrain  to 
old  vaudevilles  ;  hence,  trash. 

flor'id.     Ornamental,  embellished. 

Flote  (fla  te),  G.  Flute,  flotchen  (flet'- 
khSn).  A  little  flute.  F.-bass.  A 
bass-flute.  floten.  To  play  the 
flute.  F.-spieler.  A  flute-player. 
F.-stimme,  F.-zug.  A  flute-stop. 
Flbtenwerk.  A  small  organ  with 
only  flue-pipes.  F.  traverso.  i. 
The  transverse  flute.  2.  An  organ- 
stop.  Flotist  (fla'-test).  A  flute- 
player. 

flourish.  I.  A  trumpet-fanfare.  2. 
An  embellishment. 

fluchtig  (flukh't!kh),  G.  Light(ly). 
Fliichtigkeit  (kit).     Fleetness. 

flue-pipe-stop-work.     Vide  pipe. 

Fliigel  (flii'-gel),  G.  "  Wing,"  hence, 
I.  A  wing-shaped  instr.  ;  or  the 
modern  grand  piano.  2.  The  ear  of 
a  pipe.  F.-harfe.  A  small  table- 
harp  with  upright  sound-board.  F.- 
horn.  I.  A  bugle.  2.  A  keyed 
bugle  or  other  keyed  brass  instru- 
ment. 

flute,  E..  flu'ta,  Z.,  flute  (flut),  F.  i. 
Now  generally  used  of  the  transverse 
(or  cross,  or  German)  flute.   The  beak- 


(or  direct)  flute  (in  various  sizes)  is 
obsolete.  This  latter  was  blown  at 
one  end.  The  cross-flute  is  blown 
through  a  hole  in  the  side  near  the 
larger  end.  It  is  a  long  tube  (for- 
merly  slightly  conical)  with  the  larger 
end  closed.  Usually  made  of  wood, 
it  is  sometimes  of  silver  or  other  met- 
als. The  principle  is  that  of  the  flue- 
pipe  (vide  pipe),  and  the  tone  is 
clear,  pure,  and  especially  rich  in  the 
lower  range,  which  is  too  little  used. 
A  very  ancient  instrument  (appear- 
ing often  with  two  tubes  and  one 
mouthpiece  as  the  doubh-flute,  one 
tube  furnishing  probably  a  mere 
drone-bass);  its  modern  form  owes 
much  to  the  improvements  of  Boehm, 
and  controls  with  its  keys  fourteen 
orifices,  with  an  extreme  range  of 
h-c""t  .  It  is  made  in  six  sizes  (in- 
cluding the  piccolo,  or  octave-fiMie) 
and  sounds  as  written,  is  non-trans- 
posing. The  normal  flute  is  the  C ; 
there  are  two  others  in  D  flat  and  E 
flat.  Tht piccolo  is  in  the  same  keys, 
but  the  lower  octave  is  not  used  ;  it 
is  written  an  octave  lower  than  it 
sounds.  A  fourth  (or  quart)  flute 
sounds  a  fourth  higher  than  the  nor- 
mal flute.  2.  An  organ-stop,  flute* 
work.  Vide  stop,  harmonic  f,  or 
f.  armonique.  An  organ-stop,  oc- 
tave-f.  The  piccolo,  pastoral  or 
shepherd's  f.  A  short  beak-flute. 
f.  a  bee  (a  bek),  F.,  Schnabel- 
flote  (shna-bel),  G.  Beak-flute,  f. 
allemande(ai-mand), /".  The  cross- 
flute,  f.  conique  (kon-ek),  F.  i. 
Conical  flute.  2.  An  organ-stop. 
f.  d'amour  (da-moor),  i.  An  ob- 
solete flute  in  A  or  in  B  flat.  2. 
A  4-  or  8-ft.  stop.  f.  d'Angle- 
terre  (dan-glii-tar).  The  flageolet. 
f.  du  Poitou(  du  pwa-too).  The  bag- 
pipe, f.  douce  (doos).  The  beak- 
flute,  f.  minor  (me-nor).  A  2-  or 
4-foot  stop.  f.  octaviante  (6k-ta- 
vl-ant).  Octave-flute ;  an  organ- 
stop,  f.  ouverte  (oo-vSrt).  An  open 
stop.  f.  traversiere  (tra-ver-sI-Sr). 
The  cross-flute. 


DICTIONARY  OF    TERMS       131 

flute,  F.     As  a  directioti — "  use  har-  (prum-yar).       The  first  time,    deux- 

monies."     flutde  (ta).     Fluty.  i^me  f.  (diiz-yem).    The  second  time. 

fly.     The  lid  covering  a  key-board.  deux  f.     (dii-fwa).     Twice,     derni- 

F-moU  (ef-mol),  G.     F  minor.  fere  f.     The  last  time. 

fo'co,  /.     Fire,  passion,     focosamen'-  folia  (fo-le'-a),  Sp.,  follia(e)  di  spagna 

te.    Ardently,     focosis'simo.    Very  (span-ya),      /.,     folies     d'espagne 

ardent,     focoso.     Passionate.  (fo-le-des-spin),  F.     i.  A  slow  Span- 

foglietto  (fol-yet'-to),  /.    A  part  which  ish  solo-dance    in    3-4   time.      2.    A 

contains  all  the  obbligato   passages,  species  of  air  with  variations. 

used  often  by  conductors  instead  of  a  folia'ted.     Ornamented. 

score.  folk-music.     The  body  of  folk-songs, 

foire  des  enfants  (fwar-da-zah-fan),  F.  dances,  etc. 

"  Children's  fair."     Toy  symphony.  folk-song.     A  strongly  racial  popular 

fois    (fwa),   F.     Time,     premiere    f.  song  that  has  become  a  tradition. 


Folk-Song. 

'  H.   E.   Krehbi 


HE  bearing  which  Fo!k-music  {i.e..  Folk-song  and  Folk-dance)  has 
on  national  schools  of  composition  gives  propriety  to  an  attempt  at 
accurate  definition  of  the  subject  to  which  this  article  is  devoted. 
Folk-song  is  not  popular  song  in  the  sense  in  which  the  word  is  most  fre- 
quently used,  but  the  song  of  the  folk  ;  not  only  the  song  admired  of  the 
people  but,  in  a  strict  sense,  the  song  created  by  the  people.  It  is  a  body  of 
poetry  and  music  which  has  com2  into  existence  without  the  influence  of 
conscious  art,  as  a  spontaneous  utterance,  filled  with  characteristic  expression 
of  the  feelings  of  a  people.  Such  songs  are  marked  by  certain  peculiarities  of 
rhythm,  form,  and  melody  which  are  traceable,  more  or  less  clearly,  to  racial 
(or  national)  temperament,  modes  of  life,  climatic  and  political  conditions, 
geographical  environment  and  language.  Some  of  these  elements,  the  spirit- 
ual, are  elusive,  but  others  can  be  determined  and  classified.  Peoples  living 
in  northern  climates,  for  instance,  are  predisposed  to  the  minor  mode,  which 
has  melancholy  for  its  most  marked  characteristic.  Here  the  influence  is 
■T\  generally  climatic  and  geographical.  But  peoples  living  in  cheerful  and  salu- 
brious climes  may  also  be  dominated  by  gloom  if  they  have  long  sufi^ered  under 
oppressive  political  and  social  conditions.  •[jBoth  propositions  are  illustrated 
in  the  case  of  Russian  Folk-song,  which  is  overwhelmingly  minor  in  spite  of 
the  fact  that  the  Czar's  empire  extends  over  nearly  thirty  degrees  of  latitude 
and  has  a  mean  temperature  varying  from  thirty-two  degrees  Fahrenheit  at 
Archangel,  to  fifty-eight  degrees  in  the  Caucasus.  It  would  seem  to  be  a 
paradox,  moreover,  that  heavy-hearted  song  should  be  paired  almost  univer- 
sally with  singularly  boisterous  and  energetic  dances  ;  but  the  reason  of  this 
becomes  plain  when  it  is  remembered  that  a  measured  and  decorous  mode  of 


132  THE    MUSICAL    GUIDE 

popular  amusement  is  the  general  expression  of  equable  popular  life,  while 
wild  and  desperate  gayety  is  frequently  the  sign  of  reaction  from  suffering. 
There  is  a  gayety  of  despair  as  well  as  of  contentment  and  happiness. 
■Tflntervallic  peculiarities  are  more  difficult  to  explain  than  rhythmic,  and 
may  be  said  to  be  survivals  of  primitive  artistic  conditions.  The  modern 
scale  was  an  evolution,  not  an  inspiration,  and  the  study  of  savage  music  dis- 
closes many  rudimentary  forms  of  it.  The  most  idiomatic  music  of  the  Finns 
is  confined  to  the  first  five  tones  of  the  minor  scale,  which  was  the  compass 
of  the  ancient  Finnish  harp — the  kantele.  Old  Irish  and  Scotch  songs  share 
the  pentatonic  scale  (^i.e.-,  the  modern  diatonic  scale  omitting  the  fourth  and 
seventh  steps)  with  the  popular  music  of  China,  Japan,  and  Siam.  In  the 
songs  of  the  negro  slaves  of  America,  I  have  found  the  same  scale,  a  major 
scale  with  a  flat  seventh  and  a  minor  scale  with  a  raised  sixth,  to  be  predomi- 
nant. Cesar  Cui  mentions  the  prevalence  in  Russia  of  two  major  scales,  one 
without  the  fourth,  the  other  without  the  third  and  seventh.  Hungarian 
melodies  make  frequent  use  of  the  interval  called  the  augmented  second, 
which  compasses  three  semitones  and  is  common  to  Oriental  music.  There 
is  a  hint  in  this  of  the  origin  of  the  Magyars,  who  are  not  Slavs,  as  is  so  com- 
monly supposed,  but  Scythians  ;  they  belong  to  the  Finno-Ungrian  stock, 
and  are  more  nearly  related  to-  the  Turks  than  to  their  neighbours,  the  Poles 
and  Russians.  The  profusion  of  ornament  which  characterises  Hungarian 
music  is  an  importation  from  the  Orient  by  the  Gypsies  who,  while  the 
national  musicians  of  Hungary,  are  nevertheless  a  Hindu  people,  ^j  These 
facts,  gathered  at  random  from  the  vast  but  as  yet  unexplored  storehouse  of 
Folk-music  indicate  the  possibility  of  using  the  study  as  an  aid  in  the  deter- 
mination of  many  things  in  ethnology  and  ethnography  ;  for  Folk-song 
elements  have  a  marvellous  tenacity  of  life.  In  the  study  of  Folk-music, 
however,  the  purpose  of  the  student  should  be  primarily  to  discover  and,  if 
possible,  account  for  the  elements  which  differentiate  the  creations  of  one 
race,  people,  or  tribe  from  those  of  another.  This  done  it  will  be  possible  to 
explain  and  describe  the  distinguishing  characteristics  of  the  national  schools 
of  composition  based  upon  Folk-song  idioms,  such  as  the  Scandinavian, 
Russian,  Polish,  Bohemian,  and  Hungarian. 

folk-tone.     The  folk-song  manner  or  foot.     i.   The  unit  of  metre,  a  distinct 

spirit  (cf.  Volkston).  rhythmic  unit   of  two  or  more  sylla- 

fondamental(e),    (fon-da-man-tal)  /".,  bias.    2.   Of  a  pipe,  the  part  below  the 

fondamentale    (tale),    /.        Funda-  mouth.     3.  Old  term  for  a  refrain, or  a 

mental,  son  f.  Root,    basse,  or  bas-  drone-bass.     4.  A  unit  for  the  desig- 

so,  f.     Vide  BASS  6.  nation  of  the  pitch  of  pipes  and  instrs.  . 

fondamen'to,  /.      Fundamental  bass.  arrived  at  as  follows.     Sound  travels 

fonds    d'orgue    (foh    dorg),   F.      The  1056  feet  per  second,  the  tone  C,,  has 

foundation-stops.  33  vibrations  a  second  ;  1056  -^33  = 


DICTIONARY    OF    TERMS       133 


32  feet,  the  length  of  one  sound- 
wave ;  a  32-foot  pipe  will  therefore 
sound  C,,.  The  pipe  giving  C  (two 
octaves  below  middle  C)  is  about  8 
feet  long.  This  is  taken  as  the  nor- 
mal length,  and  while  the  pipes  that 
make  up  a  so-called  8-foot  stop  (q.  v.) 
decrease  in  length  as  they  ascend  the 
scale,  they  are  considered  as  belong- 
ing to  the  8-foot  tone  and  they  sound 
as  written  or  played,  i.  e.,  when  an 
8-foot  stop  is  on  and  the  key  of 
mid.  C  is  depressed,  mid.  C  sounds, 
etc.  If  this  key  is  depressed  when  a 
4-foot  stop  is  on,  the  tone  an  octave 
higher  sounds  ;  when  a  32-foot  is  on,  a 
tone  two  octaves  lower  sounds  :  the 
2-foot  and  i-foot  stops  produce  tones 
respectively  two  and  three  octaves 
higher  than  the  key  depressed.  A 
stop  then  is  named  from  the  length 
of  its  longest  pipe  and  lowest  tone. 
From  this  use  arises  the  designation 
of  instruments  by  foot-measure,  or 
foot-totie  ;  an  instr.  sounding  as  ivrit- 
ten  (e.  g. ,  the  flute)  is  called  an  8-foot 
instr.,  one  sounding  an  octave  higher 
(e.  g.,  the  piccolo-flute)  is  called  a 
4-foot  instr.  Furthermore,  this  desig- 
nation is  used  of  octaves  ;  the  letters 
in  the  great  octave  (vide  pitch)  are 


known  as  8-foot  (as  8-ft.  C,  D,  etc.), 
those  in  the  small  octave,  as  4-ft.  c,  d, 
etc.  ;  those  in  the  once-accented  as  2- 
foot,  and  those  in  the  twice-accented 
as  i-foot.  The  word  foot  is  sometimes 
abbreviated  by  an  (')  as  S',  16'. 
The  metrical  system  has  been  ap- 
plied with  much   inaccuracy  ;    8-feet 

5  ,  5  , 

=  -  metre  ;  4-feet  =  -  m.  ;  2-feet  = 


i6-ft.  =  5  m.  ;  32-ft. 


and 


2       I 

3.  ^   3.   '  ""  3 

5 


^^^'^  =f  3".l,^""'^2l"^^^'-^^--«- 
spectively. 

2         I       3  4 

Tierce    (6    -    3   r    i  7  ^"^^  -  ^^^"-^  ~ 

y(or2),  I  (on),  ^^^(i),and^  (i) 
metres  respectively. 

foot-key.     Pedal-key. 

forbidden.  Contrary  to  musical  gram- 
mar.     Vide  HARMONY. 

foreign.     Alien  to   the   given   key,  or 

tonality. 
forlana   (for-la'-na),   /.,    forlane  (for- 

lan),  F.     A  lively  Venetian  dance  in 

6-8  or  6-4  time. 


Form. 

By   John    F.    Runciman. 

A  DEFINITION  of  Form  would  have  this  disadvantage  :  that  it 
would  convey  absolutely  nothing  save  to  those  who  understood 
perfectly  what  the  meaning  is  ;  and,  further,  it  would  occupy  much 
more  space  than  is  here  available.  So  instead  of  trying  to  reach  a  perfect 
definition,  let  us  try  what  is  a  much  better  plan  from  the  lay  point  of  view — 
let  us  trace  the  growth  of  the  mass  of  principles  and  their  methods  of  appli- 
cation which  are  included  in  this  one  comprehensive  term  Form.  ^In  the 
beginning,  we  may  assume,  music  was  without  Form,  though  not  always 
quite  void.  The  savage  tootled  his  melody,  caring  nothing  about  repeating 
phrases,  nothing  about  middle  sections,  nothing  about  development.  But  in 
the  earliest  traditional  melodies  that  come  down  to  us  we  find  the  germ  of  all 
that  is  now  known  as  Form.     ^In  any  collection  of  popular  songs  the  reader 


134  THE    MUSICAL    GUIDE 

will  find  examples  built  on  the  following  plan  : — first  a  strain  is  delivered  ; 
then  another  strain,  in  another  key,  is  delivered  ;  and  finally  the  first  strain  ,s 
repeated,  bringing  the  whole  thing  to  a  satisfactory  close.  Let  us  consider 
for  a  moment  the  inwardness  of  this  arrangement.  No  one  wants  to  sing  only 
one  strain  and  be  done  with  it.  To  sing  a  second  strain  in  the  same  key 
would  prove  tiresome,  so  a  feeling..af  relief,  of  variety  is  produced  when  the 
thing  is  lengthened  by  the  addition  of  a  second  strain  in  a  new  key.  But  to 
end  in  the  new  key  would  be  quite  unsatisfactory  :  it  would  be  like  breaking 
off  in  the  middle  of  a  sentence.  So  the  first  key  is  re-introduced  and  the 
whole  song  rounded  off  and  made  to  end  with  a  sense  of  perfect  complete- 
ness by  a  repetition  of  the  first  strain  in  the  first  key.  ^From  this  s'mph 
example,  then,  we  may  infer  the  whole  object  of  Form  :  it  is  to  secure, 
whether  in  songs  or  in  instrumental  movements  or  in  choruses^_ji__pitcc-  of 
music  sufficiently  long  and  combining  variety  with  unity.  ^Length,  varietv', 
and  unity — to  attain  these  is,  so  far  as  instrumental  music,  music  without 
words,  is  concerned,  the  whole  aim  and  object  of  Form.  When  once  music 
is  used  in  association  with  words,  other  than  the  simplest  lyrics,  other  con- 
siderations enter.  These  we  will  touch  upon  later  ;  let  us  for  the  present 
try  to  get  as  far  as  the  first  instrumental  music  written  in  anything  approach- 
ing regular  Form.  Naturally  this  grew  out  of  the„_polyphonic  vocaLjn^c, 
which  came  before  it.  If  we  examine  the  old  music,  in  a  great  deal  of  it 
we  find  nothing  corresponding  to  Form  as  we  understand  the  word  to-day. 
A  phrase  is  delivered  bv  one  voice.  Let  us  call  that  phrase  A  ;  it  may  be 
two,  four,  or  six  bars,  or  indeed  any  length.  After  the  firstly oice  has  sung 
it  a  second  voice  takes  it  up,  while  the  first  voice  proceeds  to  a  second  jhsjne 
or  stTain  which  we  will  cajl^^ — a  third  voice  enters  with  A,  the  second  tajtes 
up  B,  while  the  first  proceeds  to  yet  another  new  strain,  C^  Roughly,  this 
is  the  way  in  which  whole  movements  are  spun  out.  The  modulations  are 
more  or  less  haphazard  and  dictated  entirely  by  the  composer's  desire  to 
achieve  expression  :  there  is  nothing  done  in  obedience  to  any  rule.  The 
first  instrumental  pieces  are  built  after  this  plan,  ^j  These  pieces  may  be 
compared  to  the  harmless  amceba,  the  tiny  speck  of  protoplasm  which  swims 
about,  sans  eyes,  ears,  mouth  or  limbs  :  simply  a  shapeless  bit  of  life  capable 
of  existing,  so  long  as  it  remains  small.  But  even  the  older  composers  were 
not  content  to  let  their  musical  creations  remain  small.  They  wanted  to 
display  their  skill  in  weaving  a  longer  web  of  music  ;  some  of  them  had 
something  to  say,  something  which  demanded  length  ;  most  of  them  had  the 
architectonical  instinct  which  forces  man  to  build  out  of  any  material  he  can 
lay  his  hands  on.  Now  a  1  o^ng  movement,  a  too  long  movement,  spun  on 
the  old  plan  necessarily  becomes  tedious,  monotonous  and  difficult  to  follow — 
it  is  at  best  like  a  very  long  sentence  or  paragraph  with  never  a  comma  or  a 


DICTIONARY    OF    TERMS       135 

period.  Moreover,  if  the  music  is  all  the  same,  if  it  is  homogeneous,  it  is 
obvious  that  one  of  the  principal  methods,  of  getting  expression,  contrast,  is 
ruled  out.  Last,  no  musical  architecture  is  possible  with  a  mere  series  of 
musical  phrases  that  can  only  be  compared  with  a  lot  of  strips  of  wood  more 
or  less  carelessly  nailed  together.  So  gradually  the  principle  of  the  popular 
song  already  referred  to  was  adopted,  probably,  nay,  certainly,  quite  uncon- 
sciously, and  there  was  evolved  a  very  simple  and  useful  Form,  one  which 
has  been  vastly  used  by  all  composers  and  will  doubtless  be  used  constantly 
in  the  future,  however  music  may  develop.  ^\ln  place  of  the  one  strain  of 
the  simple  song  one  section  consisting  of  many  strains  was  introduced.  Fol- 
lowing that,  in  a  new  key,  for  the  sake  of  variety,  came  a  second  section, 
also  consisting  of  many  strains.  Finally  the  first  section  was  repeated  in  the 
original  key,  bringing  the  whole  movement  to  a  satisfying  conclusion.  Of 
this  form  there  are  hundreds  of  examples  in  the  shorter  movements  of  Haydn, 
Mozart  and  Beethoven.  When  a  more  modern  composer  uses  it,  however, 
he  by  no  means  sticks  to  a  couple  of  keys.  Our  sense  of  tonality  has  grown, 
we  perceive  relations  between  keys,  which  our  forefathers  were  totally  unable 
to  perceive  ;  and  the  first  and  second  sections  may  both  pass  through  many 
keys.  But  the  general  principle  remains  the  same.  Now  this  very  excel- 
lent Form  is  also  very  primitive.  In  Haydn's  time,  and  before  it,  the  in- 
stinct to  build,  to  crystallise,  music  was  still  at  work  ;  more  than  ever  com- 
posers wanted  to  express  something  ;  and  more  than  ever  it  was  necessary  to 
secure  contrast.  ^So  what  is  commonly  called  sonata  form  came  to  be 
invented.  In  the  simplest  examples  of  this  a  first  themg — corresponding  to 
the  first  strain  of  a  popular  song,  as  aforesaid — is^jinnounced.  Then  comes 
the  second  theme  in.a/resh  key.  But  after  that,  instead  of  a  repetition  of 
the  first  section,  there  is  what  is  called  a  development  or  working-out  section, 
in  which  both  first  and  second  themes  are  treated  with  all  the  skill  and  fancy 
the  composer  possesses  and  shown  in  a  dozen  or  more  unsuspected  lights. 
Only  after  that  does  the  first  theme  xelurn,  and  then  the  second  theme. 
This  is  called  the  Reprise.  But  the  second  theme,  if  repeated  in  the  key  in 
which  it  first  appeared,  would  of  course  end  the  work  inconclusively:  where- 
fore it  is  placed,  on  its  last  appearance,  in  the  key  of  the  first  theme.  ^The 
ingenious  reader  will  observe  that  if  variety  is  obtained  only  by  change  of 
key  then  there  would  be  no  more  variety  from  the  beginning  of  what  is  called 
the  reprise.  Nor,  for  that  matter,  is  the  mere  change  from  the  original  key 
to  that  of  the  dominant  enough  to  produce  any  great  variety.  The  second 
theme  therefore  is  made  as  unlike  the  first  in  every  respect  as  possible  :  if  the 
first  is  bold  and  rugged,  the  second  may  be  gentle  and  soothing  ;  if  the  first 
moves  rapidly,  the  second  may  be  long  drawn  out  ;  if  rhythm  is  strongly 
marked  in  the  first,  the  second  is  in  a  more  subtle  and  elusive  rhythm — in 
fact  contrast  is  seciired  by  any  of  the  thousand  ways  open   to  the  composer. 


136  THE    MUSICAL    GUIDE 

and  quite  easily  understood  when  heard,  though  anything  but  easy  to  de- 
scribe. ^Now  if  we  take  a  symphonic  movement  of  Mozart  we  find  a  first 
theme  of  marked  character  ;  after  its  delivery  (and  perhaps  brief  expansion) 
all  the  orchestra  goes  to  work  at  a  cadence  in  a  hammer-and--toiigs_fashion 
and  lets  you  know  unmistakably  that  you  have  reached  the  end  of  a  section. 
Then  the  second  theme  is  announced,  clearly.  Then  we  have  "  develop- 
ment ' '  in  which  the  old  tunes  are  turned  into  new  ones  as  unlike  the  old  as 
possible,  yet  obviously  growing  out  of  them.  Finally  we  have  the  reprise, 
and  then  the  cpda,  a  few  bars  in  the  case  of  Haydn  and  Mozart  stuck  on  to 
make  an  effective  conclusion.  ^This  is  simple  sonata  form.  There  was  an 
enormous  lot  of  waste  in  it  :  those  thumping  conventional  series  of  chords  at 
the  end  of  each  section,  for  example,  never  mean  and  never  did  mean  any- 
thing. At  the  time  they  were  written  the  tendency  to  formulate  music,  to 
get  conscious  control  of  the  material  of  music,  was  at  its  strongest  ;  one  of 
the  most  powerful  desires  of  Mozart  and  Haydn  was  to  make  their  form  as 
clear  and  distinct  as  possible  ;  and  to  that  everything  else  was,  in  an  emer- 
gency, sacrificed.  In  fact,  composers  of  that  time  seem  to  have  felt  as  keen  a 
pleasure  in  the  mere  regularity  and  balance  of  the  various  parts  of  movements 
as  in  the  poetic  and  sheer  musical  quality  of  the  parts,  even  when  the  balance 
was  secured  by  the  introduction  of  conventional  padding  altogether  at  war 
with  beauty  and  expression,  quite  destructive  of  both.  ^With  Beethoven 
came  a  change.  His  music  must  at  first  have  been  very  difficult  to  under- 
stand, for  instead  of  the  trumpet  and  drum  passages  marking  the  close  of  the 
different  sections,  one  section  leads  straight  into  another  by  means  of  passages 
of  as  high  musical  and  poetic  quality  as  any  other  portions  of  his  movements. 
Further,  he  went  in  for  third  themes  following  the  second  (the  second  and 
third  being  so  proportioned  as  to  balance  the  first),  and  he  mightily  extended 
the  coda.  Instead  of  a  few  noisy  bars  to  end  up  each  movement  he  started 
out  and  developed  his  theme  in  new  ways,  thus  adding  a  fourth  main  section 
to  the  three  existing  before  his  time — the  first,  in  which  the  themes  are  an- 
nounced ;  the  second,  in  which  they  are  developed  ;  the  third,  in  which 
they  are  repeated.  This  was  an  inevitable  corollary  of  the  enormous  increase 
he  made  in  the  size  of  the  forms  he  used.  After  such  huge  themes,  such 
lengthy  developments,  a  few  chords  were  not  sufficient  to  wind  up  ;  a  tail 
was  needed  by  the  symphonic  movement  before  it  could  be  felt  to  be  satis- 
factory, just  as  much  as  a  tail  is  needed  by  a  kite  before  it  will  ascend. 
•[[Let  us  pause  for  a  moment  to  sum  up.  In  the  early  days  music  had  form 
as  a  flower  or  a  blade  of  grass  has  form  ;  each  piece  grew  more  or  less  by 
haphazard  into  some  shape,  starting  from  its  one  theme.  The  utmost  that 
could  be  done  in  that  way  was  done  by  Bach  in  his  fiigues.  But  the  fiigue 
itself  was  the  result  of  the  tendency  to  formulate  music,  to  press  it  into  the 
bonds  of  strict  rule,  to  get  a  conscious  mastery  of  the  material.     That  ten- 


DICTIONARY    OF    TERMS       137 

dency,  together  with  the  desire  to  express  more  complex  emotions  and  the 
natural  instinct  of  man  to  build,  resulted  in  certain  clearly  defined  forms,  with 
hard  outlines,  so  to  speak.  Beethoven  came  and  softened  the  outlines,  hiding 
the  bones  of  music,  as  it  were,  under  a  beautiful  expressive  veil  of  tone. 
The  form  is  there  just  the  same,  and  can  easily  be  grasped  by  anyone  who 
takes  the  trouble  to  listen  careflilly.  The  fact  that  for  the  sake  of  expression, 
he  prodigiously  varied  his  themes  on  their  repetition,  does  not  alter  the  fact 
that  they  are  repeated  in  a  satisfying  way.  The  reader  who  can  follow  the 
form  of  say  the  first  movement  of  the  Eroica  symphony  (a  symphony  being 
only  an  orchestral  sonata)  understands  not  only  the  abstract  principles  of 
form  but  the  manner  of  applying  those  principles  to  the  concrete.  TJThe 
results  of  these  applications  are  various  forms — the  Rondo,  the  Minuet  and 
so  on  :  all  are  based  on  one  of  the  two  plans  ;  in  short  pieces  one  theme  is 
used,  set  forth  and  finished  with  ;  in  longer  pieces  variety  and  unity  are  se- 
cured by  two  or  three  (or  even  more)  themes  of  different  character  placed 
in  different  keys.  The  mere  setting  of  themes  one  after  another  can  always 
secure  variety  of  a  kind  ;  but  whether  there  is  at  the  same  time  unity  depends 
entirely  upon  whether  the  composer  is  or  is  not  an  artist.  There  is  no  rule 
for  that  :  only  genius  can  solve  the  problem.  So  much  then  for  pure  music. 
^The  application  of  the  principles  may  be  widened  in  a  thousand  ways  ; 
ten  themes  may  be  used  instead  of  two  or  three  or  four,  the  order  and  rela- 
tion of  the  keys  used  may  be  altered  and  added  to  ;  but  the  principles  remain' 
the  same.  ^But  when  music  ceases  to  be  pure  music,  when  words  are 
added  to  it,  or  it  is  intended  to  tell  a  story,  then  these  principles  can  no 
longer  be  applied — or  rather,  there  is  no  longer  any  need  to  apply  them. 
Instead  of  following  the  architectonical  faculty,  the  composer  must  follow  the 
dictates  of  the  dramatic  or  lyrical  faculty.  The  number,  character,  mode  of 
development,  etc. ,  of  the  themes  is  derived  from  the  thing  to  be  conveyed  to 
the  listener  ;  and  then  we  get  what  is  called  Programme  music.  But  just  as 
in  a  fine  novel  the  writer  reveals  architectonical  sense,  so  in  a  really  fine  piece 
of  Programme  it  is  revealed.  There  is  very  little  difference  in  form,  for 
example — at  any  rate  no  essential  difference — between  a  Bach  Hague  and  the 
Valkyries'  Ride  of  Wagner  ;  the  themes  are  stated  and  developed  in  a  certain 
order,  and  all  one's  faculties  are  satisfied — the  emotions,  the  sense  of  pure 
beauty  in  melody  and  harmony,  the  architectonical  sense,  the  intellectual 
appreciation  of  right  handling  of  the  material.  ^Whether  music  is  pure 
music  or  Programme  music,  it  must  satisfy  all  these.  And  though,  in  the 
future,  we  may  use  quarters  and  eighths  of  tones,  and  though  we  may  arrive 
at  complexities  unknown  to-day  and  be  able  to  express  subtleties  of  feelings 
as  yet  never  felt,  the  principles  by  which  our  feelings  are  expressed  in  noble 
and  beautiful  Form  cannot  but  remain  the  same. 


■38 


THE    MUSICAL    GUIDE 


formare  il  tuono.  Vide  messa  di 
vocp:. 

formula.  A  word  respectfully  submit- 
ted by  the  editor  to  obviate  the  loose 
use  of  "  sonata-form,"  which  is  em- 
ployed both  of  a  movement  and  a 
group  of  movements — both  for  the 
part  and  the  whole  ;  by  speaking  of 
the  dual-theme  movement  as  written 
in  the  sonata  formula  and  the  group 
of  formulas,  largo,  rondo,  etc.,  as  in 
the  sonata-yb^-w  much  ambiguity  will 
be  avoided. 

fort,  G.     Off  (of  an  organ-stop). 

fort  (for),  forte  (fort),  F.  i.  Loud. 
2.  Temps  f.     Strong  beat. 

fortbien  (forb-yih),  F.  A  modification 
of  the  o'd  fortepiano,  by  Friederici, 
1758. 

forte  (for'-te),  /.  i.  Loud.  (Abbr.  f.) 
f.  possibile.  As  loud  as  possible. 
piii  f.  Louder,  poco  f.  Rather 
loud.  f.  piano.  (Abbr.  fp.)  Loud, 
then  immediately  soft,  fortamen'te. 
Loudly. 

fortement  (fort-mah),  F.     Loudly. 

forte-piano.  i.  Vide  pianoforte. 
2.    Loud  !  then  soft ! 

fortezza  (for'-ted'-za).     Force. 

fortiss.     Abbr.  oi  fortissimo. 

fortissimo  (for-tes'-sr-mo),  /.  Very 
loud,  fortissis  simo.  Double  super- 
lative of  forte,  f.  quanto  possibile 
(kwan'-to  p6s-se  -bt-le).  As  loud  as 
possible. 

Fortriicken(f6rt'-ruken),  G.  The  ad- 
vance of  the  hand  (as  in  ascending 
figuration)  with  the  same  finger- 
ing. 

Fortschreitung  (fort'shrl-toongk),  G. 
Progression.  F.  einer  Dissonanz. 
Resolution.  fortschreiten.  To 
progress. 

Forts  itzunj  (fort'zet-zoongk),  G. 
Contiiuatioi,  development. 

forza  (for'-tsa),  /.  Force,  power. 
forzaado,  forzato  (for-tsa'-to). 
Forced,  sharpiv  emphasized  (marked 
V  A  >).  fo-zare  (for-tsa -rSl.  To 
strengthen,  f.  la  voce  (la  vd'chS). 
To  force  the  voice. 

foundation-stop.     Vide  stop. 


fourchette  tonique  (foor-shet  tofi-ek), 

F.  Tuning-fork. 

fourniture  (foor-nl-tur),  F.  A  mixture- 
stop. 

four-part.     Written  for  four  parts. 

fourth.  I.  The  fourth  tone  of  a  scale, 
the  subdominant.  2.  An  interval 
containing  four  tones,  the  extremes 
included,  as  d-g,  the  ratio  being  3  :  4. 
Fourths  are  perfect  and  iinperfect 
rather  than  major  or  minor.  An 
augmented  {superjitious,  extreme, 
sharp  or  pluperfect)  fourth  is  one 
whose  upper  tone  has  been  raised  a 
half-step,  or  its  lower  lowered.  A 
diminished  {imperfect,  false,  minor 
or  defective)  fourth  one  whose  upper 
tone  has  been  lowered  half  a  step  or  its 
lower  raised  (cf.  fifth).  Chord  of 
the  second  and  fourth,  chord  of 
the  3d,  4th,  and  6th,  chord  of 
the  4th  and  6th.  Vide  chord. 
four-three,  four-two.  Vide  chord. 
f.  flute,  f.  shift.     Vide  flute  and 

SHIFT. 

fp.     Abbr.     Vide  forte  (2). 

frangais  (frah-se'),  fran§aise  (fran- 
sez),  F.  I.  French.  2.  A  country- 
dance  in  3-4  time. 

francamen'te,  /.     Frankly,  boldly. 

franchezza  (fran-ked-za),  /.,  fran- 
chise (frah-shez),  F.  Boldness, 
frankness. 

franzese  (fran-tsa'ze),  /.,  franzosisch 
(fran-tsa-zlsh),  G.  "  French  ;  "  in 
French  style.     Franzton  (frantston), 

G.  French  pitch. 

frappe  (frap),  F.  A  manner  of  beat- 
ing time  with  force,  frapp^  (frip- 
pa).     The  down-beat. 

frapper  (frap-pa),  F.  To  strike  ;  to 
beat  time. 

frase  (fra'-ze)  (pi.  i),  /.  A  phrase,  fr. 
larga.  With  broad  phrasing,  fra- 
se j^iare  (fra-zed-jar're).    To  phrase. 

Frauenstimme  (frow'-en-shtlm'mS), 
G.     Female  voice. 

freddo  (fred'-do),  freddamen'te,  /. 
Cold(ly).  freddezza  (fred-ded'za). 
Coldness. 

fredon  (fru-doh),  F.  A  trill,  or  other 
ornament,     fredonnement  (fru-dun- 


DICTIONARY    OF    TERMS       139 


man).  Humming,  trilling.  fre- 
donner  (fru-dun-na).  To  trill,  also 
to  hum. 

free.  Unrestrained,  not  according  to 
strict  rule,  as  f.  composition,  or 
style.  f.  fugue.  Vide  fugue,  f. 
reed.  Vide  keed.  f.  part.  An  in- 
dependent part  added  to  fill  up  the 
harmony  of  canon  or  fugue,  f.  chant. 
A  form  of  reciting  the  Psalms  or  Can- 
ticles using  a  group  of  two  chords  for 
each  hemistich.     Vide  fret-free. 

freemen's  songs.  Little  compositions 
for  three  or  four  voices,  in  use  about 
1600. 

fregiare  (fra-ja're),  /.  To  adorn. 
fregiatura  (too'  ra).     An  ornament. 

frei  (fri),  G.  Free.  Freiheit  (frl- 
hit).  License,  f.  Schreibart  (shrTp'- 
art).     Free  composition. 

French  horn.  Vide  horn.  French 
sixth.     Vide  altered. 

French  treble  clef.  The  G  on  the 
lowest  line  of  the  staff. 

fresco  (fres'-ko),  /.,  frescamen  te 
Fresh(ly). 

fret.  One  of  the  thin  projecting  ridges 
across  the  neck  of  stringed  instrs. 
to  divide  the  strings  into  differ- 
ent lengths,  thus  producing  different 
pitches,  on  pressure,  fretted  and 
fret-free.  In  the  early  precursors  of 
the  piano,  there  were  fewer  strings 
than  keys,  each  string  serving  for 
several  notes,  through  the  action  of 
tangents  acting  as  frets.  These  were 
called  tied  or  fretted  or  gehunden. 
Later  instruments  were  given  a  string 
to  each  note,  and  these  were  called 
bundfrei,  or  ungebiinden  or  free  or 
fret-free. 

frcteau,  fretian,  frestel,  fretel  (frii- 
tel),  fret^le,  fretetel.    A  Pan's  pipe. 

fret'ta,  /.     Haste. 

Freude  (froi'-de),  G.  Joy,  rejoicing. 
Freudengesang.  Song  of  joy. 
freudi?  (froi'dlkh).  Joyfully.  Freu- 
digkeit  (kit).     Joyfulness. 

fricassee  (fre-kSs-sa),  F.  A  dance  with 
pantomiTie  in  the  i8th  cent.  In  the 
i6th  cent,  a  part-song,  each  part  hav- 
ing different  words. 


Fries  (fres),  G.     Purfling. 

frisch  (frish),  G.     Fresh,  lively. 

fris'ka  (frish'-ka).  The  quick  move- 
ment in  the  Czardas,  and  the  Hun- 
garian Rhapsody. 

frivolo  (fre'v6-lo),  /.     Trifling,  trashy. 

frohlich  (fra-llkh),  G.  Joyous,  gay. 
F.-keit  (kit).  Gayety.  Frohgesang 
(fro-khe-zang).     Song  of  joy. 

Frohnamt  (fron'amt),  G.    High  Mass. 

Frontpfeife  (front'-pfl-f^),  G.  Front 
pipes  of  an  organ. 

Frosch  (frosh),  G.     Nut  (of  a  bow). 

frottola  (frot'-to-la),  /.  A  i6th  cen- 
tury ballad. 

Friihlingslied(fru'lings-let),G'.  Spring- 
song. 

Fruhmesse  (frU'mes-se),  Friihstiick 
(fru'shtiik),  G.     Matins. 

F-Schlussel  (ef-shliis'el),  G.  The  F- 
clef. 

fuga  (foo'-ga),  L.  and  /.  "A  flight." 
Vide  fugue,  f.  ad  quintam  (octav- 
am).  Fugue  (also  canon)  at  the  5th  (oc- 
tave), f.  aequalis  motus  (or  recta). 
In  similar  motion,  the  answer  conform- 
ing to  the  ascent  and  descent  of  the 
subject,  f.  al  contrario  (or  riverso 
or  roves'cio)  or  fuga  contraria  (or 
per  motum  contrarium).  One  whose 
answer  is  the  subject  inverted,  f. 
authentica.  A  fugue  with  an  as- 
cending subject.  f.  canonica  (or 
inconseguenza  or  perpetua  or 
totalis).  A  canon.  f.  compo- 
sita  (or  inaequalis).  One  whose 
subject  moves  by  degrees,  not  by 
leaps,  as  does  f.  incomposita  f.  del 
tuono,  /.  A  tonal  fugue,  opposed 
to  f.  reale,  a  real  fugue,  f.  dop- 
pia,  /.  A  double  fugue,  f.  homopho'- 
na.  One  whose  answer  is  at  the 
unison,  f.  impro'pria  (or  irregu- 
laris or  sciolta  or  soluta).  An  ir- 
regular free  fugue,  f.  in  contrario 
tempo  (or  per  ar'sin  et  the'sin). 
One  in  which  the  accented  notes  of 
the  subject  are  the  unaccented  ofthe 
answer,  and  vice  versa,  f.  in  nomine. 
A  fugue  "  in  name  only,"  i.  e.,  a  free 
fugue,  f.  inversa.  One  in  double 
counterpoint   and    contrary   motion. 


140 


THE    MUSICAL    GUIDE 


f.  libera.  One  with  free  episodes, 
opposed  to  f.  ligata  (or  obbligata), 
whose  episodes  are  entirely  derived. 
f.  mixta.  One  whose  answer  is 
varied  by  augmentation,  etc.  f.  par- 
tialis (or  periodica).  One  without 
full  and  perpetual  canonic  imitation, 
the  usual  fugue,  f.  per  augmenta- 
tionem  (or  diminutionem).  One 
whose  answer  is  by  augmentation 
(diminution),  f.  per  imitationem 
interruptam.  One  whose  answer  is 
broken  by  rests,  etc.  f.  plagalis.  One 
with  subjects  descending  below  the 
key-note.  f.  propria  (or  regularis). 
One  in  regular  form.  f.  reddita  or 
redita.  One  in  which  canonic  pro- 
gression occurs  at  the  middle  or  end. 
f.  retrograda.  One  whose  answer 
is  in  r^/;'('^^'';'(7(/t' progression,  f.  retro- 
grada per  motum  contrarium.  One 
whose  answer  is  in  contrarj'  motion  as 
well  as  retrograde  progression,  f. 
ricercata  (ret-cher-ka-ta).  A  fugue 
of  the  highest  development. 
fugara  (foo-ga -ra),  /.  A  4-  or  8-ft. 
organ-stop. 


fugato  (foo-ga' -to),  /.  i.  Freely  in 
the  manner  of  fugue.  2.  A  passage 
in  such  manner. 

Fuge  (foo'-khe),  G.  Fugue.  F.  gal- 
ante  (ga-lan'te),  G.  A  free  fugue  in 
chamber-music  style. 

fuggire  la  cadenza  (food-je-re),  /.  To 
writea  deceptive  cadence. 

fughetta  (foo'get'-ta),  /.  A  short 
fugue. 

fugirt  (foo-gert'),  G.  In  fugue  style  ; 
also  used  of  the  ranks  of  a  mi.xture- 
stop. 

fugue  {E.  fug,  in  F.  fug).  See  below. 
counter  f.  One  whose  subjects  move 
in  contrary  directions,  double  f.  A 
fugue  on  two  subjects,  f.  renvers^e 
(rah-ver-sa),  F.  An  inverted  fugue. 
strict  f.  One  in  which  the  fugal 
form  and  its  laws  are  strictly  observed. 
perpetual  f.  A  canon,  f.  simple,  F. 
A  fugue  containing  but  a  single  sub- 
ject, fugued  (fiigd)  or  fuguing.  In 
fugue  form,  or  loosely  in  fugue 
manner,  fuguist.  A  composer  or 
performer     of     fugues.      Also     vide 


Fugue. 


By  Homer  A.   Norris. 

A  FUGUE  is  a  comgosijion  in  which  a  theme,  called  the_j^^^££/,  is 
announced  by^ne  yoice^nd  imitated  by  other  voices.  The  word 
comes  from  the  Latin  fuga  (a  flight),  suggesting  the  thought  of 
one  part  starting  alone  after  which  the  others  enter  in  pursuit.  A  fugue  may 
be  written  for  any  number  of  voices,  but  we  shall  here  discuss  a  four-voiced 
fugue.  •jThe  subject  is  usually  short  and  of  such  marked  character  as  to  fi_x 
itself  readily  on  the  mind,  and  is  usually  so  constructed  as  to  admit  of  over- 
lapping ;  i.e.,  so  that  a  second  voice  may  enter  without  musical  friction 
before  the  first  voice  has  completed  the  phrase.  This  overlapping  process  is 
called  stretto.  ^jThe  subject  may  be  announced  by  any  voice.  At  its 
completion  there  comes  a  very  short  passage  called  codetta,  after  which  a 
second  voice  sings  the  subject-matter  in  another  key.  This  is  called  the 
answer.  ^In  the  majority  of  fugues  the  answer  is  a  transposition  of  the  sub- 
ject into  the  key  a  perfect  fifth  above  the  subject,  so  that  subject  and  answer 
correspond  to  the  keys  of  tonic  and  dominant.       Certain  subjects   instead  of 


DICTIONARY    OF    TERMS       141 

being  reproduced  literally  are  changed.  Subjects  which  are  changed  are 
known  as  tonal  subjects  ;  subjects  which  remain  unchanged  are  known  as  real 
subjects.  "fyWhile  the  second  voice  is  singing  the  answer,  the  first  voice 
accompanies  it,  and  usually  in  one  of  the  forms  of  double  counterpoint.  It 
is  then  intended  for  subsequent  use.  Such  an  accompanying  part  is  called 
counter-subject.  •[[The  answer  is  followed  by  another  codetta,  leading  back 
to  the  original  key,  where  a  third  voice  sings  the  subject,  but  in  a  different 
octave  than  that  in  which  the  first  voice  announced  it.  The  other  voices 
continue  with  contrapuntal  accompaniment.  Another  codetta  follows,  leading 
to  a  fourth  voice  which  sings  the  answer  in  the  dominant.  The  part  of  the 
fugue  that  we  have  discussed  is  called  the  exposition.  The  exposition  closes 
the  first  of  the  three  big  divisions  of  the  fugue.  ^The  exposition  is  followed 
by  the  first  episode.  In  the  episode  the  composer  has  more  freedom  than  in 
any  other  portion  of  the  fugue.  New  material  may  be  presented  ;  briet 
modulations  to  related  keys  introduced,  together  with  free  imitation.  ^ After 
the  first  episode  comes  the  middle  section.  ^[Here  the  four  voices  again 
present  the  subject-matter  in  somewhat  the  same  order  as  in  the  first  section 
but  in  other  keys.  The  principal  keys  are  altogether  avoided  or  only  inci- 
dentally touched.  In  this  group  often  occur  variations  of  the  subject  ;  it 
may  be  shortened  or  lengthened  ;  the  answer  may  be  presented  in*  contrary 
motion,  etc.  ^In  the  third,  and  (usually)  final  section  a  return  is  made 
to  the  original  keys.  Here  the  subject  and  answer  are  generally  combined 
in  stretto.  ^A  strict  fugue  is  one  in  which  there  are  either  no  episodes, 
or  in  which  the  episodic  material  is  drawn  entirely  from  the  subject  or  counter- 
subject.  Nearly  all  the  fugues  in  Bach's  "Das  Wohltemperirte  Clavier"  are 
strict  fiigues.  ^[In  zfree  fugue  the  episodes  are  constructed  of  new  material. 
^In  a  fugato  passage  one  voice  announces  a  theme,  after  which  other  voices 
enter  in  free  imitation.  ^A  fughetta  is  to  a  fiigue  what  a  sonatina  is  to  a 
sonata  :  i.e.,  it  is  a  little  fugue.  ^An  academic  fugue  is  the  most  elaborate, 
artificial,  and  purely  intellectual  expression  of  musical  art. 


Fuhrer  (fu-rer),  C.      i.  Conductor.     2.       full.     For  the  voices  or  instrs.  complete, 


Subject  of  a  fugue. 


f.  anthem.    Vide  anthem,    f.  band. 


Fiill- (fll),  (7.   Filling.   F.-flote.   "Fill-  A   complete    band   or   orchestra,     f. 

ing   flute,"  a   4-ft.    stop.      F.-pfeife  cadence  or  close.     Vide  cadence. 

(pfi'fe).    A  dummy  pipe.    F.-quinte.  f.    chord.       A    complete   chord  ;    m 

A  shrill  quint-stop  useful  only  in  com-  part-music,  one  in  which  all  the  parts 

bination.    F.-stelle.     Padding.    F.-  join.      f.    score.      Vide   score.      f. 

stimme.     i.  A  part  used  to  fill  out  stop  (on  the  lute).    A  chord  usmg  all 

harmony.     2.   A  mutation-stop  a  3d  the  fingers  ;  full  chord  followed  by  a 

or   5th   above   normal   pitch.      3.  A  pause,  full  choir  (or  great  or  swell), 

part  doubling  another  in  the  octave  "  Draw  all  the  stops  of   the  choir  (or 

or  unison.  great  or  swell)  organ."     full  organ. 


142 


THE    MUSICAL    GUIDE 


"Draw  all  the  stops  and  couplers." 
f.  service,  i.  One  for  the  whole 
choir.  2.  An  office  using  music  as  far 
as  permissible,  f.  orchestra.  One 
in  which  all  the  instrs.  are  employed. 

fundamental,  i.  The  root  of  a  chord. 
2.  The  generator  of  a  series  of  par- 
tials.  f.  position.  Vide  position. 
f.  tone.  I.  A  generator  of  partials. 
2.  One  of  the  three  principal  tones, 
tonic,  dominant  or  subdominant.  f. 
bass.     Vide  base. 

Fundamentalbass  (foon-da-men-tal'- 
bas),  G.  Vide  base.  F.-ton.  Fun- 
damental tone. 

funebre  (fu-nebr),  F.,  funebre  (foo-na- 
bre),  /.,  funerale  (foo-ne-ra'-le),  /., 
funereo  (foo-na'-re-o),  /.  Funereal ; 
mournful,    marcia  f.    Funeral  march. 

funf  (finf),  G.  Five,  f.-fach.  Five- 
fold, in  five  ranks,  of  pipes,  f.-stim- 
mig.  For  five  voices.  f.-stufige. 
Pentatonic.  Fiinfte  (flnf'-te).  Fifth. 
Fiinfzehnte  (finf'tsan-te).  Fif- 
teenth. 

funzioni  (foon-tsT-o'ne),  /.  (pi.)  Masses, 
and  other  sacred  music  in  the  R.  C. 
Church. 

fuoco  (fo-o'ko),  /.  Fire,  energ)-,  pas- 
sion,    fuoco'so.     Fier)'. 

fiir  (fur),  G.,  preposition.     For. 

fureur  (fli-rur), /".,  furia  (foo'-rl-ii),  /. 
Fury,  passion.  Furiant  (foo'ri-ant), 
C,  furie  (foo-re),  F.  A  quick  Bo- 
hemian dance  with  irregular  rhythm 
and  accent,  furibon  do,  furioso,  /. 
Furious,  mad.  furieusement  (fiir- 
yuz-man),  /".,  furiosamen  te,  /.  Fu- 
riously, madly. 

furlando  (foor-lan'-do),  furlano  (foor- 
la'-no),  /.     Forlana. 

furniture  stop.     Vide  stop. 

furore  (foo-ro'-re),  /.  Rage  ;  a  great 
success. 

fu'sa,  Z.,  fuse  (fuz),  F.,  Fusel  (foo- 
zel'),  G.     An  eighth  note. 

fus6e  (fii-za),  F.  A  roulade  or  rapid 
passage,  a  skip  or  slide. 

fusel  la,  L.  A  32d  note,  fusel'lala. 
A  64th  note. 

Fuss  (foos),  pi.  Fusse  (fls-se),  G. 
Foot    (q.  v.).      Fussklavier.     The 


pedals  of  an  organ,  fussig(fus-sikh), 
G.  Foot,  as  ^y-Z^j-j-/^,  8-foot.  Fuss- 
ton  (foos-ton).  Foot-tone,  as  Acht' 
fusston,  8-foot  tone. 

fut  (fut),  F.     Barrel  (of  a  drum). 

Fiitterung  (fut'-ter-oongk),  G.  Lin- 
ings. 

Future,    music    of  the.      Vide    zu- 

KUNFTSMUSIK. 

fz.     Abbr.  of  Forzando. 


GPron.  in  G.  ga  ;  in  F.  and  /. 
sol(sulinv^.,  solin/.).  i.  A 
musical  pitch,  a  perfect  fifth 
above  C  ;  all  its  octaves. 
2.  The  major  key  having  one  sharp  ; 
the  minor  key  relative  to  B  flat  major. 
G  clef.  The  treble  clef. 
g.  Abbr.  for  main  gauche,  left  hand, 
or  grand  orgtte,  full,  or  great-organ. 

Gabel  (gabel),  G.  A  fork.  G.-ton. 
The  fork-tone,  a'  used  for  tuning. 
G.-grif  fe.  Cross-fingering.  Stimra- 
g.  Tuning-fork.  G.-klavier  (ga- 
b'1-kla-fer).  A  key-board  instr.  with 
a  scale  of  tuning-forks,  and  a  sympa- 
thetic fork  an  octave  higher  for  each 
tone ;  inv.  by  Fischer  &  Fritzsch, 
Leipzig,  1882. 

gagliarda  (gal-yar'da),  /.,  Gagliarde 
(giil-yar'-de),  G.     A  galliard. 

gagliardo  (gal-yar'-do),  gagliarda- 
men  te,  I.     Gayly. 

gaillarde  (gl-yard),  F.  i.  Merrj'.  2. 
A  galliard.  gaillardement  (gl-yard- 
mah).     Merrily. 

gaio  (ga'I-6),  7. '  Gay. 

gaita  (ga-e-ta),  Sp.  i.  Bagpipe.  2. 
A  flageolet,  gaitero  (ga-e-ta'-ro). 
A  player  on  the  street-organ. 

gajo  (g'ii  -yo),  I.  Gay.  gajamen'te. 
Gayly. 

gala'(ga'la),  /.     Gala.     dig.     Gayly. 

galamment  (gal-a-mah),  F.,  galan- 
temente(te-men-te),  /.     Graciously. 

galant(e)  (ga-lah(t)),  F.,  galante  (ga- 
lan -te),  /.  Graceful,  gallant,  gal- 
anteraen'te,  7.  Gallantly,  galan- 
tria  (ga-lan-tre'-a),  7.     Gallantry. 

galant  (ga-lant'),  G.  Free.    G.  Stil  (or 


DICTIONARY    OF    TERMS       143 


Schreibart).  The  free  (as  opp.  to  the 
gebundener  or  strictly  contrapuntal) 
style  of  harpsichord  composition  in  the 
i8th  century.  Galanterien  (ga-lan- 
tare'-en).  Ornaments  in  old  harpsi- 
chord music.  Galanteriestiick  (ga- 
lan-t^-re'stuk).  A  piece  in  the  orna- 
mental style. 

galliard  (gal-yard),  E.  An  old  dance 
similar  to  the  Pavan. 

gal  op,  E.  (in  F.  gal-6),  galopade 
(gai-6-pad),  /".,  Galopp  (ga-16p'),  G„ 
galop  po,  /.  A  hopping  round- 
dance  in  2-4  time. 

galoube  (ga-loo-ba),  galoubet  (ga- 
loo-ba'),  F.  A  small  fife  with  three 
holes  and  range  of  17  notes,  found  in 
Provence. 

gamba  (gam'-ba),  /.,  gambe  (gamb), 
F.,  Gambe  (gam'-be).  G.  i.  Leg; 
hence,  viol  di  g.  Vide  viola.  2.  An 
organ-stop  ;  the  whole  family  of  stops 
named  after  stringed  instrs.  Gamben- 
stimme.  A  gamba-stop.  Gamben- 
werk.  A  piano-violin.  Gambabass. 
A  i6-ft.  stop  on  the  pedals.  G. 
major.  A  i6-ft.  stop.  Gambette 
(gam-bet'-te),  G.  An  octave  gamba- 
stop.  Gambist'.  A  player  on  the 
G.  Gambviole  (gamp-fe-6'le),  G. 
Viol  di  gamba. 

gambeta  (gam-ba-ta),  Sp.  An  ancient 
dance,  a  caper. 

gam'ma,  Gr.,  gamme  (gSm),  F.  The 
Greek  G  (T).  i.  The  lowest  note 
(G)  of  the  Aretinian  scale.  2.  The 
name  of  that  scale.  3.  Scale  gener- 
ally. 4.  Compass.  5.  A  clef  for 
the  scale  of  G.  g.  chromatique 
(descendante,  montante).  Chro- 
matic (descending,  ascending)  scale. 
gammes  (gam).     Scale-exercises. 

Gamma  ut  or  r  ut.  G,  in  the  old  solmi- 
sation. 

gamut.  (From  gamma  ut.)  i.  The 
scale  of  any  key.  2.  The  staff.  3. 
In  old  English  church-music,  the  key 
of  G.  gamut  G.  The  G  on  the 
first  line  of  the  bass  staff.  Guide's 
g.  The  scale  of  two  octaves  and  a 
sixth  introduced  by  Guido  of  Arezzo  : 
the  tones  called  by  name,  ut,  re,  mi. 


fa,  sol,  la,  and  written  in  the  first 
octave  r  (gamma)  (the  lowest  tone) 
A,  B  to  G,  in  the  second  g-g  ;  and  in 
the  upper  sixth  gg-dd. 

ganascione  (ga-na-sho'ne),  /.     A  lute. 

Gang  (gang),  G.  i.  Rate  of  movement. 
2.  A  passage. 

ganz  (gants),  G.  Whole,  all,  very. 
Ganzinstrumente.  Those  brass 
instrs.  of  such  width  that  they  speak 
the  lowest  sound  natural  to  the  tube, 
i.  e. ,  they  reach  the  depth  of  an  open 
organ-pipe  of  equal  length.  Nar- 
rower instrs.  speak  only  the  octave 
above  this  natural  tone  and  are  called 
Halbinstrumente.  ganz  langsam. 
Very  slowly,  ganze  Note  (gan'tse 
no'te).  A  whole  note.  ganzer 
Ton  (giin'-tser-ton).  Ganzton.  A 
whole  tone.  Vide  second,  ganzes 
Werk.  The  full  organ.  Ganz- 
schluss.  Final  cadence,  ganzver- 
hallend  (fer-hal'lent).  Dying  away 
entirely. 

garbo  (gar'-bo),  /.  Grace,  elegance. 
garbato  (ba'-to),  garbatamen'te. 
Graceful(ly). 

garibo  (ga-re'-bo),  /.     Dance,  ball. 

gariglione  (ga-rel-yo'ne),  /.     Chime. 

garnir  (g^r-ner),  F.  To  string  a  violin. 

garrire  (gar-re'rS),  /.  To  chirp,  war- 
ble. 

Gassenhauer  (gas'-sen-hower),  G. 
Street-song,  trash.  Gassenhauer- 
lin  (len).  Popular  songs  of  the  i6th 
century. 

Gastrollen  (gast'rol-len),  G.  To  go 
"guesting,"  i.  e.,  "starring." 

gathering  note.  A  pause  on  a  final 
note  of  recitation  to  give  time  for  the 
chorus  to  gather. 

gauche  (gosh),  F.  Left,  main  g. 
(min).     The  left  hand. 

gaudente  (ga-oo-d^n'-tg),  gaudio'so, 
gaudentemen'te,  /.     Joyful(ly). 

Gaumenton  (gow'-men-ton),  G.  Gut- 
tural tone. 

gavot',  E.,  gavot'ta,  /.,  gavotte 
(ga-v6t),  F.  An  old  French  dance 
(named  probably  from  the  people  of 
Gap,  called  Gavots).  It  is  in  4-4 
time,  strongly  marked  ;  begins  on  the 


^44 


THE    MUSICAL    GUIDE 


weak  half  of  a  measure  and  ends  on 
the  accented  ;  no  notes  smaller  than 
eighth  notes  occur. 

gazel'.  A  piece  with  a  brief  constant 
refrain. 

gazzarra  (gad-zar'-ra),  /.  A  fete  with 
music  and  cannon. 

G  clef.     The  treble  clef. 

G-dur  (ga-door),  G.     G  major. 

Geblase  (ge-bla'-ze),  G.     Bellows. 

gebrochen  (ge-bro'-khen),  G.  Bro- 
ken. 

gebunden  (ge-boon'den),  G.  i.  Tied, 
g.  Dissonanz.  A  prepared  (and  tied) 
dissonance,  g.  Spiel.  Legato-play- 
ing,   g.  Stil.    Strict,  connected  style. 

2.  Vide  FRETTED. 

Geburtslied  (ge-boorts'let),  G.  Birth- 
day-song. 

gedackt (ge-dakt'),  gedeckt (ge-dekt'), 
G.  Stopped,  of  pipes.  Gedackt- 
stimmen.  Stops  with  covered  pipes. 
G.-flote.    Stopped  flute,  in  an  organ. 

gedampft  (ge-dempft),  G.  Muffled, 
muted. 

gedehnt  (ge-dant),  G.  Lengthened, 
slow. 

Gefahrte  (ge-far'-te),  G.  Answer  (in 
fugue). 

Gefallen  (ge-fal'len).  Pleasure,  nach 
G.  Ad  libitum. 

gefallig  (ge-fal'llkh),  G.  rieasing(ly), 
agreeably. 

Gefiedel  (ge-fe'del),  G.     Fiddling. 

Gefiihl  (ge-ful'),  G.  Feeling,  expres- 
sion, mit  G.  or  gefiihlvoU.  With 
feeling. 

gegen  (ga'-khen),  G.  Against,  con- 
trary, contrasted  with.  G.-bewegung 
(be-vakh'-oongk).  Contrary  motion. 
G.-fuge.  A  fugue  whose  answer  is 
an  inversion  of  the  subject.  G.-ge- 
sang.  Antiphony.  G.-hall,  G.- 
schalL  Resonance,  echo.  G.-har- 
monie.  Counter-subject  in  fugue. 
Gegenpunkt  (poonkt).  Counter- 
point. G.-satz.  I.  Contrast.  2.  A 
movement.  G.-stimme.  i.  Coun- 
ter-tenor or  alto.     2.  Counter-subject. 

3.  Any  contrapuntal  part,  g.-stim- 
mig.  Dissonant.  G.-subjekt.  Coun- 
ter-subject, in  a  fugue. 


gegit  tertes  B.  B.  cancellatum,  videB. 

gehend  (ga'-ent),  G.     Andante. 

Gehorlehre  (ge-har'-la-re),  G.  Acous- 
tics, gehorspielen.    To  play  by  ear. 

Geige  (gi'-khe)  (pi.  en),  G.  Violin. 
geigen  (gl'-khen).  To  play  on 
the  violin.  G.-blatt.  Finger-board 
of  a  violin.  G.-bogen  (bo'khn). 
Bow.  G.-clavicymbel  or  G.-kla- 
vier.  Bow-piano.  G.-futter  (foot'- 
ter).  Case  for  a  violin.  G.-hals. 
The  neck  of  a  violin.  G.-harz 
(harts).  Resin.  G.-holz  (holts),  G. 
Wood  used  in  making  violins.  G.- 
macher  (makh'-er).  A  violin-maker. 
G.-principal.  A  diapason  stop.  G.- 
saite.  Violin-string.  G.-sattel,  G.- 
steg  (stakh).  Bridge  of  a  violin.  G.- 
schule.  A  violin  method.  G.-strich 
(strlkh).  A  stroke  of  the  bow.  G.- 
stuck.  A  comp.  for  the  violin.  G.- 
werk.  I.  Piano-violin.  2.  A  4-ft. 
organ-stop.  G.-'wirbel  (ver'-bel).  A 
violin-peg.  G.-zettel  (tset'-tel). 
The  vioHn-maker's  label.  G.-zug. 
A  vioHn-stop.  Geiger  (gl'kher).  Vio- 
lin-player. 

Geist  (gist),  Gr.  Spirit,  soul,  mind,  ge- 
nius, g.-reich  (rikh),  g.-voll  (fol). 
Spiritual.  Geisterharfe.  /Eolian 
harp.  geistlich.  Ecclesiastical, 
sacred.  G.-gesange.  Psalms,  hymns. 

Geklingel  (ge-kllng'-el),  G.    Tinkling. 

gekneipt  (ge-knipt),  G.     Pizzicato. 

gelassen  (ge-las'-sen),  G.  Calm,  quiet- 
ly.    G.-heit  (hit).     Tranquillity. 

gelaufig  (ge-lT'fIkh),  G.  Easy,  rapid. 
G.-keit  (kit).     Fluency,  ease. 

Gelaut  (ge-lit),  G.     A  peal. 

gelinde  (ge-!ln'-de),  G.  Soft,  gentle. 
Gelindigkeit.     Sweetness. 

gellen  (gellen),  G.  To  sound  loudly. 
G.-fiote,  G.     Clarinet. 

Geltung  (gel'-toongk),  G.  Value,  pro- 
portion (of  a  note). 

gemachlich  (ge-mekh'-likh),  gemach- 
sam  (ge-makh'zam),  G.  Quiet(ly), 
calm,  slow. 

gemahlig  (ge-ma'lTkh),  G.  Gradually. 

gemassig^  (gS-mes-sIkht),  G.  Mod- 
erato.  gemes'sen.  Measured,  mod- 
erato. 


DICTIONARY    OF    TERMS       145 


Gemisch  (ge-niTsh'),  G.  Mixture  (of 
stops). 

Gemshorn  (gems'-horn),  C.  i.  A  pipe 
made  of  a  chamois  horn.  2.  A  stop 
with  tapering  pipes,  2,  4,  8-ft.  on 
the  manuals,  i6-ft.  on  the  pedals. 
G.-quinte.  A  quint-stop  of  this 
class. 

Gemiit(h)  (ge-miit),  G.  Mind,  soul. 
gemiitlich  (llkh).     Expressive. 

genera,  plural  of  genus  (q.  v.). 

general  (ga-ne-ral'),  G.  General.  G.- 
bass  (ga-ne-ral '-bas).  Thorough- 
bass. G.-b.-schrift.  Thorough-bass 
notation.  G. -pause  (po\v-ze).  A 
rest  or  pause  for  all  the  instrs.  G.- 
probe.     A  general  rehearsal. 

gen'erator,  E. ,  gen6rateur  (zha-na-ra- 
tiir),  /^     Root,  fundamental. 

genere  (ja'-ne-re), /.  i.  A  mode  or  key. 
2.  A  genus. 

genero'so  (ja-ne-ro's6),  /.  Noble,  dig- 
nified. 

genial'ia,  Z.     Cymbals. 

g6nie  (zha-ne),  F.,  Genie  (ga'-ne),  G., 
genio  (ja-nT-o),  /.  Genius,  talent, 
spirit. 

genouillfere  (zhun-wt-yar),  F.  Knee- 
lever. 

genre  (zhahr),  F.  r.  Style,  g.  ex- 
pressif.  The  expressive  style.  2. 
Genus,  as  g.  chromatique,  g.  dia- 
tonique,  g.  enharmonique. 

gentil(le)(zhah-te(l)),  /".,  gentile  (jen- 
te'-le),  /.  Graceful,  elegant,  genti- 
lezza  (led'-za),  /.  Refinement  of 
style,    gentilmen'te.    Gracefully. 

ge'nus,  pi.  genera,  L.  i.  Greek  clas- 
sification  of  tetrachords.  Vide  modes. 
2.  A  scale  or  mode.  3.  Class,  g.  in- 
flatile.  Wind  instrs.  g.  percussi- 
bile.  Instrs.  of  percussion,  g.  ten- 
sile.    Stringed  instruments. 

gerade  (gg-ra-de),  G.  Straight,  reg- 
ular. G.-bewegung  (be-va'khoong). 
Similar  motion.  G.-taktart  or  ge- 
rader  Takt.    Common  time. 

German.  Vide  fingering,  flute.  G. 
pedals.  Pedal  key-board.  G.  scale. 
A,  H,  C,  D,  E,  F,  G.  (Vide  h.) 
G.  sixth.  Vide  altered  chords. 
G.  soprano  clef.    Vide  clef. 


Ges  <ges),  G.     The  note  G  flat.     Ge-  ! 

ses  (ges'-es).     G  double  flat.  ' 

Gesang  (ge-zang'),  pi.  Gesange 
(zeng'e),  G.  Song,  melody,  air.  G.- 
buch  (bookh).  Song-book.  G.- 
kunst.  Art  of  song.  G.-(s)massig 
(mes-sikh).  Adapted  for  or  congenial 
to  the  voice.    G.-sgruppe  (groop-pe). 

Song-group  ;  the  second  subject  of  a  ' 
sonata  formula,  which  should  be  lyri- 
cal in  nature,    g.-sweise  (vl-ze).    In 
the   style  of  song.      G.-verein  (fer- 
Tn).     A  choral  society. 

Geschlecht  (ge-shlekht'),  G.    Genus.  \ 

geschleift  (ge-shllft'),  G.     Slurred,  le-  • 

gato.  : 

Geschmack  (ge-shmaks),    G*.     Taste.  : 

g.-voll.     Tasteful.  j 

geschwanzte    Noten     (ge-shvSnts'tS 

no'ten),  G.     Notes  with  tails.  ', 

geschwind     _(ge-shvlnt),   G.      Quick,  | 

rapid.      G.-igkeit    (kit).     Rapidity.  | 

Geschwindmarsch.     A  quick-step.  i 

Ges-dur  (ges-door),  C.     Major.  Geses  '■ 

(ges-es),  G.     G  double  fiat.  i 

Gesicht  (ge-zTkht'),  G.    Face,  front  (of  ' 
an  organ).   G.-spfeifen.  Front  pipes. 

Gesinge    (g^-zlng'g),     G.      Bad  sing- 

ing,  sing-song.  ; 

gesponnen  (ge-shp6n'-nen),6^.     Spun.  j 
gesponnene  saite.    Covered  string. 

gesponnener  Ton.     A  tone  drawn  i 

out  to  a  mere  thread.  i 

gesteigert  (ge-shtl'-khert),    C     Cres-  ; 

cendo.  \ 

gestossen     (ge-shtos'sen),    G.    Sepa-  ■ 

rated,  detached.  • 

gestrichen  (ge-strKkh'en),  G.  i.  Hav- 
ing hooks  (as  notes).  2.  Having  ; 
lines  or  accents,  as  eing.  Oktave,  j 
one-lined  octave.  Vide  pitch.  3.  ; 
Crossed,  as  a  numeral,  raising  the  in-  ■ 
terval  a  half-tone.  Vide  chord.  4. 
Cut,  as  a  movement  or  scene.  j 

get'ern,  get'ron.    The  cittern. 

get(h)eilt  (ge-tllt'),  G.    Divided.    Vide  j 

divisi.    g.  Stimmen.    Partial  stops.  \ 

Geton  (ge-tan),  G.    Clamour.  \ 

getragen  (ge-tra'khen),  G.    Sustained.  "' 

getrost  (ge-trost'),  G.     Confident.  \ 

gewichtig  (ge-vlkh'-tikh).  G.     Heavy.  I 

gewidmet  (ge-vet'-met),  G.  Dedicated.  I 


146 


THE    MUSICAL    GUIDE 


Gewirbel  (ge-ver'bel),  G.  Roll  of 
drums. 

gewiss  (ge-vis'),  G.  Firm,  sure.  G.- 
heit  (hit).     Firmness. 

geworfener  Strich  (ge-v6rf'-en-er 
strlkh),  G.  A  springing  bow-stroke. 
Vide  BOW. 

geziert  (ge-tsert'),  G.    Affected,  prim. 

geyta'rah.    Eastern  guitar. 

ghazel',  Arab.  A  piece  with  simple 
recurrent  theme. 

ghiribizzi  (ge-rl-bed'-zl),  /•  Unex- 
pected intervals,  fantastic  passages. 
ghiribizzo  so.     Fantastic. 

ghironda  (ge-ron'-da),  /.  Hurdy- 
gurdy. 

ghit'tern.     Old  name  for  cittern. 

gicheroso  (je-ke-ro'-so),  /.     Merry. 

giga  (je'-ga),  /.,  gigue  (zheg),  F., 
Gigue  (je'ge),  G.  i.  Jig.  2.  Old 
form  of  viol,  gighardo  (je-gar'-do), 
/.     A  jig. 

gigelira  (je-ge-ll'ra),  /.     Xylophone. 

ging'larus,  ging  ras  orgingri'na.  A 
small  Phojnician  flute. 

gioco  (j6'-k6),  /.  A  joke,  merriment. 
giocoso,  giocosamente.  Jocose- 
(ly).  giochevole(j6-ka'v6-le).  Merry. 
giocolarmen'te.      Merrily. 

giocondo  (j6-k6n'-d6),  giocondatnen'- 
te,  /.     Cheerful(ly). 

gioja  (j6'-ya),  /.  Joy.  giojan'te,  gio- 
jo  so,  giojosamen'te.     Joyful(ly). 

gioviale  (jo-vl-alg),  /.  Jovial,  gio- 
vialita  (I-ta).     Gayety. 

giraffe  (jl-rSf).     An  upright  spinet. 

giro  (je'-ro),  /.     A  turn. 

Gis  (ges),  G.  G  sharp.  Gisis  (ges- 
es).  G  double  sharp.  Gis-moll,  G. 
sharp  minor. 

gitana  (he-ta'-na),  Sp.     A  gipsy. 

gittana  (jlt-ta'-na),  /.  A  Spanish 
dance. 

git  tern,  git'teron,  git'tron.    Cittern. 

gitteth  (jit'teth),  Heb.  An  instr.  of 
the  harp  kind. 

giubilazione  (joo-bMa-tst-o'ne),  giu- 
bilio  (joo-bMe'-6),  giubilo  (joo'bl- 
16),  /.  Jubilation,  giubbilo'so.  Ju- 
bilant. 

giucante  (joo-kan'-te),  giuchevole 
(joo-ka -v6-le),  /.     Merry,  joyful. 


giulivo  (joo-le'vo),  giulivamen'te,  /. 

Joyful(ly). 

giuoco  (joo-6'k6),  /.  I.  A  joke,  sport. 
2.  A  stop,  giuoco'so,  giuocan'te. 
Playful. 

giusto  (joos'-to),  /.  Exact,  precise, 
proper.  tempo  g.  Strict  time. 
allegro  g.  Rather  fast,  giusta- 
men'te.     Strictly. 

given  bass.     A  figured  bass. 

glais  (gle),  F.  The  passing-bell.  g. 
funfebre.     A  knell. 

glanzend  (glen'-tsent),  G.    Brilliant. 

glapissant  (gli-pls-sah),  F.     Shrill. 

Glas  harmonika,  G.  Vide  harmonica. 

glasses,  musical.  Goblets  tuned  by 
partial  filling  with  water  and  played 
by  rubbing  their  edges  evenly  with  a 
wet  finger. 

glatt  (glat),  G.  Smooth,  even.  Glatte 
(glet'te).     Smoothness. 

glee.  An  unaccompanied  secular  comp. 
for  three  or  more  voices  ;  its  mood  may 
be  grave  or  gay,  its  counterpoint  is 
not  usually  elaborate. 

gleich  (glikh),  G.  Equal,  alike 
consonant,  gleicher  Klang.  Con- 
sonance, unison,  gleicher  Kontra- 
punkt.  Equal  cpt.  gleichschweb- 
ende  Temperatur  (shva -ben-de). 
Equal  temperament,  gleiche  Stim- 
men.  Voices  of  the  same  sort,  as 
male,  gleichstimmig  (shtlm-mlkh). 
Harmonious. 

gleiten  (gll'ten),  G.  To  glide  the  fin- 
gers. 

gli  (le),  /.     Pi.     The. 

glicibarifona  (gle-che-ba  rT-fo'-na),  /. 
A  wind-instr.  inv.  by  Catterini,  1827  ; 
a  small  expressive  organ. 

glide.     Portamento ;  glissando. 

Glied  (glet),  G.     Link. 

glissade  (gUs-sSd),  F.,  glissando, 
glissato  (glls-sa'to),  glissican  do, 
glissicato  (ka'to),  /.,  glissement 
(gles-man),  F.  Gliding,  i.  e.,  by  slid- 
ing the  finger  quickly  along  the  keys 
or  the  strings  ;  in  piano-playing  it 
is  done  with  the  finger-nail  usually. 
glisser  (glls-sa),  /".,  glitschen(gUt'- 
shen),  G.  i.  To  glide.  2.  An  em- 
bellishment  executed    by    glissando. 


DICTIONARY    OF    TERMS 


47 


glissez  la  pouce  (glls-sa  la-poos),  F. 
Slide  the  thumb. 

Glocke  (glok'e),  G.  A  bell.  Glock- 
engelaute  (glokSn-ge-lI-te).  The 
ringing  or  chiming  of  bells.  Glock'- 
enist.  Bell-ringer.  G.-klang.  The 
sound  of  bells.  G.-spiel.  i.  Chimes. 
2.  A  stop  imitating  bells,  or  causing 
them  to  tinkle.  3.  An  orchestral 
instr.  of  bells  or  tuned  steel  rods 
struck  with  a  hammer.  Glockchen 
(glek'kh^n).  A  little  bell,  glock- 
eln  (glSk'-eln).  To  ring  little  bells. 
Glockner  (glok'ner).  Bell-ringer. 
Glockleinton  (gl6k'-lTn-ton).  An 
organ-stop  of  very  small  scale  and 
wide  measure. 

Glo  ria  or  Gloria  in  excel'sis  Deo,  Z. 
"  Glory  to  God  in  the  highest,"  Vide 
MASS  and  uoxology. 

Gloria  Pa'tri,  L.  "  Glory  to  the 
Father."     Vide  doxology. 

glotte  (glot),  F.  The  glottis,  coup  de 
g,  (koo  du).  A  short  snappy  attack 
sought  by  some  vocal  teachers,  but 
generally  believed  to  be  pernicious. 

glottis  (glat'tis).  I.  The  upper  part 
of  the  wind-pipe,  an  aperture  in  the 
larynx  controlling  vocal  production. 
2.  A  reed  used  by  ancient  flutists. 

gliihend  (glii'ent),  G.   Ardent,  glowing. 

G-moll  (ga-mol).     G  minor. 

gnaccare  (nak-ka -ra),  /.     Castanets. 

gnacchera  (nak-ka  ra),  /.  A  tambou- 
rine, kettle-drum. 

gnotno  (no'-mo).  In  neumatic  nota- 
tion, a  long  bar  used  to  indicate  a 
sustained  note. 


goathorn.     Vide  Gemshorn. 

gola  (go'la),  /.  I.  Throat.  2.  A  gut- 
tural voice. 

goll  trompo.  Trumpet  used  by  Danes, 
Normans,  etc. 

Gondellied  (gon'del-let),  C,  gondo- 
liera  (gon-dol-ya'ra),  /.,  gondolier- 
song.  Song  composed  and  sung  by 
the  Venetian  gondoliers  ;  barcarolle. 
2.    Music  in  the  same  style. 

gon'dolin.  An  instr.  of  the  zither- 
class  with  four  octaves  of  strings  and 
one  octave  of  piano-keys  above  them. 
The  pressure  of  one  key  submits 
one  tone  in  all  its  octaves  to  the 
sweep  of  the  plectrum.  Chords  can 
thus  be  played  in  different  posi- 
tions. 

gong.  A  Chinese  instr.,  a  circular 
plate  of  metal  struck  with  a  padded 
stick.     Also  called  tam-tam. 

goose.  A  squawk  accidentally  occur- 
ring in  the  tone  of  an  oboe  or  other 
reed  instrument. 

gorgheggiare  (gor-ged-ja're),  /.  To 
trili,  shake.  gorgheggiamen'to. 
Trilling  ;  the  art  of  florid  song,  gor- 
gheggio  (ged'jo).  A  trill,  a  shake. 
gorgheggi.      Rapid  vocalises. 

gos'ba.     An  Arabian  flute. 

gospel  side.     Vide  epistle  side. 

go'to.     Japanese  dulcimer. 

Gottesdienst    (got'tes-denst),  G.     Di- 


vme  service. 


gout  (goo),  F.     Taste,  judgment. 
governing  key.     Principal  key. 
Grabgesang  (grap'-ge-zang),  G. 
(let),  G.     Dirge. 


lied 


Grace. 

By    the    Editor. 

ONE  of  the  innumerable  decorative  details  of  melodic  progression. 
Grace  notes  are  musical  parasites  borrowing  their  entire  sustenance 
and  duration  from  the  note  to  which  they  are  tied  by  a  slur.  They 
arc  consequently  vitally  affected  by  the  rapidity  of  the  tempo.  They  are 
almost  invariably  written  small,  and  are  frequently  abbreviated,  or  indicated 
by  some  form  of  musical  shorthand.  It  is  to  be  noted  in  playing  old  music 
that  the  appoggiatura  was  written  small  merely  as  a  bit  of  academic  hypocrisy 


148  THE  MUSICAL  GUIDE 


Modern  Graces. 


Acciacatura,  or  Short  Appog- 

giatura,  I.  and  E.    Kurzer  Vor- 

schlag  or  Zusammenschlag  G. 

Pince  etoufEe,   F.    (Sometimes  „     ^   , 

struck  simultaneously  and  in-        Long  Appoggiatura.    Langer  Vorschlag  or  \  orhalt. 

stantly  released.)  (Written  small  but  taking  its  full  value.) 


Played. 


Unaccented    Appoggiatura,    or 
Double  Appoggiatura,  or  Slide,  E.    Anschlag,  or  After-beat.  Nachschlag  or  Nach- 

Schleifer,  or  Schneller.     G.  schleifer.     (Also  double  N.) 


Played.    C        ^j^-f 


Shake,  or  Trill,  E.    Trillo,  I.    Trille,  F.    Triller,  G.    [Old  abbreviations,  A  +,  ('^,  (/ 
'**'  etc  ]    (The  length  of  the  trill  varies  with  the'leugth  of  the  note  and  the  tempo.) 


Begun  on  the     Begun  on  the     With  After-  ^^.^     chromatic  sign. 
principal.  auxiliary.  beat.  ^ 

Played.    ^^=^^ffffffJ^^fff^r^^^^^^^^ 


Chain  of  Trills,  E.    Catena  di  trilH,  I.   Trillerkette,  G..    (May  be  with  or  without  the 
afterbeat,  at  discretion.) 


Written.     E^_ 


DICTIONARY  OF  TERMS         149 


The  Passing  Shake,  or  Inverted  Mor- 
dent.  Praller,  Pralltriller,  or  Schnell- 


er,  G.   Pince  renverse,  or  mordant,  F.    or  '.] 


Played. 


The  Mordent,  E. 
Mordent  or  Beis- 
ser,  G.    Pince,  F.    The    Double    Mordent   (dop- 

[Old    signs,    ♦!♦,    pelteM;  pince  double).  Giveu 


here  with  a  chromatic. 


The  Turn,  E.    Doppelschlag,  G.    Groupe,  F.    Gruppetto,  I 
«•  or  2,  now  used  for  back-turn, 
(a)  With  sign  over  the  note,    ib)  With  sign  following  a  note. 


Played. 


[Sign,  >j  or  ~,  formerly 


Played. 


Old  Graces. 


{Those  used  in  Bach's  ivorks  from  his  oivn  explanation^ 

Trillo  and  Double  or 

Trillo.  Mordant.  Mordant.  Cadence.     Doppelt  Cadence. 


' 


Written. 


Played. 


Doppelt         Doppelt  Cadence     Doppelt  Cadence        Doppelt  Cadence 
Cadence.  and  Mordant.  and  Mordant.  and  Mordant. 


Played. 


150 


THE    MUSICAL    GUIDE 


Accent  Accent 

steigend        fallend        Accent  and 
(ascenaing).(descending).   Mordant.        Accent  and  Trillo.    Accent  and  Trillo. 


a}v 


P,a,.d.  l^S^ilie^^iEl^^ifeg^ 


From  Couperin's  List  (1713) 
Pince  simple.        Pince  double. 


Port  de 
voix  simple. 


Port  de 
voixcoule. 


Played.    I (»l7->^^ 


Port  de  voix        Tremblement  ap- 

double.  puyc  et  lie.  Tremblement  ouvert. 


^^^m 


^^^^m 


Played,    bzz: 


T=^- 


i 


Tremblement  lie  sans 
Tremblement  firme  etre  appuye.  Tremblement  detache. 


Written,  t—  -^ — -"^=p-_>a- 


^^^iplii^^^lifi 


Played. 


Arpegement     Arpegement 
Accent.        en  montant.   en  descendant.  Pince  diese.     Pinces  bemoUises. 

Written.i|l^S^^^61ill^gll$^l:^i^ 


-.ed.  p^^MBaa-Egi 


DICTIONARY  OF  TERMS        151 


Pince  continu. 


.lg^=^ 


Tremblement  continu. 


E — py-g:^.».!*  ,,-b:.  f  .  r  ,  e  .-r-i^-.B-^^'^=^~s:r^T^J':^:^^r^m^^^ 


Coules,  dont  les  points  marquent 
que  la  seconde  note  de  chaque  Tierce  coulee    Tierce  coulee 
temps  doit  etre  plus  appuye.  en  montant.   en  descendant.    Double. 


Written.  \_     i^._^^=^^r^-*  (frz^^Er^^z 

(Slurs  whose  dots  indicate  that  the  second  note 
of  each  beat  should  be  more  dwelt  upon.) 


Played. 


i^kn^^l^i^i^i^ 


From  Rameaii's  List. 
Cadence.  Cadence  appuyee.    Double  Cadence. 


Played.   ^^^^gE 


Port  de  voix.    Coules. 


L*;^C:g:^g^=j=^j:g^:g^-^Eg 


S3 


Played. 


Son      Suspen- 
Pince  et  port  de  voix.    coupe.       sion. 


P         THE    MUSICAL    GUIDE 


Arp^gement  simple.        Arpegement  figure. 


Played,    t^^ 


Lffe^p^i^fe^ijiii^ 


Cadence  liee. 


Played. 


Additional  Graces  {Obsolete). 


Accents. 

A 


Acciaccaturas.    Appoggiaturas.    Backfalls. 

\:^_ I  _   1     . 


Played. 


w^^ 


Backfall.  Double  Backfall.        Shaked  Backfall.  Balancement. 


Played. 


ill.  Shaked  Cadent.  Chute.  Chute  et  Pince. 


^^^?^e: 


m 


Played. 


lii^^^^p^lB^^ 


DICTIONARY  OF  TERMS        153 

ry     ,.  r.     t-1  4..»™        Geschnellter  Dop-    Prallender  D. 

Coule.  Double  sur  une  tierce,  p^j  schlag.  ~ 


^"^-"=^=^^^^^^^8=^^51^ 


Shaked  Elevation, 


Martellement 
simple. 


Played. 


F=^l  I  I  '  I  |--t 
Played,    h— si  ;  J  Jr^^— 


Slides.  Springer.        Plain  Beat,  Shaked  Beat, 

or 


Played. 


Passing  Shake,        Beat, 


Trill  with  Trill  without 

Appoggiatura,  After-beat. 

A-  SI 


:„.,,,    ^^^^^ii^^^li^^^i^^^ 


I 


54 


THE    MUSICAL    GUIDE 


to  smuggle  in  thus  an  unprepared  suspension.  Though  written  small  it  was 
given  one-half  (sometimes  only  a  third)  the  value  of  the  note  it  was  bound 
to,  and  two-thirds  of  the  value  if  the  note  were  dotted.  ^The  Chart 
gives  first  the  modern  graces,  as  written  and  executed,  then  a  series  of  old 
graces  made  up  from  Bach's  own  list,  and  from  those  of  Couperin  and 
Rameau.  •{Composers  who  desire  to  escape  the  wide  diversity  of  interpre- 
tation put  on  all  grace-abbreviations  are  coming,  more  and  more,  to  write 
their  ornaments  out  in  full,  a  procedure  for  which  there  is  every  reason  but 
the  one  of  laziness. 


Grad  (grat),  6".     Step,  degree. 

gradare  (da' re),  /.  To  descend  by  de- 
grees. 

gradation.  A  series  of  diatonic  chords 
ascending  or  descending. 

gradation  (gradas-yoh),  F.,  gradazi- 
one  (gra-da-tsl-6'ne),  /.  A  gradual 
increase  or  diminution  of  speed  or 
volume. 

gradevole  (gra-da'-v6-le),  g^adevole- 
men'te,  /.  Graceful(ly).  gradita- 
men'te,  graditis'simo'.  Very  sweet- 
ly- 

gradire  (gra-de'-re),  /.  To  ascend  by 
degrees. 

Gradleiter  (grat'-li-ter),  G.     A  scale. 

grade  (gra -do),  /.  A  degree  ;  single 
step.  g.  ascendente  (or  descen- 
dente).  Ascending  (or  descending) 
degree,  di  grado.  Moving  by  step, 
opposed  to  di  salto,  moving  by  skip. 

grad  ual,  E.,  gradua'le,  Z.  i.  Part 
of  the  R.  C.  servnce  sung  between  the 
Epistle  and  Gospel,  anciently  sung  on 
the  altar-steps.  2.  A  book  contain- 
ing the  gradual  and  other  antiphons. 
The  Roman  G  or  Graduale  Roma- 
num.  A  celebrated  ancient  volume 
of  ritual  music  of  the  i6th  century. 
3.  gradual  modulation.  That  in 
which  the  principal  modulating  chord 
is  reached  by  others. 

gradualmen'te,  graduatamen'te,  /., 
graduellement  (grad  u-el-man),  F. 
By  degrees. 

graduare  (gra-doo-a're),  /.  To  divide 
into  degrees,  graduazione,  /.  Vide 
GRADAZiONE.  gradwcisc  (grat-vl- 
ze),  G.     Gradually,  by  degrees. 


gra'dus  ad  Parnas'sum,  L.  "The 
road  to  Parnassus."  Name  applied 
by  Fux  to  his  text-book  in  counter- 
point ;  by  Clementi  to  his  book  of 
etudes  ;  hence,  any  text-book. 

graha  (gra' -ha),  Hindu.  The  open- 
ing tone  of  a  song. 

grail  (gral).  Early  E.  The  Roman 
gradual. 

graillement  (gr^-yu-mah),  F.  A 
hoarse  sound. 

grammar.     Rules  of  composition. 

grammatical  accent.     Vide  accent, 

gran  (gran),  /.  Great,  grand,  g.  cassa 
or  tamburo.  The  great,  or  bass- 
drum,     g.  prova.     Final  rehearsal. 

grand.  Abbr.  of  Grand  piano.  Vide 
PIANO,  g.  action.  The  action  of  a 
grand  piano,  grand  opera.  Seri- 
ous opera  in  which  there  is  no  spoken 
dialogue,  g.  stave.  Vide  staff,  g. 
choir.  Union  of  all  the  reed-stops. 
g.  cornet.  i6-ft.  reed-stop.  g.  so- 
nata.    An  extended  sonata. 

grand(e)  (grah(d)),  F.,  grande  (gran'- 
A€),I.  Grand,  great.  g.barr6,/".  Vide 
BARRE.  g.  bourdon.  A  32-ft.  stop 
on  the  pedal,  g.  chantre  (shantr). 
Precentor,  g.  choeur  (kfir).  Full 
organ,  all  the  stops,  g.  orgue  (gran- 
dorg).  I.  Great  organ.  2.  Full  or- 
gan, g.  jeu.  I.  Full  organ.  2.  A 
stop  bringing  all  the  stops  of  an  har- 
monium into  play,  g.  messe.  High 
Mass.  g.  mesure  a  deux  temps. 
Duple  time.  g.  orchestre  (grah- 
dor-kestr).      Full  orchestra. 

grandeur  (gran-dur),  .F.  i.  Grandeur. 
2.  Width  (of  intervals). 


DICTIONARY    OF    TERMS       155 


grandezza  (gran-ded'-za),  /.  Grand- 
eur. 

grandiose,  /.  Noble,  grandison- 
an'te.     Sonorous. 

grandsire.  Changes  on  5  bells.  Vide 
DOUBLE  (4). 

granulate  (gra-noo-la-to),  /.  Slightly 
staccato. 

grappa  (grap'pa),  /.     Brace. 

grasseyer  (gras-su-ya),  F.  To  pro- 
nounce the  r  ox  I  thickly  ;  hence, 
grasseyement  (gras-yu-man),  such 
pronunciation. 

Gra'tias  ag'imus,  L.  "  We  give 
thanks  to  Thee."     Vide  mass. 

gratioso  (gra'-tsi-6'so),  /.    Gracious. 

grave  (gra've  in  /.  /  in  F.  grSv). 
I.  Grave,  deep,  slow.  2.  A  slow 
movement.  grave  harmonics. 
Combinational  tones,  gravement 
(grav-man),  F.  gravemente  (gra-ve- 
men'te),  I.  Gravely,  gravezza  (gra- 
ved'-za),  /.     Gravity. 

gravicembalo  (gra-ve-cham'-ba-l6),  /., 
gravicem'bolo,  /.,  gravecem'bal- 
um,  L.     Harpsichord. 

gra'vis,  L.     Heavy.     Vide  accentus 

ECCLKSIASTICI. 

gravisonan'te,  /.     Loud-sounding. 

gravita  (gra-vT-ta), /.,  Gravitat  (gra- 
fe-tat'),  G.,  gravity  (gri-vl-ta),  F. 
I.  Solemnity.  2.  Relative  depth  of  a 
tone. 

grayle  (gral).  Early  E.  The  "  Ro- 
man gradual." 

grazia  (grats'-ya),  /.,  grazie  (grats- 
ya),  G.  Grace,  elegance,  grazios 
(gra-tsl-as),  C,  grazio'so,  /.  Grace- 
ful,   graziosamen'te.    Gracefully. 

greater.  Major  (of  a  scale,  sixth,  or 
third). 

great  octave.  Vide  pitch,  ^reat 
organ.  Vide  organ,  great  sixth. 
A  6-5  chord  with  perfect  5th  and  ma- 
jor 6th. 

grec  (grek),-  F.  Greek.  Chorus  a  la 
G.  A  chorus  at  the  end  of  an  act,  as 
in  Greek  tragedy. 

Greek    Modes    and    Music.     Vide 

MODES. 

Gregorian,  gregorianisch (gre-go-rT- 
an-Ish),  (?.,  gr6gori'ano  (gra-go-rl- 


a'no),  /.,  gr^gorien  (gra-go-rl-an),  F. 
Introduced  or  regulated  by  Pope 
Gregory  I.  in  the  sixth  century  (vide 
his  name  in  the  B.  D.).  Chiefly 
used  as  a  synonym  for  plain-chant. 
Gevaert  in  his  "  Lesoriginesdu  chant 
lyrique,"  iSgo,  has  shown  how  little 
reason  there  is  for  continuing  the  tra- 
ditional view  of  St.  Gregory  as  a 
great  innovator  ;  he  may  have  been  a 
codifier  of  music.  Much  credit  be- 
longing to  St.  Ambrose  has  been 
given  to  him  ;  he  did  not  originate 
the  notation  by  letters  (a-g),  some- 
times called  the  Gregorian  letters. 
The  so-called  Gregorian  chant  or 
song  is  diatonic,  without  definite 
rhythm  (the  words  dictating  the  me- 
tre) and  keeping  to  the  Church  modes. 
Of  Gregorian  chant,  modes,  tones, 
etc.     Vide  plain-chant,  and  modes. 

greifen  (grl'-fen),  G.  To  take,  to 
finger,  to  play ;  to  stop  (of  violin- 
playing)  ;  to  stretch. 

grel  (grel),  G.  Shrill.  G.-heit  (hit). 
Sharpness. 

grelot  (grii-lo),  F.     A  small  bell. 

Griff  (grlf),  G.  Touch,  manipulation, 
fingering,  stretch.  G.-brett.  Finger- 
board. G.-loch  (lokh).  Hole  (as  of 
a  flute).  G.-saite  (zi-te).  A  stopped, 
or  melody,  string  as  opposed  to  a 
sympathetic  string. 

grillig  (grtl'-llkh),  G.     Capricious. 

gringotter  (grafi-go-ta),  F.    To  hum. 

grisoller  (gre-s6-la),  F.     To  warble. 

grob  (grop),  G.  Coarse,  deep,  broad. 
As  a  prefix  (of  organ-pipes);  "of 
broad  scale."  G.-gedackt.  A 
stopped  diapason  of  full,  rough  tone. 

grop  po,  groppet'to.      Vide  gruppo, 

GKUPPETTO. 

gros  (gro),  F.  Great,  g.  tambour. 
Great  drum. 

gros-fa  (gro-fa).  The  old  square  nota- 
tion. 

gross  (gros),  G.,  grosse  (gros),  F. 
Great,  major,  grosse  caisse  (gros 
kes),  F.  The  great  drum.  Grosse- 
nazard,  G.  A  stop  a  fifth  above  the 
diapasons,  grosse  Oktave.  The 
great  octave.     Vide  pitch,     grosse 


56 


THE    MUSICAL    GUIDE 


Quinte,  grosses  Quintenbass.     A 

stop  in  the  pedals,  a  fifth  or  twelfth 
to  the  great  bass,  grosse  Senate. 
Grand  sonata,  grosses  Principal. 
A  32-ft.  stop,  grosses  Terz.  Ma- 
jor third,  grosse  Tierce.  Stop 
producing  the  third  or  tenth  above 
the  foundation-stops,  grosse  Trom- 
mel. The  great  drum,  grossge- 
dackt  (ge-dakt).  Double-stopped 
i6-ft.  diapason. 
grosso     (gros'-so),    /.       Full,    great, 

grand. 
Grossvatertanz  (gros'fa-ter-tants),  G. 
"  Grandfather's  dance  "  ;  an  old-fash- 
ioned dance. 
grottes  CO,  /.     Grotesque. 
ground  bass.     Vide  base  (8). 
group.     I.  A  series  of  short  notes  tied, 
or  sung  to  one  syllable.     2.   A  divis- 
ion or  run.     3.   A  set  of  instruments, 
as  the  brass.     4.  The  arrangement  of 
parts  in  score. 
Grund  (groont),  G.     Ground,    founda- 
tion.     G.-akkord.     An    uninverted 
chord.    G.-bass.    Fundamental  bass. 
G.-lage.  Fundamental  position.  G.- 
ton.    Root  ;  tonic.     Fundamental  of 
a  compound  tone.      G.-tonart.   The 
prevailing   key.      G,-stimme.     The 
bass  part. 
gruppo  (groop'po),  /.     A  group,    for- 
merly a  trill,  shake,  or  turn,     grup- 
petto.     I.   A  small  group.  2.  A  turn. 
G-Schliissel    (ga'-shlus-sel),    G.     The 

G  clef.  Vide  clef. 
guaracha  (gwa-ra'cha),  Sp.  A  Span- 
ish dance,  with  one  part  in  triple  and 
one  in  2-4  time,  the  dancer  often 
accompanying  himself  on  the  guitar. 
guaranita  (gwa-ra-ne'-ta),  S/>.  A  small 

guitar. 
Guarnerius.     Vide  the  B.  D. 
guddok  (goo-dok),  /(us.     A  3-stringed 

violin. 
gue.     An  obsolete  Shetland  violin  with 
2    horsehair     strings    played    'cello- 
fashion. 
guerriero  (goo-er-ri-a'-ro),  /.    Martial. 
guet  (ge),  P.     A  trumpet  flourish. 
guia  (ge'-a),  Sp.     Fugue  ;  conductor  ; 
leader. 


guida  (goo-e'-da),  /.  (a)  Guide  i,  2,  3. 
(b)  Vide  PRESA.  (c)  Also,  a  tone 
through  which  the  voice  glides  in 
singing  an  interval  legato. 

guide.  I.  Subject,  of  fugue.  2.  An- 
tecedent of  imitation.     3.  A  direct. 

guide  (ged),  J^.  Guide  i,  2.  guide- 
main  (man).  A  chiroplast,  inv.  by 
Kalkbrenner. 

guidon  (ge-doh),  F.     A  direct. 

Guido  nian.  Relating  to  Guido  d'Arez- 
zo.  (Vide  B.  D.)  G.  hand.  A  diagram 
on  an  outstretched  left  hand  of  the 
Aretenian   syllables.     Vide  SOLMISA- 

TION. 

guil'tern  (gtl'-tern).     Cither. 

guimbard,  guimbarde  (gari-bar(d)),  F. 
A  Jew's  harp. 

guion  (ge'-6n),  Sp.    A  repeat  sign. 

guitar, j5'.,  guitare  (gl-tar),  /"..guitar- 
ra  (ge-tarra),  Sp.,  Guitarre  (gl-tar'- 
re),  G.  A  modern  form  of  the  lute, 
long-necked  with  frets  ;  six-stringed  ; 
compass  E-a"  (plus  an  octave  of 
harmonics).  The  accordature  is  E- 
A-d-g-b-e'  (or  E-B-e-g-b-e').  Its 
music  is  written  an  octave  higher  than 
it  sounds,  g.  d 'amour.  Vide  arpeg- 
GiONE.  g.  lyre.  A  French  si.x- 
stringed  instr.  of  lyre-shape. 

guiterne  (ge-tern),  F.    Ancient  guitar. 

gu'nibry.     A  2-stringed  guitar. 

Gunst  (goonst),  G.  Grace,  tender- 
ness. 

guracho  (goo-ra'-cho),  Sp.  Vide  guar- 

ACHA. 

gusla  (goosh'-la).  Servian  i-stringed 
instr.  with  skin  sound-board. 

gusli,  gussel.     A  Russian  zither. 

gusto  (goos-to),  I.  Taste,  expression. 
gran  g.  The  grand  manner,  gus- 
toso  (goos-toso),  gustosamente. 
Tasteful(ly). 

G-Ut.       Vide  GAMMA   UT. 

gut.     Strings  made  of  entrails  of  sheep. 
gut     (goot),    G.     Good,     gutdiinken 

(dunk'en).       At     pleasure.       guter 

Takteil.     Strong  beat. 
gutturale     (goot-too-rale),   guttural- 

mente,  /.     Gutteral(ly). 
gyta'rah.       Nubian    guitar,     g.    bar- 

barych.     The  Berber  guitar. 


DICTIONARY    OF    TERMS       157 


H 

H(In    G.    pron.     ha).     German 
name  for  B-natural ;  B  be- 
ing reserved  for  B  flat. 
h.      Abbr.   for    horn,    heel, 
hand. 

Habanera  (a-ba-na'-ra),  Sp.  A  dance 
popular  in  Havana  ;  it  is  in  2-4  time 
with  the  first  eighth  note  dotted  ; 
syncopation  and  caprice  play  a  large 
part.     Vide  dance-rhythms. 

Haberrohr  (ha'-ber-ror),  G.  Shepherd's 
flute. 

Hackbrett  (hak'-bret),  G.     Dulcimer. 

halb(halp),C?.  Half,  lesser.  halbeAp- 
plikatur.  Half-shift.  Halb-bass, 
-cello,  or  violine,  A  small  double- 
bass, 'cello  or  violin.  H.-violon.  A 
small  double-bass.  halbgedackt 
(ge-dakt).  Half  covered  (of  stops). 
H.-instrumente.  Vide  ganzinstru- 
MENTE.  H.-kadenz  or  -schluss. 
Half-cadence.  H.-mond.  Crescent. 
H.-note.  Half-note,  or  H.-taktnote. 
Hand-note  ;  in  horn-playing,  a 
stopped  note.  H.-orgel,  or  -werk. 
An  organ  with  no  stops  lower  than 
8-ft.  pitch.  H.-prinzipal.  An  obso- 
lete 4-ft.  stop.  H.-riidenhorn.  Vide 
HIEFHORN.  h.-stark.  Mezzoforte. 
H.-stimme.  A  half  or  partial  stop. 
H.-ton,  or  halber  Ton.  Semitone. 
half-cadence  or  half-close.  Vide 
CADENCE.  half-note.  A  minim. 
half-note  rest.  A  pause  equal  to  a 
half-note,  half-shift.  Vide  shift. 
half-step.  The  smallest  interval 
used,    half-stop.    Vide  stop. 

hal'il.    Vide  KHALiL. 

Hall  (hiil),  G.     Sound,  clang,     hallen 

•  (hal'len).  To  sound,  to  clang.  Hall- 
drommete  (drom-ma-te)   or  -trom- 

Jete.    A  powerful  trumpet. 
lelujah    (hal-le-loo'ya),    Heb.      Al- 
leluia. 
hal'ling.     Norwegian  country-dance. 
Halrapfeife   (pfl'fe),    G.       Shepherd's 

pipe. 
Hals  (hals),  G.     i.  Neck  (of  a  violin, 

etc.).    2.  Throat.    3.  Stem. 
Halt  (halt),  G.    A  pause,  a  hold. 


Hammer  (pron.  in  G.  ham'mer).  i .  That 
part  of  the  mechanism  of  a  piano 
which  strikes  the  strings  and  produces 
the  tone.  2.  Mallet  for  playing  the 
dulcimer.  3.  The  striker  of  a  bell. 
tuning  h.  An  instr.  for  tightening 
the  pegs  of  a  piano  or  harp.  Ham- 
merklavier  (kla-fer),  G.  The  mod- 
ern piano. 

hanacca  (ha-niik'-ka),  /.,  hanaise 
(a-nez),  F.,  Hanakisch  (ha-nii'-kish), 
G.  A  rapid  polonaise-like  Moravian 
dance  in  3-4  time. 

Hand,  harmonic.  Vide  guidonian. 
hand-guide.  Chiroplast.  h. -har- 
monic. Accordeon.  h.-horn.  One 
without  valves  or  pistons,  h. -organ. 
A  portable  barrel  organ  (q.  v.).  h.- 
note.  In  horn-playing,  a  stopped  note. 

Hand  (hant),  pi.  Hande  (hent'-e),  G. 
Hand.  H.-bassl.  An  obsolete  instr. 
between  viola  and 'cello.  H.-bildner 
(or  -leiter).  A  chiroplast.  H.-lage. 
Position  of  the  hand.  H.-stiicke. 
Finger-exercises.  H.-trommel.  Tam- 
bourine. 

handle-piano.    Vide  barrel  organ  2. 

Harfe  (har'-fe),  G.  A  harp.  Harfen 
bass  (har'fen-bass).  A  bass  of 
broken  chords.  Harfensaite.  Harp- 
string.  Harfenspieler.  Harpist. 
Harfenett.  Vide  spitzharfe.  Har- 
feninstrumente.  Instrs.  whose 
strings  are  plucked.  H.-laute,  Vide 
dital. 

Harke  (har'-ke),  G.  Fork  for  ruling 
staves. 

Harmo'nia,  L.  Daughter  of  Mars 
and  Venus  ;  music  in  general. 

Harmonic.  As  an  adjective.  Musical, 
concordant ;  relating  to  harmony  (i.  e., 
to  chords,  etc.  as  opposed  to  melody) 
and  to  the  theory  of  music.  h. 
chord.  A  generator  and  its  harmon- 
ics. (Vide  below.)  h.  curve.  The 
figure  described  by  a  string  in  vibra- 
tion, h.  figuration.  Broken  chords, 
often  with  passing  notes,  h.  hand. 
Vide  GUIDONIAN.  h.  mark.  A 
small  circle  over  a  note  to  be  played 
as  an  harmonic.  h.  note,  tone, 
vide  the  noun  harmonic,     h.  scale. 


158 


THE    MUSICAL    GUIDE 


Theseriesofpartials( vide  acoustics). 
h.  stop.  A  flute  or  reed  stop  having 
its  pipes  pierced  midway,  so  that  the 
harmonics  predominate  over  the  fun- 
damental tone,  hence  h.  flute  and 
h.  reed.  h.  triad.  Major  triad. 
h.  trumpet.  The  sackbut. 
As  a  noun  (frequently  used  in  the 
plural).  I.  One  of  the  many  partial 
tones  that  go  to  make  up  the  com- 
pound vibration  we  call  tone,  this 
compound  being  called  by  the  name 
of  its  generator.  (Vide  acoustics.) 
2.  A  vibrating  string  when  lightly 
touched  at  a  nodal  point  (as  that 
of  a  half,  3d,  4th,  or  5th,  etc.,  of 
the  string's  length)  will  vibrate  in 
divisions  (2,  3,  4,  or  5,  etc.),  each 
division  sounding  the  same  tone 
respectively  an  octave,  a  I2th,  15th  or 
17th,  etc.,  higher  than  the  string. 
These  produce  a  choir-like  unison  of 
exquisite  sweetness  whose  flutiness 
has  given  them  the  name  flageolet- 
tones.  These  harmonics  if  produced 
from  an  open  string  are  called  nat- 
ural ;  from  a  stopped  string,  arti- 
ficial. Harmonics  are  called  for  by 
the  word  flageolet  or  its  abbr.  fl. ;  or 
the  \vox(\?>fla!itando,flauta/o,  ox  fltite, 
or  by  a  small  circle  (o)  called  the 
harmonic-mark  over  the  note  to 
be  touched,  or  by  writing  a  black 
note  indicating  the  open  string,  a 
diamond-headed  note  above  it  show- 
ing where  the  string  is  to  be  touched, 
and  a  small  note  above  to  indicate 
the  actual  sound.  Grave  Harmon- 
ics. Combinational  tones.  "  Prop- 
erly speaking,  the  harmonics  of  any 
compound  tone  are  other  compound 
tones  of  which  the  primes  are  partials 
of  the  original  compound  tone  of 
which  they  are  said  to  be  harmonics." 
—A.  J.  Ei.Lis. 
Harmon'ica.  i.  An  arrangement  by 
Benj.  Franklin  of  musical  glasses  in 
a  scale,  on  a  spindle  turned  by  a 
treadle.  The  glasses  were  moistened 
in  a  trough,  and  as  they  revolved 
melodies  and  chords  could  be  played. 
F.  called  his  device  armonica.     2. 


The  mouth-harmonica  or  har- 
monicon  is  a  reed  mouth-instr.  pro- 
ducing different  tones  when  the 
breath  is  inhaled  and  exhaled.  3.  A  , 
delicate  stop.  Harmonica-athe-  ' 
risch  (a'-ter-Tsh),  G.  A  delicate  mixt- 
ure-stop,      harmonichord.        Vide 

PIANO-VIOLIN. 

harmonicello  (chel'-lo).  A  'cello-like 
instr.  with  15  strings  (5  of  them  wire) 
inv.  by  J.  K.  Bischoff,  Nurnberg, 
iSth  century. 

harmonici.     Vide  canonici. 

harmon'icon.  i.  Vide  harmonica.  2. 
A  keyed  harmonica  with  flue-stop,  inv. 
by  W.  C.  Muller.     3.  An  orchestrion. 

harmoni-cor,  F.  A  wind-instr.  with 
harmonium-like  reeds  in  a  clarinet-like 
tube,  inv.  by  Jaulin,  Paris. 

harmo'nicum.  An  improved  bando- 
nion  ;  virtually  an  accordeon  worked 
with  treadles,  inv.  by  Brendl  and 
Klosser,  Saxony,  1893. 

Harmonie  (har-m5-ne'),  G.  i.  Har- 
mony. 2.  A  chord.  3.  (a)  The  wind- 
instruments  collectively,  or  (b)  music 
for  them,  h.-eigen,  Chordal  ;  appro- 
priate or  native  to  the  harmony  ;  op- 
posed to  h.-fremd,  foreign.  H.-lehre 
(la-re).  Theory  of  music.  H.-musik. 
Vide  harmonie  3.  H.-trompete.  A 
trumpet  employing  stopped  tones  with 
success.  H.-verstandiger  (fer-sht^n'- 
dTkh'-r).  A  harmonist,  harmoni- 
ren  (har-mo-ne'-ren).  To  harmonise. 
harmo'nisch.     Harmonious. 

harmonist.  One  versed  in  the  laws 
of  music. 

harmonie  (ar-mo-ne),  F.  i.  Harmony. 
2.  Harmonics.  harmonieux  (ar- 
mon-yu).  Harmonious,  harmoni- 
eusement  (yuz-man).  Harmonious- 
ly- 

Harmo'nika,  G.  i.  Accordeon.  2. 
Concertina.  H.-tone.  Vide  harmon- 
ics. 

Harmo'niker,  G.     Harmonici. 

harmon'iphon.  An  instr.  with  key- 
board, inv.  1837,  by  Panis,  of  Paris,  to 
supply  the  place  of  oboes  in  orches- 
tras. The  sounds  are  produced  from 
reeds  acted  upon  by  currents  of  air. 


I 


DICTIONARY    OF    TERMS       159 


harmonique  (ar-mo-nek),  F.  Har- 
monic, applied  to  pipes  of  double 
length. 

harmoniquement  (ar-md-nek-man),  F. 
Harmonically. 

harmo'nium.    Vide  reed-organ. 

har'monise.  To  combine  two  or  more 
parts  in  accordance  with  the  laws  of 
music  ;  to  add  accompanying  chords 
to  a  melody. 

harmonom'eter.     A  monochord. 

harmony,  chromatic  (or  diatonic). 
That  characterised  by  chromatic  (or 
diatonic)  progression,  close  h.  That 
in  which  the  3  highest  parts  do  not 
cover  more  than  an  octave  ;  opposed 
to  open,  dispersed,  or  extended 
h.  compound  h.  That  in  which 
some  of  the  tones  are  doubled  ;  op- 


posed to   simple   h.     essential   h. 

(a)  The  fundamental  chords  of  a  key. 

(b)  The  harmonic  outline  stripped  of 
embellishment,  figured  h.  That  in 
which  the  chord  progressions  are  em- 
bellished variously  ;  opposed  to  plain 
or  natural  h.,  the  common  triad. 
forbidden  h.  A  chord  whose  con- 
struction or  approach  is  contrary  to 
the  rules  of  Harmony,  suspended  h. 
That  in  which  one  or  more  notes  is 
suspended,  pure  h.  (as  of  a  string- 
quintet).  Opposed  to  tempered  h,, 
as  of  a  piano.  Vide  temper.v 
MENT.  strict  h.  That  which  is  rig- 
idly obedient  to  the  rules  ;  opposed 
to  free  h.  Two-part  (etc.)  h. 
That  in  which  two  (or  more)  parts 
appear. 


Modern  Harmony  in  Practice. 

By  a.  J.   Goodrich. 

[Note. — Many  of  the  terms  touched  upon  here  will  be  found  treated  in  more  detail  under 
their  names. — £</.] 


I 


N  its  broader  sense  Harmony  embraces  the  origin  and  classification  of 
chords,  their  rearrangement,  inversion,  and  progression  ;  modulation, 
resolution,  transition,  false  relation,  sequence,  suspension,  chromatic 
harmonisation  and  other  topics  too  numerous  to  mention  here.  Yet  the 
fundamental  principles  of  harmony  may  be  easily  explained  and  readily  under- 
stood. ^We  begin  with  concords  because  they  are  most  euphonious  and 
not  subject  to  the  somewhat  complex  theories  of  resolution.  A  concord  or 
consonant  triad  consists  of  a  normal  ("perfect")  5th  and  a  major  or  minor 
3d  from  the  root.  When  the  intervals  stand  in  this  order  the  lowest  note 
is  the  root,  or  the  name-note  of  the  chord.      It  would  thus  appear  to  the  eye 

fall  upon  lines  or  all  upon  spaces :  thus  G  b  d  form  the  chord  of  G 
major.  G,  b  fiat,  and  d,  would  form  the  chord  of  G  minor.  ^ Every 
major  key  bears  six  concords,  the  imperfect  triad  on  the  leading  note  not  be- 
ing a  concord.  *f[The  reader  may  now  sound  upon  a  piano  or  organ  these 
six  concords,  each  in  its  first  or  root  position.  After  sounding  the  first  chord 
and  before  proceeding  to  the  next,  ascertain  the  gender, — that  is,  whether  it 
is  masculine  (major),  or  feminine  (minor).  These  distinctions  should  be 
determined  by  the  auricular  sense,  and  also  by  the  visual  sense.  Practice 
,and  theory  should  be  thus  combined.     ^From  the  theory  of  scales  and  keys 


i6o         THE    MUSICAL    GUIDE 

and  intervals  [vide  these  terms]  the  reader  is  supposed  to  Icnow  whether  a 
given  chord  represents  a  major  or  a  minor  key.  The  ist,  3d,  and  5th,  of 
every  major  scale  form  a  major  concord  :  the  same  numbers  in  a  minor  key 
yield  a  minor  concord.  But  it  is  still  more  important  that  the  ear  shall  be 
trained  to  distinguish  between  these  genders,  because  music  appeals  most 
directly  to  the  auricular  faculties. 

Concords   Classified. 

When  all  the  concords  have  been  sounded  and  their  characteristics  recog-    \m 
nised,  they  should  be  classified.      How  many  major?      How  many  minor? 
Which  degrees  of  the  scale  bear  major  and  which  minor  concords  ?     ^Tech- 
nical terms  may  be  then  applied  :   chord  of  the  tonic,  I  ;  chord  of  the  sub-    1^ 
dominant,  4  ;  chord  of  the  dominant,  5  ;  chord  of  the  super-dominant  (relative 
minor  of  the  tonic),  6  ;  chord  of  the  super-tonic,  2  ;  chord  of  the  mediant,  3. 
In  other  words  we  have  as   elemental  material,  the  chords  of  the  tonic,  sub-     ' 
dominant,   and  dominant   (always  major  in  a  major  key)   and  the   relative 
minors  [vide  RELATIVE]  of  these.      This  process  should  be  repeated  in  all 
the  major  keys. 

Concords   Rearranged. 

topi 

F" 
Ih. 
'nc 
Hi 


A  chord  has  as  many  close  positions  as  it  has  letters.      In  the  first  position 
the  root  is  lowest.      In  the  second  position  the  root  is  highest,  while  the  third 
is  below.      In  the  third  position   the   root  is  in  the    middle,    the   5th  bemg 
below  and  the  3d  above.      ^At  first  the  different  positions  are  to  be  effected 
by  rearranging  the  letters  thus  :    C,   e,  g,   root  position  of  the    C   chord. 
Place  the  Clast  (an  octave  higher),  and  the  second  position  will  result  e, g,  C. 
Now  place  the  e  last  (an  octave  higher),  and  the  third  position   will  appear. 
— g,  C,  e.      Since  no  new  element  has  been  introduced  it  is  evident  that  the 
chord  still  remains  and  that  C  is  the  root.      The  capital  letter  serves  to  indi- 
cate to  the  eye  whether  the  theoretical  root  is  below,  in  the  middle,  or  at  liciBg 
the  top.      (A  distinction  is  to  be  made  between  these  simple  rearrangements 
of  concords  and  the  actual  inversion  oi cVox^?,.      Inversion  comes  much  later.)  \i 
Every  concord   in   the  key  is  to  be  rearranged  by  means  of  letters,  as  indi-  \ 
cated,  and  the  different  positions  are  to  be  numbered  in  regular  order  i,  2,  3.  ! 
^The  six  concords  are  now  to  be  rearranged  on  the  key-board,  using  the  jci 
letter  schemes  as  a  preliminary  guide.      After  the  six  chords  have  thus  been  JS 
played  in  their  three  close  positions  the  process  should  be  continued  in  other  \ " 
keys  without  the  aid  of  letters  or  written  notes.      ^Care  must  be  exercised  ,. 
not  to  add  any  new  element  to  the  tones  of  a  given  chord  while  its  rearrange-  ... 
ments  are  being  played.     For  instance,  in  the  second  position  of  the  F  chord   . 
pupils  sometimes  produce  the  A  minor  triad  by  playing  a,  C,  e,  instead  of 


DICTIONARY    OF    TERMS       i6i 


a,  Ct  F.   Sound  all  the  concords  in  their  three  close  positions  in  every  major 
key.     (Sec  Ex.  l.)     ^Also  it  is  desirable  to  play  the  rearrangements  in  this 


manner  descending,  as  well  as  ascending.      (Interesting  examples  in  this  style 
may  be  invented.) 

Preliminary   Harmonisation. 

The  six   rearranged  chords  in  any  given   key  are  now  selected  as  a  guide. 

These  must  appear  in  notation.      Every  tone  in  the  major  scale  of  C  is  to  be 

harmonised   with    as    many  concords   as   contain    the   note  to   be  illustrated. 

This   is    to   be  accomplished  at   the  instrument.      i.    Select    c"   (an   octave 

above  middle  r).     This  is  a  stationary  tone  representing;  for  instance,  a  soprano 

part.      2.    How  many  of  the  six  concords  in  this  key  contain  c?    (Examine 

the  chart  of  rearranged  chords  in    C,  always  beginning  with  the  first  chord, 

and  ascertain  how  many  contain  c, — whether  above  or  below  is  immaterial. ) 

3.    What  is  the  first  chord   that  contains  a  c?     What  position   has  c  at  the 

:;op  ?      4.    Play  this.      5.    What  is  the  next  chord  containing  r  .?     6.    What 

position  has  c  uppermost?      7.    Play  this,  keeping  the  same  finger  (5)  upon 

3d  space  c" .      8.    What  is  the  third  chord  containing  c?     In  what  position 

s  c  uppermost  ?      9.    Play  this,  the  c  being  still  in  the  soprano  part,   highest. 

f  this  much  has  been  correctly  executed  the  following  results  will  appear  : 

he  C chord  will  be  in  its  second  position,  the  F  chord  in  its  first  position, 

nd  the  A  minor  chord  in  its  third  position,  e.  A,  c.      Each  chord  is  to  be 

unded  simultaneously,  the  letters  which  represent  notes  are  read  from  below, 

pward,  therefore  e,  g,  C,  indicate   that  the  chord   of  C  is  to  be  struck,  C 

ing  uppermost.     Repeat  the  process  at  the  piano  :     C  chord,  2.   F  chord,  i. 

5  5    5 
minor   chord,  3.      The  fingering  should  be  2  3  3.  (See  Ex.  2,)    ^The 


:cond  chord  of  the  scale  is  now  selected,  and  this  is  to  be  harmonically  illus- 
ated  in  the  same  manner.  i .  How  many  concords  in  the  key  of  C  con- 
lin  d?  (Do  not  use  the  imperfect  triad  in  any  of  these  elementary  exercises.) 
.   What  is  the  first  chord  containing  d  ?     3.  What  position  has  d  at  the 


l62 


THE    MUSICAL   GUIDE 


top?  4.  Play  this.  5.  What  is  the  other  chord  having  a  d'.?  (Mention  the 
letter-name  of  the  chord  and  say  whether  it  be  masculine  or  feminine. )  6. 
What  position  of  the  G  chord  has  ^  at  the  top  ?  7.  Play  it,  then  repeat. 
In  this  manner  every  tone  in  the  key  of  C  should  be  harmonically  illustrated. 
Only  the  six  concords  in  this  key  are  to  be  used,  though  each  one  may  be 
played  in  any  of  its  three  close  positions,  according  to  circumstances.  Trans- 
pose to  other  major  keys. 

Simple  Theory  of  Strict  Chord  Progression. 
Any  tone  which  occurs  in  any  two  different  chords  is  called  a  connecting 
tone.  Every  connecting  tone  is  played  by  the  same  finger  in  both  chords  or 
sung  by  the  same  voice.  When  there  are  two  notes  in  common  between  two 
chords  in  progression,  the  connecting  tones  are  retained,  or  remain  stationary 
— tied  or  played  by  the  same  finger.  (The  previous  elementary  progres- 
sions agree  with  this  theory.)  ^Now  arrange  a  score  of  four  staves,  the 
bass  staff  below  and  three  treble  staves  above.  On  the  first  treble  staff  write 
the  progression  C,  F,  A  minor,  keeping  the  connecting  notes  stationary. 
On  the  second  treble  staff  write  the  C  chord  in  its  next  position  above,  g,  C,  e. : 
Then  write  the  F  chord  (with  c  in  the  middle)  and  the  A  minor  chord  with 
a  and  c  tied  from  the  preceding.  On  the  third  or  highest  treble  staff  write 
the  C  chord  in  its  first  position  and  proceed  to  make  the  same  progression, 
;.  e.,  C  to  F,  and  F  to  A.  It  is  to  be  understood  that  the  progressions  on  the 
two  upper  staves  are  similar  to  those  on  the  lowest  treble  staff,  2  and  3  being 
rearrangements  of  i .      In  each  instance  the  same  principles  are  to  be  applied. 


Example  III. 


*  Write  an  octave  lower  when  the  parts  run  too  high. 

For  instance  in  progressing  from  the  C  to  the  F  the  connecting  note  (f)  wil| 
appear  alternately  in  the  soprano,  mezzo-soprano,  and  contralto  parts.  Wheij 
the  first  measure  is  completed  in  the  three  treble  parts,  vertically,  add  th, 
roots  in  the  bass  staff  immediately  beneath  the  treble  chords.     The  bass  pai' 


U 


DICTIONARY    OF    TERMS 


63 


Tioves  fundamentally,  from  root  to  root,  while  the  treble  parts  progress 
Tielodically,  that  is  without  skipping.  Do  not  skip  the  bass  part  up  or  down 
more  than  a  ^th.  ^[Proceed  to  harmonise  d  with  the  two  concords  which 
iccompany  it  :  then  write  two  rearrangements  above.  Observe  strictly  the 
onnecting-note  principle.  When  the  second  measure  is  completed  in  the 
reble  parts  add  the  roots  in  the  bass  as  before.  Every  tone  in  the  scale  is 
o  be  treated  similarly — 2,  4  and  7  having  but  two  chords  each  as  accom- 
janying  harmonies.  (See  Ex.  3.)  ^[ After  this  scheme  has  been  worked 
)ut  on  paper,  choose  another  key  and  proceed  to  make  a  similar  example  at 
he  key-board,  without  the  aid  of  notes  except  perhaps  the  rearranged  chords, 
vhich  may  be  used  as  a  chart.  Continue  this  process  in  several  other  major 
:eys,  until  the  progressions  can  be  played  readily  and  correctly. 

Melodic  Skips  of  a  30. 
When  the  melody  skips  up  or  down  a   3d  the  accompanying  harmony 
cmains  the  same.      In  other  words  the  melody  skip  may  be  accompanied  by 
\m     ny  chord  in  the  key  which  contains  both  notes  of  the  melodic  interval.      This 
X     las  been  partially  illustrated  in  the  rearrangement  of  concords.      Therefore 
and  e  may  be  accompanied  by  the  C  chord  or  the  A  minor  chord,  but  not 
y  both  chords.     When  the  melody  skips,  the  bass  remains  stationary  as  a  con- 
ecting  note.      Consequently  there  is  always  a  connecting  note  either  above 
T  below  in  the  present  examples.      A  skipping  theme  is  given  and  this  should 
harmonised  at  the  piano  and  on  paper.      (See  Ex.  4.) 

Example  IV. 


Skips  of  a  4TH. 
These  are  harmonised  by  the  same  principle,  though  a  skip  of  a  fourth 
dmits  but  one  chord  as  accompaniment  :  that  chord  which  contains  both 
otes  of  the  skip  furnishes  the  solution.  During  the  skip  the  bass  remains, 
nd  acts  as  a  connecting  note.  Example  5  is  to  be  harmonised  practically 
nd  theoretically,  as  explained. 

Example  V. 


64         THE    MUSICAL    GUIDE 


Harmonic  Warnings  for  Composers. 

By  a.  J.  Goodrich. 

1.  Don't  use  any  intervals  in  parallel  movement  except  these  : 

(a)  Unisons,  and  octaves  when  the  latter  are  above  or  below,  with  no 
harmony  between  the  octaves. 

(^)    Major  or  minor  thirds,  ascending  or  descending  diatonically. 

(r)  Minor  thirds  ascending  or  descending  chromatically. 

(^)  Major  thirds  ascending  or  descending  chromatically.  (These  were 
formerlv  forbidden,  but  modern  composers  use  them  freely  for  certain  pur- 
poses.     Thev  are,  however,  rather  harsh  and  incisive.) 

(^)  Major  or  minor  sixths  ascending  or  descending  diatonically — like  the 
thirds. 

(/)    Major  sixths  up  or  down  chromatically. 

(_g^)  Minor  sixths  up  or  down  chromatically.  (These  are  inversions  of 
the  major  thirds,  and  therefore  the  same  remarks  apply.) 

{h')  Augmented  fourths  may  ascend  or  descend  chromatically  where  they 
form  parts  of  diminished  chords  in  succession.  (The  exigencies  of  notation 
will  require  that  the  imperfect  fifth — which  is  an  harmonic  equivalent  of  the 
augmented  fourth — shall  appear  occasionally  in  place  of  the  latter.  Thus,  c 
and /*  sharp  may  be  followed  by  b  and _/ natural.  Practically  the  two  inter 
vals  are  identical  and  interchangeable.) 

(/■)  Descending  augmented  fourths  may  occur  in  a  series  of  dominant 
seventh  chords  proceeding  according  to  the  dominant  relation — up  a  fourth  or 
down  a  fifth. 

2.  Don't  use  /?;?)' of  these  intervals  in  parallel  movement  : 
(/?)    Major  or  minor  seconds,  ascending  or  descending. 

(i^)  Normal  or"perfect"  fifths,  especially  between  bass  and  soprano,  oi 
contralto  and  soprano.  The  imperfect  may  follow  the  perfect  fifth.  But  the 
reverse  of  this  is  rather  rough  and  generally  ineffective. 

(r)  [Normal  fourths,  when  they  are  accompanied  by  diatonic  thirds 
above  or  below,  have  been  frequently  employed.  A  succession  of  triads  n 
their  second  or  third  close  positions  necessarily  involves  parallel  fourths,  as  ii 
the  Finale  to  Beethoven's  op.  2,  //.]  Parallel  fourths  ought  to  be  excludec 
from  strict  two-part  counterpoint,  as  they  are  too  much  inclined  to  vacuousness 

(^)  Major  or  minor  sevenths  are  not  to  be  used  in  parallel  succession 
Diminished  sevenths  sound  like  major  sixths.  Therefore  these  two  interval 
may  succeed  each  other  alternately. 

(^)   Parallel  octaves  have  always  been  forbidden,  and  usually  their  effect 
awkward  or  confusing.     Yet  hundreds  of  instances  might  be  quoted  from  tb 


I  DICTIONARY    OF    TERMS       165 

masters.  A  simple  illustration  is  the  little  Romance  from  Schumann  usually 
coupled  with  his  "  Traumerei  " — the  theme  above  is  doubled  by  a  solo 
bass  part  below. 

(y)  Cross  relation  or  false  relation  is  another  pitfall  into  which  the  young 
composer  is  likely  to  stumble.  The  effect  is  sometimes  very  unpleasant  and 
at  other  times  perfectly  satisfactory.  ^|The  student  should  avoid  at  all  times 
all  interdicted  or  suspicious  progressions,  even  though  the  "  evil  "  be  more 
fancied  than  real.  If  he  becomes  a  creative  artist  he  must  eventually  act  on 
his  own  responsibility,  free  and  independent  of  all  prescription  and  formula. 


ha.rp,£.,  harpe  (arp), /^.  A  stringed 
triangular  instr.  of  great  antiquity 
and  variety.  The  gut-strings  which 
are  plucked  with  both  hands  are  nec- 
essarily diatonic.  In  the  old  single- 
action  harp  (key  of  E  flat,  compass 
F'-d"")  the  notes  could  he  raised  a  half- 
tone by  the  use  of  pedals.  Thanks 
to  the  ingenuity  of  Sebastian  Erard, 
who  in  1S20  perfected  the  "  double- 
action  harp,"  all  keys  are  obtainable 
on  the  modern  harp  in  fairly  quick  suc- 
cession, by  the  manipulation  of  seven 
pedals  each  raising  a  string  and  all  its 
octaves  a  half  or  a  whole  tone.  Thus 
by  sharpening  or  flattening  the  proper 
tones,  any  key  may  be  obtained.  The 
natural  scale  is  (y,  and  the  more 
sharps  in  the  key  the  less  the  sonor- 
ity ;  double  flats  and  sharps  are  im- 
possible, and  remote  modulation  diffi- 
cult. There  are  46  (or  47)  strings, 
compass  C  flat-f""  (or  g""  flat). 
double  h.  One  with  2  rows  of  dif- 
ferently tuned  strings,  triple  h. 
(such  as  the  Welsh).  One  with  3  rows. 
.^olian  h.,  h.  6olienne.  Vide 
i*:oLiAN.  couched  h.  The  spinet. 
pointed  h.  Vide  spitzharfe.  chro- 
matic h.  Inv.  by  Pfranger ;  it  has, 
however,  too  many  strings.  Jew's 
harp.  A  small  instr.  with  metal 
tongue,  played  upon  by  placing  it 
between  the  teeth,  and  striking  with 
the  tongue  and  the  finger  ;  the  breath 
determines  the  tone  ;  known  in  the 
trade  as  "Irish  harp."  h.  instru- 
ments. Those  whose  strings  are  not 
bowed. 


harpechorde  (jirp-kord),  F.,  harpi- 
cordo  (ar-pl-kor'-do),  /.  The  harp- 
sichord. 

harpeggiren  (har-ped-je'ren),  G.  Vide 

AKPEGGIATE. 

harpe-lute.  Vide  dital.   harp-pedal. 

The  soft  pedal  of  a  piano. 

harpo-Iyre.  A  3-necked,  21-stringed 
guitar,  inv.  by  Salomon,  1829. 

harp'secol.    Vide  HARrsicHORD. 

harpsichord.  A  precursor  of  the  mod- 
ern piano,  whose  strings  were  set  in 
vibration  by  jacks  carrying  quills  or 
bits  of  hard  leather  (instead  of  tan- 
gents, as  in  the  clavichord).  Sometimes 
it  had  more  than  one  key-board  as  in 
the  vis-a-vis  (ve-za-ve),  which  had 
a  key-board  at  each  end.  The  double 
h.  had  2  unison  strings  and  an  octave 
for  each  tone  ;  and  stops  for  vary- 
ing the  use  of  these.  The  harmon- 
ica h.  is  an  harmonica  with  key- 
board. 

harp-style.     Arpeggio  style. 

harp-way  tuning.  Eariy  English  ac- 
cordatures  of  the  viol  da  gamba  fa- 
cilitating arpeggios. 

harsur  or  hasur  (ha-zoor),  //ed.  A 
Hebrew  instr.  of  10  strings. 

hart,  G.  Major;  hard;  unprepared,  h. 
verminderter  Dreiklang.  A  triad 
with  major  3d  and  diminished  5th. 
hartklingend.     Harsh-sounding. 

hate  (at),  /;     Haste,  speed. 

haubois  (6-bwa),  F.     An  oboe. 

Haupt  (howpt),  G.  Head,  principal. 
H. -accent.  Principal  accent.  H.- 
akkord.  Fundamental  triad.  H.-ge- 
sang,   H. -melodic.     Principal  mel- 


i66 


THE    MUSICAL    GUIDE 


ody.  H.-kadenz.  Full  cadence. 
H.-kirche  Cathedral.  H. -manual. 
The  great  manual ;  the  great  organ. 
H.-note.  I.  The  principal  note  in  a 
shake,  turn  or  trill.  2.  The  chord- 
note.  3.  Accented  note.  4.  Melod)-- 
note.  H.-periode.  Principal  period. 
H. -probe.  The  final  rehearsal.  H.- 
satz.  Principal  theme,  subject  or 
idea.  H.-schluss.  Final  cadence. 
H.-septime.  Dominant  7th.  H.- 
stimme.  Principal  part.  H.-thema. 
Principal  theme.  H.-ton.  i.  Funda- 
mental or  principal  tone.  2.  The 
tonic.  3.  The  5th  in  a  minor  triad. 
H.-tonart,  The  principal  key.  H.- 
werk.     Great  organ. 

hausse  (os),  F.     Nut  of  a  bow. 

hausser  (6s-sa),  F.  To  raise  the 
pitch. 

haut  (0),  haute  (6te),  F.  Acute, 
shrill,  high.  haute-contre  (Gt- 
kohtr).  High  tenor,  haute-dessus 
(ot-des-su).  High  treble,  soprano. 
hautement  (ot-mah).  Haughtily, 
haute-taille  (6t-ta-e).     High  tenor. 

hautb.     Abbr.  of  Hautboy. 

hautbois  (,o-bwa),  F.,  hautboy  (ho- 
boy),  E.  I.  The  oboe.  2.  An  S-ft. 
reed-stop,  h.-d'amour.  An  organ- 
stop.    Vide  OBOE,  hautboy-clarion. 

Vide  OCTA\"E  HAUTBOY. 

H.-bes  (ha-bes),  (7.  B  double  flat.  H.- 
dur  (ha-door).     B  major. 

head.  i.  The  part  of  the  note  which 
marks  its  position  on  the  staff.  2. 
Point  of  a  bow.  3.  Membrane  of  a 
drum.  4.  The  part  above  the  neck  of 
\-ioIins.  etc.,  containing  the  pegs, 
head  voice.  The  upper  or  highest 
register  of  the  voice. 

heel.  The  wooden  brace  fastening  the 
neck  of  \-iolins,  etc.,  to  the  body. 

Heerhorn  (har-hom),  G.  A  mi'litar}- 
trumpet.  Heerpauke  (har'pow-ke), 
G.  Old  kettle-drum.  t\-mbal.  Heer- 
pauker.     Kettle-dninimer. 

heflig  (hef  -tlkh).  G.  Boisterous,  pas- 
sionate. Heftigkeit  (kit).  Vehe- 
mence. 

heimlich  (him'-likh),  G.  Secret, 
stealthy,  mysterious. 


heiss  (hlsl,  G.    Hot,  ardent. 

heiter  ihl  ter).  G.    Serene,  glad. 

Heldenlied  (hei  den-let),  G.  Hero- 
scng-.  heldeniniithig(,mu-tikh).  He- 
roic.  Heldentenor.  Dramatic  tenor. 

he!  icon,  E..  Hel  ikon,  G.  i.  A  mil- 
itar}-  bass  brass  wind-instr. .  carried 
over  the  shoulder  ;  scales,  F,  E  flat, 
C  and  B  flat  (the  lowest  tone  of  the 
bass  of  which  is  B  ).  2.  Ancient  9- 
stringed  device  showing  the  theory  of 
intervals. 

hell  (hel),  G.    Clear,  bright. 

helper.  An  octave-pipe  set  beside  one 
of  S-ft.  pitch  to  add  to  its  brilliance. 

hem  i,  G.  Half.  hemidemisemi- 
quaver  -rest).  A  64th  note  (or  rest). 
hemidiapen  te.  Diminished  fifth, 
hemidit  onos,  Gr.     Minor  third. 

hemio  la,  hemio  lia,  Gr.  i.  The  ratio 
3:2.  2.  Quintuple  time.  3.  Inter- 
val of  a  5th.  4.  A  triplet.  5.  Vide 
NOT.\TIOX  (colour). 

hemiope,  Gr.     An  ancient  three-holed 

nute. 
hemiphrase.     One  bar  of  a  phrase, 
hemito  nium,  Gr.  A  semitone  in  Greek 

music  (ratio  256  :  243). 
heptachord,    i.   Interv-al  of  a  seventfe. 

2.   A    7-stringed  instr.       3.  A  Greek, 

series    of  7  tones  with  half-tone  step 

between  the  3d  and  4th. 
heptade  (hep  -tad),  hep  tadechord,  EJ, 

Vice  ELLIS.  ^ 

heptam  eris,  Gr.    A  seventh  part  of  a  J 

meris.  \ 

Herabstrich  (har -apstrlkh),  G.  Down- 
bow.   Heraufstrich  (har'-owf-stnkh). 

Up-bow. 
heraufgehen    (har-owf  gaen),  G.     Tc; 

ascend.  • 

hero  ic,  E.,   heroisch  (har-o-Ish),  G.\ 

h^rolque  (a-ro-ek),  F.     Bold,  brave. 

Vide  EROic.A..  t 

Herstrich  (har-stnkh),  G.    Down-bowf 

(on  'cello  and  double-bass).     Heruihl 

terstrich,  G.    Down-bow  (on  the  Tio-|3 

hervorgehoben  (har-for'ghe-ho'ben) 
hervorhebend  (habenrt),  hervor- 
tretend  (tra-tSnt),  G.     With  empha 


DICTIONARY    OF    TERMS       167 


Herz  (herts),  (7.    "Heart."   Vide  tas- 

SEAU. 

herzig  (herts-ikh),  herzlich  (llkh),  G. 
Tender. 

Hes  (hes),  G.  B  flat  when  directly 
derived  from  B  natural  (or  H). 
Heses,  B  double  flat. 

heulen  (hoi'-len),  G.     To  cipher. 

hexachord,  Gr.,  hexachorde  (ex-a- 
kord),  F.  I.  A  scale,  or  system,  of 
six  sounds.  2.  A  sixth.  3.  A  six- 
stringed  lyre. 

liexam  eron,  (7r.    Group  of  six  pieces. 

hex  aphonic.   Composed  of  six  voices. 

hey  de  guise  (e-du-geze),  F.  A 
c  juntn,--dance. 

lia  tus.     A  gap. 

lidden.  i.  Obscured,  covered,  yet  im- 
plied ;  thus  in  the  skip,  say,  from 
c  to  g,  the  tone  f  is  implied  though 
not  struck  or  dwelt  on  ;  it  could  be 
called  hidden.  But  the  term  is  used 
:  -:her  of  intervals  similarly  implied, 
-US  in  the  progression,  say  from  e-c 
■  J  g-d,  the  tone  /  is  passed  over, 
and  as/  makes  with  c  the  same  in- 
terval as  g  with  d.  that  is,  a  perfect 
fifth,  the  progression  becomes  a  hid- 
den or  implied  fifth,  and  is  put 
under  the  same  ban  by  stricter  theo- 
rists, though  auctioned  by  free  prac- 
tice. Similarly  a  progression,  as  of 
g-b  to  c-c'  contains  hidden  octaves. 
2.  h.  canon.     Close  canon. 

rlief  (hef),  Hiefstoss  (shtoss),  G. 
Sound  of  the  hunting-horn.  Hief- 
horn,  Hifthorn  (hift).  Hiifthorn 
(hlft).  A  wooden  hunt-horn  with  2 
or  3  notes,  and  in  3  pitches  :  H.- 
■  zinke  (tsink-ke).  High.  Riiden- 
horn  (riid-n).  Low.  Halb-riiden- 
horn.     Medium. 

lierophon  (her'-o-fon),  Gr.  Singer  of 
hymns. 

liggai  on  selah,  Heb.  A  term,  per- 
»  haps  calling  for  stringed  instr.  and 
trumpets. 

ligh.     I.  Acute  in   pitch.     2.   Upper, 

or   first,  as  h.  scprano.     high  bass. 

A  baritone.      higher    rhythm.      A 

rhythm   composed    of   smaller   ones. 

'[.   High  mass.    Vide  m.\ss.     h.  tenpr. 


Counter-tenor,    h.  treble  clef.    The 

G  clef  on  the  first  line. 

hilfs-.     Same  as  hiilfs-. 

Hinaufstrich  (hin-owf'strikh),  G.  Up- 
bow  on  the  \-iolin,  etc.  Hinstrich 
(hin'-strikh),  G.  Up-bow  on  'cello 
and  double-lDass. 

Hintersatz,  G.  An  old  mixture-stop, 
re-enforcing  the  open  diapason. 

Hirtenflote  (hlrt-en-fla'-te),  G.  Shep- 
herds  flute.  Hirtengedicht  (ge- 
dlkht).  Pastoral  poem.  H.-lied  (let). 
Pastoral  song.  H.-pfeife  (pfl-fe). 
Pastoral  pipe,  hirtlich  (hirt -llkh). 
Pastoral,  rural. 

His  (his),  G.  B3.  hisis  (Ms'Is),  G.  B 
double  sharp. 

H.-moll  (ha'mol),  G.     B  minor. 

Hoboe  (ho-bo'-e),  Hoboy  (ho-boe),  G. 
Oboe.     Hobo  ist,  G.     Oboist. 

hoch  (hokh),  G.  High,  sharp,  ver)-. 
Hochamt  (hokhamt).  High  Mass. 
h.  feierlich  (fi  -er-likh).  Ver}-  sol- 
emn. H.-gesang,  H.-lied'  (let). 
Ode,  hymn.  H.-horn.  Oboe.  H.- 
muth  (moot).  Elevation,  pride. 
Hochzeitsgedicht  (tsits),  Hoch- 
zeitslied.  Wedding-song.  Hoch- 
zeitsraarsch.  Wedding  -  march, 

hbchsten  (hekh'-shten),  G.   Highest. 

hock  et,  hocqu  etus.  i.  An  abrupt 
rest.  2.  Old  English  part-music  full 
of  rests  and  abruptness. 

Hof  (hof),  G.  Court;  hence,  H.-kapelle 
(Konzert).  Court  orchestra  (concert). 
H.-musikant  (moo-zi-kant).  Court 
musician.  H. -organist.  Court  or- 
ganist. 

hoflich  (hef'hkh),  G.  Graceful.  Hof- 
lichkeit  (kit).     Grace. 

Hohe  (hae),  G.  Height,  acuteness ; 
upper  register  of  ;  as  Oboen-hohe. 

hoheit  (hohit),  G.  Dignitj',  lofti- 
ness. 

Hohlfiote  (holfla-te),  G.  "Hollow- 
toned  flute."  Open  flue-stop  of  vari- 
ous pitches ;  in  the  smaller  called 
Hohlpfeifen.  The  mutation-stop  in 
the  fifth  is  called  Hohlquinte. 

hok  et,  hock'et.     .\  quint-stop. 

hold  (holt),  G.     Pleasing,  sweet. 

hold.      The   fermate.     holding-note. 


THE    MUSICAL    GUIDE 


A  note  sustained  while  others  are  in 
motion. 

holding.     Old  E.     Burden. 

Holzblaser  (holts'bla-zer),  G.  Play- 
er(s)  on  Holz'blasinstrumente,  or 
wood-wind  instruments. 

holzernes  Gelachter  (helts'-er-nes 
ge-lekh'-ter),  6".     Xylophone. 

Holzflote  (halts' fla-te),  G.  "  Wood- 
flute  "  ;  a  stop. 

Holz'harmoniica,  G.     Xylophone. 

hom'ophone.  A  letter  or  character  de- 
noting the  same  sound  as  another ; 
thus  a}  and  bfe  are  homophones. 
homophon'ic,  homoph'onous.  i. 
Noncontrapuntal,  lyric,  marked  by 
one  melody  in  predominance.  Vide 
POLYPHONIC.  2.  In  unison.  Vide 
AkxiPHONic.  homoph'ony,  E., 
homophonie  (6m-6f-6n-e),  F.  Mu- 
sic that  is  homophonie  I  or  2. 

hook.  The  stroke  added  to  the  stem  of 
notes  smaller  than  \  notes. 

hop'per.  In  piano  action,  the  escape- 
ment-lever. 

Hop'ser,  Hops-tanz  (tants),  G.  Coun- 
try-dance. Hopswalzer  (hops'  val- 
tser),  G.     Quick  waltzes. 

hoq'uetus.     Hocket. 

hora  (pi.  horae),  L.  Hour(s).  horae 
canonicae.  Canonic  hours,  those  at 
which  services  are  held  :  lauds. 
Sunrise,  prime.  First  hour  (6  a.m.). 
tierce  (or  terce).  3d  (g  a.m.).  Sext. 
6th  (noon),  nones.  Qth  (3  p.m.). 
vespers.  Evening,  compline.  Final. 
Services  during  the  night  are  called 
nocturns  ;  the  word  matins  includes 
both  nocturns  and  lauds.  horae 
regulares.  Chant  sung  at  regular 
hours. 

horn(G'.  pi.  Horner)  (hern'er),  E.  &  G. 
General  name  for  all  metal  wind-in- 
struments. Specifically,  the  French 
horn,  a  brass  conical  tube  variously 
curved,  with  a  flaring  bell  at  one 
end,  and  a  cupped  mouthpiece  at  the 
other  ;  the  shape  of  this  mouthpiece, 
and  the  ratio  of  the  width  to  the 
length  of  the  tube  determining  the 
quality  of  the  instr.  The  old  natural 
horn  was  diatonic,  producing  only  the 


tones  of  its  natural  scale,  some  inter- 
mediate tones  being  obtained  by  put- 
ting the  hand  in  the  bell,  or  "stop- 
ping "  the  tone.  The  key  of  the  horn 
was  changed  by  taking  out  one  sec- 
tion of  its  tube  (a  crook),  and  inserting 
a  section  longer  or  shorter,  thus  low- 
ering or  raising  the  key.  The  tone 
series  was  thus  incomplete,  and  the 
stopped  tones  were  inaccurate.  The 
natural  tones  depend  on  the  amount 
of  wind-pressure  (or  in  F,  embou- 
chure, lipping)  which  must  vary  with 
each  note  according  to  the  natural 
scale  (see  acoustics). 
The  horn  of  this  century  has  gradu- 
ally displaced  the  natural  horn.  It  is 
provided  with  valves  (or  auxiliary 
tubes),  which  practically  lengthen  or 
shorten  the  tube  instantaneously. 
The  tone  is  produced  by  embouchure 
combined  with  valve-manipulation 
until  a  complete  chromatic  scale  is 
obtainable.  Stopped  tones  are  now 
not  necessary,  though  available  for 
special  effects  ;  they  are  called  for  by 
the  sign  +,  by  the  word  "stopped," 
or  by  "son  bouch6  "  (son  boo-sha), 
and  are  weirdly  tragic  or  romantic. 
The  range  of  the  horn  depends  upon 
its  key,  the  scale  of  each  consisting 
of  a  fundamental  tout,  and  the  nat- 
ural series  of  partials  (vide  acous- 
tics), the  intermediate  tones  between 
the  3d  and  the  i6th  partial  being  ob- 
tained by  valves  or  stopping.  The 
horn  in  C  thus  sounds  C,  r,  g-c" , 
from  g  to  c"  being  nearly  complete 
chromatically,  the  upper  notes  being 
risky.  The  other  horns  are  lower  by 
the  interval  between  their  key  and  C  ; 
they  are  B  flat.  A,  A  flat,  G,  F,  E, 
E  flat,  D,  C  basso,  B  flat  basso.  The 
keys  FJt  (G  flat),  Cj  (D  flat),  B  and  A 
basso  are  obtained  not  by  changing 
crooks,  but  by  drawing  out  a  special 
slide  which  lowers  the  key  a  semi- 
tone. In  valve-horns  the  F  horn  is  by 
far  most  common.  Music  for  horns 
is  now  always  written  in  the  G  clef, 
the  F  clef  being  used  for  the  low 
notes,  which  are  always   written  an 


DICTIONARY    OF    TERMS       169 


octave  lower  than  they  sound.  For 
convenience  of  embouchure,  the  notes 
are  written  as  if  the  horn  were  always 
in  C,  and  the  player  so  plays  it  ;  but 
the  crook  used  governs  the  tone,  and 
a  C  on  the  staff  sounds  as  the  F  below 
on  an  F  horn,  as  A  flat  on  the  A  fiat 
horn,  etc.  Alpine  h,  A  wooden  horn 
8  ft.  long,  basset  h.  Vide  b.\sset. 
hunting-h.  The  primitive  natural 
or  French  horn.  horn-band.  A 
band  of  trumpeters.  A  Russian  H- 
B.  is  one  in  which  each  hunting-horn 
plays  but  one  note,  horning.  Vide 
shiVaree.  Hornmusik',  G.  Music  for 
the  brass.  Hornquinten,  G.  The  hid- 
den fifths  prevalent  in  music  for  two 
horns.  Hornsordin',6^.  A  conical  or 
pear-shaped  mute  inserted  in  the  bell. 

hornpipe.  A  old  E.  shawm  with  a 
bell  of  horn  ;  hence,  an  old  E.  dance 
of  great  vivacity,  in  3-4  or  4-4  time. 

Hosan'na,  Hosian'na, /A^.  "Save, 
I  pray,"  an  interjection  in  prayer, 
hence  part  of  the  Sanctus.  Vide  mass. 

Hose  (ho'-ze),  G.     Boot  of  a  pipe. 

houl  (howl).      A  Persian  military  drum. 

hours.    Vide  hor/e. 

hreol  (wra'61).  A  Danish  peasant-dance. 

H.  S.     Abbr.  for  Hauptsatz. 

huehuetl,  huehuitl  (wa-wat'-'l).  An 
Aztec  drum  3  feet  high  with  a  mem- 
brane that  could  be  tightened  at  will, 
changing  the  pitch  and  furnishing  an 
harmonic  bass. 

Hiifthorn  (hlft-horn),  G.     Bugle-horn. 

hug' gab,  Heb.  i.  An  organ.  2.  Pan's 
pipes. 

huitpied  (wet-pT-a),  F.  Eight  feet  (of 
stops),  huitpieds.  An  organ  with 
no  stops  larger  than  8  ft. 

Huldigungsmarsch  (hool-dl-goongks- 
marsh),  G.     A  solemn  march  for  re- 


Hulfs-  (hllfs),^.  Auxiliar)'.  Hulfslinien 
(le'-nl-en).  Ledger-Unes.  H.-note, 
H.-ton.  Auxiliary,  accessory  note. 
H.-stimme  (shtlm'me).  A  mutation- 
stop. 

Hummel  (hoom'mel),  Hiimmelchen 
(hlm'mel-khen),    G.       i.  A    bagpipe. 

2.  In  organs  the  thorough-bass  drone. 

3.  The  Balalaika,  because  it  had  a 
sympathetic  or  drone-string.  4.  The 
drones  in  a  hurdy-gurdy. 

hummen  (hoom'mgn),  G.     To  hum. 

Humor  (hoo'-mor),  G.  Humour,  whim. 
Humoreske  (hoo'mo-res'ke),  C,  hu- 
moresque  (u-mor-esk),  F.  A  humor- 
ous or  whimsical  composition. 

hunting-horn.  A  bugle  or  French 
horn.  hunting-song.  Song  in 
praise  of  the  chase,  hunt's-up.  A 
boisterous  morning-song. 

hurdy-gurdy.  An  old  instr.  with 
four  strings,  acted  on  by  a  wheel 
rubbed  in  resin.  Two  of  the  strings 
are  stopped  by  certain  keys,  the 
others  act  as  a  drone-bass  ;  compass 
g-g" . 

hurry.  Premonitor>'  roll  of  drum  or 
tremolo  of  strings  in  stage-music. 

hurtig  (hoor'tikh),  G.  Quick,  allegro. 
H.-keit  (kit).     AgiHty. 

hydraul  icon,  hydraulic  organ.  An 
instr.  older  than  the  wind-organ,  inv. 
180  B.C.,  by  Ktesibios  of  Alexandria, 
the  wind-pressure  being  regulated  by 
water. 

hymn,  F.,  hymne  (emn),  F.,  Hymne 
(hemne),  G.  A  sacred  or  patriotic 
song.  h.  vesper.  A  hymn  sung  in 
the  R.  C.  Vesper  service,  hymnal, 
hymn-book.  A  collection  of  hymns. 
hymnology,  hymnologie  (em-n51- 
6-zhe).      Vide  next  page. 

hymnus,  L.  A  hymn.  h.  Ambro- 
sianus.     The  Ambrosian  chant. 


170         THE    MUSICAL    GUIDE 


Hymnology. 

By  H.  E.  Krehbiel. 

HYMNS,  in  the  sense  in  which  we  apply  the  term,  as  an  adjunct  of 
Christian  worship,  appear  to  have  been  used  from  the  earliest  days 
of  the  Church.  The  early  Christians  naturally  borrowed  their 
music  from  their  forefathers  in  Judea,  Greece,  and  Rome,  and  the  Church  thus 
was  quite  lacking  in  any  uniformity  in  this  element  of  worship.  Not  till  the 
various  branches  of  the  Church  in  the  Roman  Empire  were  united  under  a 
Christian  Emperor,  Constantine,  is  there  evidence  of  attempts  to  form  a  system. 
The  first  result  of  this  was  the  Ambrosian  chant,  and  later,  the  Gregorian,  at  first 
congregational,  later  confined  exclusively  to  the  priest.  Famous  Latin  hymns, 
like  the  "  Te  Deum,"  "Magnificat,"  *«  Benedictus,"  etc.,  were  in  use 
from  very  early  days  of  the  Church,  being  sung  to  plain-chant  melodies.  In 
the  period  of  the  great  Church  composers — Josquin  des  Pres,  Palestrina, 
Orlando  di  Lasso,  and  others,  these  hymn-tunes  were  often  used  as  canti 
fermiioT  masses  and  motets  ;  and  Palestrina  also  used  them  as  the  basis  for. 
a  set  of  "Hymns  for  the  Entire  Year,"  one  of  the  most  important  of  his 
works.  ^In  the  meantime  a  more  popular  development  of  hymnal  music 
had  been  going  on  in  the  Mysteries  and  Miracle-plays,  outside  the  immediate 
supervision  of  the  Church,  that  were  so  conspicuous  a  feature  of  popular  life  and 
worship  in  the  Middle  Ages.  In  the  Church  itself  the  music  had  been  en- 
tirely in  the  hands  of  the  priests  and  the  regular  choirs.  At  the  time  of  the' 
Reformation,  however,  Luther  introduced  a  great  change  in  this  respect,  for 
which  the  ground  was  already  prepared  by  the  popular  development  of  hymn- 
singing  just  mentioned.  The  chief  note  of  the  Reformation  was  individuality 
in  worship,  the  transfer  of  its  chief  features  fi-om  the  priest  to  the  congrega- 
tion ;  and  in  line  with  this  principle  Luther  laid  great  stress  on  the  reintro- 
duction  of  congregational  singing,  which  had  been  abandoned  since  the  early 
days  of  the  Church.  Luther  produced  a  great  number  of  hymns,  the  words, 
of  which  he  fitted  to  popular  melodies  of  the  day.  The  first  Lutheran  hymn-, 
book  was  published  in  1524  ;  it  was  in  the  vernacular  and  its  popularity  in 
Germany  soon  became  enormous,  leading  to  the  speedy  issue  of  innumerable' 
other  works  of  the  same  kind.  Luther  not  only  used  the  melodies  of  folk-' 
songs  for  these  hymns,  but  caused  new  tunes  to  be  written,  and  some  o: 
them — notably  the  most  famous,  "  Ein'  feste  Burg  ist  unser  Gott," — he  i.' 
said  to  have  composed  himself.  It  ought  to  be  said,  however,  that  his  au- 
thorship of  the  music  of  this  "  Battle  Hymn  of  the  Reformation  "  has  beer 
disputed.  They  were  all  broad  choral  tunes  simply  harmonised,  such  as  re 
main  to-day  in  constant  use  in  Germany,  and  formed  the  model  for  the  hymn* 


DICTIONARY    OF    TERMS       171 

of  the  whole  Protestant  Church.  In  France  the  metrical  psalms  of  Marot 
and  Beza  were  as  enthusiastically  received  by  the  Protestants  as  Luther's 
hymns  in  Germany  ;  they  were  originally  sung  to  popular  tunes  of  the  day 
as  contained  in  a  psalter  published  in  1542,  by  Calvin,  in  Geneva.  There- 
after numerous  other  collections  were  published,  notably  one  by  Claude  Gou- 
dimel,  in  1565.  ^In  England  the  general  cultivation  of  part-singing  in  the 
madrigals  made  the  acceptance  of  popular  hymnody  as  a  part  of  the  new 
religious  movement  facile  and  speedy.  Here,  as  in  France,  the  first  hymns 
were  metrical  versions  of  the  Psalms  in  English,  and  numerous  collections  of 
them  were  published  in  the  last  half  of  the  sixteenth  century,  at  first  for  one 
part  only.  "The  Whole  Psalmes  in  foure  parts,"  harmonised  in  the  sim- 
plest manner  possible,  published  in  1563,  was  the  first  harmonised  collection 
of  English  hymn-tunes.  Numerous  collections  of  such  tunes  were  issued 
thereafter,  the  most  notable  being  Ravenscroft's,  in  1621,  and  Play  ford's, 
in  1 67 1.  ^With  the  composition  of  hymns  by  Wesley  and  his  followers  in 
the  eighteenth  century  came  a  new  poetic  material  of  which  musicians  were 
not  slow  to  avail  themselves,  and  which  resulted  in  new  hymn-tunes  of  greater 
warmth  of  feeling,  differing  entirely  from  the  older  school  of  hymns  in  both 
melody  and  harmony.  These  have  had  a  great,  if  not  always  beneficial,  in- 
fluence on  the  modern  development  of  hymnal  music.  ^Hymnology  has 
held  a  notable  place  in  the  history  of  American  music.  The  stern  piety  of 
the  Puritan  immigrants  in  New  England  developed  a  great  activity  in  this 
branch  of  musical  art,  after  it  had  been  freed  from  the  shackles  that  at  first 
confined  it,  and  the  number  of  early  American  hymn-tune  composers  was 
large.  Among  these  were  William  Billings  (who  in  1770  published  "The 
American  Psalm  Singer  :  or  American  Chorister,"  containing  hymns  of  his 
own  composition),  Samuel  Holyoke,  Andrew  Law,  Jacob  Kimball,  Oliver 
Holden,  and  others.  In  the  earlier  years  of  the  nineteenth  century  Thomas 
Hastings,  Lowell  Mason — whose  influence  in  a  secular  way  on  the  develop- 
ment of  music  and  musical  taste  in  America  was  marked — and  Nathaniel 
Gould  were  the  most  prominent. 

hy'pate,  Gr.  The  uppermost  lyre-string  Greek  octave  species  "  a  fifth  higher," 

but  the   lowest  in  tone,     hypaton.  or  "  a  fourth  lower."  Vide  modes  for 

Lowest  tetrachord.    Vide  modes.  such  words  as  hyper-aeolian,  etc. 

hypatho'ides.     The  lower  tones  in  the  hypo,  Gr.    Below,  under  ;  of  intervals, 

Greek  scale.  "  sub,"  or  "lower."  hypodiapa'son. 

hyper  (hi'-per),  6^r.    Over,  above,  of  in-  The  lower  octave,  h-diapen'te.  The 

tervals,  "super," or  "upper"  (as  hy-  fifth  below,     h-dito'nos.     The  third 

perdiapa'son,  the  octave  above  ;  h,-  below.      For  the  names  of  the  Greek 

diapen  te,  the  5th  above  ;   h.-dito'-  transposition  scales  and  ecclesiastical 

nos,  the  3d  above,  etc.)  ;  of  the  Greek  modes,    as   hypoaeo'lian,   etc.,  vide 

transposition  scales  and  ecclesiastical  modes. 

octave  species,  "a  fourth  higher";  the  Hzbl,     Abbr,  of  Holzblaser  (q.  v.). 


172 


THE    MUSICAL    GUIDE 


/ 


1(e)  /.,  pi.  "  The."  Also  the  letter 
is  used  by  Kirnberger,  to  indicate 
a  major  seventh,  as  b5in  place  of 
bl^  in  the  7th  chord  on  c.  Tartini 
used  u. 

las'tian,  Gr.     The  Ionian  mode. 

ic'tus,  Gr.     Stress,  accent,  emphasis. 

idea.  A  theme,  subject,  figure,  or  mo- 
tive. 

idee  fixe  (e-da  fex),  F.  Berlioz's  name 
for  a  recurring  theme  or  motive. 

idyl,  idillio  (e-del'll-o),  /.,  idylle 
(e-de-yii  in  F.,  in  G.  e-dll'le).  A 
pastoral. 

il  (el),  /.  The.  il  piu  (el  pe-oo').  The 
most,  e.  g.,  il  piu  forte  possibile. 
As  loud  as  possible. 

ilarita  (e-la-rl-ta'),  /.     Hilarity. 

imboccatura  (Im-bok-ka-too'ra),  /.  i. 
Mouthpiece.     2.   Embouchure. 

imbroglio  (rm-brol'yo),  /.  "  Confu- 
sion," a  passage  of  complicated 
rhythms. 

imitando  (Im-t-tan'do),  /.  Imitating. 
i.  la  voce  (v6'-ch€).  Imitating  the 
voice. 

imitation  (pron.  in  F.  tm-I-tas-yon), 
imitatio(em-t-ta'tsT-6),  /.  The  rep- 
etition by  a  second  voice  (the  con- 
sequent or  answer)  of  a  figure,  sub- 
ject or  theme  first  announced  by 
another  (the  antecedent  or  subject). 
If  this  repetition  be  exact,  interval 
for  interv'al,  note-value  for  note-value, 
the  imitation  is  strict  or  canonic, 
vide  CANON  ;  othenvise  free.  i.  at 
the  Sth,  octave,  etc.  That  in  which 
the  answer  follows  the  subject  at  the 
interval  of  a  5th,  octave,  etc.  i. 
augmented  or  i.  by  augmenta- 
tion. That  in  which  the  answer  is 
in  notes  of  greater  value  than  those 
of  the  subject,  diminished  i.  or  i. 
by  diminution.  A  style  of  imitation 
in  which  the  answer  is  given  in  notes 
of  less  value  than  those  of  the  sub- 
ject, freely  inverted  i.  That  in 
which  the  order  of  successive  notes  is 
not  strictly  retained,  i.  in  contrary 
motion.     That  in   which  the  rising 


inter\'als  of  the  subject  descend  in 
the  answer  and  vice  versa,  i.  in  dif- 
ferent divisions.  That  in  which 
the  subject  is  answered  in  a  different 
division  of  a  measure  ;  for  instance, 
beginning  on  the  accented  is  an- 
swered on  the  unaccented,  i.  in  sim- 
ilar motion.  That  in  which  the 
answer  retains  the  order  of  notes  of 
the  subject,  retrograde  i.  (or  i. 
per  recte  e  retro),  cancrizans,  or 
cancrizante.  That  in  which  the 
subject  is  taken  backwards  in  the 
answer,  reversed  retrograde  i. 
That  in  which  the  subject  is  taken 
backwards  and  also  in  contrar)'  mo- 
tion in  the  answer,  strictly  invert- 
ed i.  That  in  which  note-values  are 
precisely  answered  in  contrary  mo- 
tion, tonal  i.  That  which  does  not 
alter  the  key. 

imitation  pipes  and  dra'w-knobs  are 
dummies  of  more  beauty  than  use. 

imitative  music.  That  aiming  to 
mimic  the  operations  of  nature,  as 
water-falls,  thunder,  etc. 

imitato  (Im-I-ta'to),  /.  Imitated,  im-, 
itazione  (ta-tsl-6'ne).     Imitation. 

immer  (Im'mer),  G.  Always,  ever,; 
constantly. 

immutab'ilis,    L.      Vide     accentus' 

ECCLESIASTICI. 

imparfait  (aii-par-fe'),  F.     Imperfect. 

impaziente  (!m-pat-sl-en'-te),  /.  Im- 
patient, impazientemen  te.  Hur- 
riedlv. 

imperfect.  Not  perfect  or  complete. 
VidecADENCE  and  INTERVAL,  i.  con- 
cords, consonances.  Thirds  anc 
sixths,  so  called  because  they  chang< 
from  major  to  minor,  still  remaining 
consonant,  i.  measure.  Old  tern 
for  two-fold  measure,  i.  time.  Ok 
term  for  common  time.  i.  triad 
The  chord  of  the  third,  fifth  an( 
eighth,  on  the  seventh  degree  ;  i 
consists  of  two  minor  thirds. 

imperfection,     i.  Vide  ligature.    2 

Vide  NOTATION. 

imperfet'to,  /.     Imperfect. 
imperioso  (tm-pa-rl-o'-so),    /.      Pon 
pous.  imperiosamen'te.  Imperioush 


DICTIONARY    OF    TERMS       173 


imperturbabile  (to-per-toor-ba'bI-lt5), 
/.     Quiet. 

impeto  (im'-pg-to).  impetuosita  (im- 
pa-too-o-zl-tii'),  /.  Impetuosity,  ve- 
hemence, impetuoso,  impetuosa- 
men'te.     Impetuous(ly). 

imponente  (nen'te),  /.     Imposingly. 

implied  discord.  A  concord  con- 
tained in  a  dissonant  chord  as  a  major 
third  in  an  augmented  5th  (as  f-a-c$). 

implied  interval.  One  not  specifically 
indicated  by  its  numeral  but  implied  by 
another  numeral.     Vide  hidden. 

impresario  (Im-pre-sa'-rl-o),  /.  Man- 
ager of  opera,  concerts,  etc. 

impromp'tu  (in  F.  afi-profi-tii).  An 
extemporaneous  comp.,  or  one  having 
a  spirit  of  informality  and  caprice. 

imprope'ria,  L.  "  Reproaches."  In 
R.  C.  ritual,  a  series  of  antiphons 
and  responses  for  Good  Friday  morn- 
ing. In  Rome  sung  to  old  Faux 
hou7-dons  arranged  by  Palestrina  ; 
elsewhere  to  plain-song  from  the 
Graduale  Romanum. 

impropri'etas.     Vide  ligature. 

improvise,  impro(v)visare  (za're),  /., 
improviser  (aii-pro-ve-za),  F.  To 
sing  or  play  without  premeditation. 

improvisateur  (ah-pro-ve-za-tiir), 

improvisatrice  (tres),  F.,  Impro- 
visator (tm-pro-fi-za -tor),  C,  Im- 
provvisato're,  /.      An    improviser. 

im'provisation.  Extemporaneous  per- 
formance. Improvisier  maschine 
(Im-pro-fl-zer'  ma-she'-ne),  G.  A 
melograph.  improvvisata  (za'ta),  /. 
An  extempore  composition.  im- 
provviso  (im-pr6v-ve'-z6),  improv- 
visamen'te,  /.  Extemporaneous(ly). 

in  (en),  /.,  G.  and  Z.      In,  into,  in  the. 

inacutire  (in-a-koo-te'-re),  7.  To 
sharpen. 

in'betont,  G.     With  medial  emphasis. 

Inbrunst  (In'broonst),  G.  Fervour. 
inbriinstig  (Tn-brln'-shtikh).  Ar- 
dent. 

incalzando  (to-kal-tsan'do),  I.  Has- 
tening. 

Incarna'tus,  Z.  "  Was  born  "  (of  the 
Virgin  Mary).  Part  of  the  Credo. 
Vide  MASS. 


inch  (of  wind).  In  an  organ,  wind- 
pressure  is  gauged  by  a  graduated  U 
tube  in  which  water  rises,  the  mean 
pressure  being  3  inches. 

inchoa'tio,  Z.     Vide  chant. 

incisore  (in-cht-so'-re),  /.  Engraver 
of  music. 

inconsola'to  (la -t5),  7.     Mournful. 

incordare  (dii' -re),  /.     To  string. 

incrociamen'to  (kro-cha),  I.    Crossing. 

indeciso  (In-de-che'-z6),  /.  Undecided 
(implying  slight  changes  of  time,  a 
somewhat  capricious  tempo). 

indegnato  (In-dan-ya -to),  indegna- 
tamen'te,  I.     Wrathful(ly). 

independent.  Used  of  non-dissonant 
harmony  requiring  no  resolution. 

index,      i.  A  direct.     2.   Forefinger. 

indifferen'te  (ren'-te),  indifferente- 
men'te,  /.  Indiflerent(ly).  indiffer- 
enza  (ren'-tsa),  7.     Indifference. 

infantile  (Tn-fan-te'le),  7.  Child-like 
(of  the  quality  of  upper  notes  of  some 
voices). 

inferior,  Z.     Lower. 

infernale  (In-fer-na  le),  7.     Infernal. 

infervorato  (ra'-to),  7.     Fervent. 

infiammatamen'te,  7.     Ardently. 

infinite,  Z'.,  infinito  (In-fl-ne'-to),  7. 
Used  of  canon  which  can  be  contin- 
ued indefinitely  unless  given  a  special 
cadence. 

inflatil'ia,  Z.  Instrs.  of  inflation  ;  wind- 
instruments. 

inflection.  i.  Modification  in  the 
pitch  of  the  voice.  2.  In  chanting  a 
change  from  the  monotone. 

infra,  Z.  Beneath.  Infrabass,  G. 
Sub-bass. 

infuriante  (in-foo-ri-an'te),  infuriate 
(a'-t5),  7.     Furious. 

inganno  (In-gjin'-no),  7.  "  Decep- 
tion "  ;  applied  to  a  deceptive  ca- 
dence ;  also  to  unexpected  resolutions 
or  modulations,  d'inganno.  Un- 
expected. 

in'gemination.  Old  term  for  repeti- 
tion of  words. 

ingressa.     Vide  introit. 

Inhalt  (Tn'halt),  G.     Contents  ;   idea. 

inharmonic    relation.      Vide    false 

RELATION. 


174 


THE    MUSICAL    GUIDE 


inner,  i.  Used  of  the  alto  or  tenor 
part  as  distinguished  from  the  bass 
and  soprano.  2.  Used  of  a  pedal- 
point  on  an  inner  part. 

innig,  inniglich  (In'-n!kh-llkh),  G. 
Sincere,  tender,  heartfelt.  Innigkeit 
(kit).     Deep  feeling. 

inno  (ln'-n5),  /.  A  hymn,  canticle, 
ode. 

innocente  (In-no-chen'te),  innocent- 
emen'te,  /.  Innocent(ly),  artless- 
(ly).  innocenza  (In-no-chen'-tsa). 
Innocence. 

inquieto  (In-k\vl-a -to),  /.     Restless. 

insensible  (In-sen-se'bl-le),  insensi- 
bilmen'te,  /.  Imperceptibly,  by 
small  degrees. 

insisten'do,  /.  Urgent,  insistenza 
(ten'-tsa).     Insistence. 

instandig  (In-shten'dlkh),  G.  Urgent, 
pressing. 

instante  (in-stan'te),  instantemen'te, 
/.     Vehement(ly),  urgent(ly). 

in'strument  (in  F.  an- stru-man).  A 
sonorous  body  constructed  for  the 
production  of  musical  sounds,  i.  a 
cordes  (a-kord).  A  stringed  instr. 
i.  a  I'archet  (ii-lar-sha).  Instr.  played 
with  a  bow.  i.  a  percussion  (a  par- 
ktis-yofi).  Instr.  of  percussion,  i.  a 
vent  (a  van).     Wind-instrument. 

instrumental,  E.,  instrumentale  (tn- 
stroo-men-ta'le),  /.  Of  music  for 
instrs.  as  opposed  to  vocal  music. 

instrumentare  (ta're),  /.  To  compose 
instrumental  music. 

in'strumenta'tion  (in  F.  an-strli-man- 
tas'yoh),  instrumentazione  (ta-tsl- 
o'ne),  /.,  Instrumenti(e)rung  (In- 
stroo-men-te'-roongk),  G.  The  art  or 
act  of  writing  or  arranging  a  compo- 
sition for  instrs.,  particularly  the  or- 
chestra (vide  article  on  the  orches- 
tra AND  orchestration);  sometimes 
used  of  piano-playing  that  produces 
the  effect  of  other  instrs.  Instru- 
mentenmacher  (makh'er),  G.  An 
instr. -maker. 

instrumen'to,  /.,  An  instrument,  i. 
d'arco  (or  a  corda)  (diir'-ko).  A 
stringed  instrument,  i.  da  campa- 
nel'la.      Glockenspiel,     i.  da  fiato 


(fl-a-to).    Wind-instr.     1.  daquil'la. 
A  spinet. 

intavolare  (In-ta-vo-la-r^),  /.  To 
write  out  or  copy  music,  intavola- 
tura  (la-too'-ra).  i.  Notation.  2. 
Figured  bass.     3.  Tablature. 

integer  valor  (notarum),  L.  "The 
integral  value"  (of  notes),  i.  e.,  their 
average  duration  at  a  moderate 
movement.  Michael  Pretorius  set 
the  i.  V.  of  the  brevis  at  about  -,\-  of 
a  minute  (i.  e.,  80  to  7^  minutes). 

intendant  (ah-tah-dan),  F.,  inten- 
den'te.  /.     Director,  conductor. 

intenzionato  (In-ten-tsI-6-na'-t6).  Em- 
phatic. 

interlude,  i.  A  piece,  usually  short, 
played  between  acts,  movements, 
stanzas,  or  portions  of  service.  2. 
A  short  operetta. 

interlu'dium,  L.,  interm^de  (Sh-tSr- 
med),  F. ,  intermedio  (In-t6r-ma  dI-6), 
intermezzo  (In-t6r-mSd'-z6),  /.  An 
interlude. 

intermediate,  i.  Accidental.  2. 
Transitional. 

intermedietto  (In-t^r-ma'dl-St-to),  /. 
A  short  interlude. 

interrogati'vus.  Vide  accentus  eccl. 

interrotto  (rot'-to),  /.     Interrupted. 

interrupted.     Vide  cadence. 

interruzione  (root-sI-o'nS),  /.  Inter- 
ruption. 

interval,  Interval!  (In-tgr-fal'),  G.,  in- 
tervale (afi-ter-vai),  F.,  intervallo 
(valid),  /.,  interval'lum,  Z.  The 
distance,  or  difference  in  pitch,  be- 
tween tones,  reckoned  upwards  (unless: 
specially  stated).  The  intervals  are, 
the  Jirst  or  prime  (which  is  identity,  C 
for  instance  being  its  own  prime) ;  the 
secofid{diS  c-d)  ;  the  t/iird  or  iterce  (as; 
c-e) ;  \.\\t.  fourth  ox  quart  (as  c-f) ;  the^ 
fifth  or  quint  (as  c-g)  ;  the  sixth  or' 
sext  (as  c-a)  ;  the  seventh  or  sept  (as 
c-b)  ;  the  eighth  or  octave  (as  c-c') ; 
the  ninth  (as  c-d'),  etc.  Those  with- 
in the  octave  are  called  sitnple  ;  those- 
over  the  octave,  compound,  since  s 
tenth  is  an  octave  plus  a  third,  etc. 
Intervals  are  qualified  also  by  theii^ 
mode  ;  those  in  the  major  key  of  thei; 


DICTIONARY    OF    TERMS 


75 


lower  tone  (as  a-cJt)  being  called  major, 
those  a  semitone  greater  than  major 
are  augmented  or  extreme,  superflu- 
ous, redundant  or  sharp ;  those  a 
semitone  less  than  major  are  minor 
(as  a-c) ;  those  a  semitone  less  than 
minor  are  diminished  or  flat  (as  a-clz). 
The  first,  fourth,  fifth  and  octave  are 
called  perfect  instead  of  major,  be- 
cause they  do  not  change  their  quality 
as  do  the  others  on  inversion  (q.  v.). 
Other  names  for  intervals  are  chro- 
matic, containing  a  note  foreign  to 
the  key,  opposed  to  diatonic,  dis- 
sonant, needing  resolution  ;  opposed 
to  consonant,  enharmonic  (q.  v.)  ; 
harmonic  when  struck  simultaneous- 
ly instead  of  separately,  hence  op- 
posed to  melodic.  Forbidden.  Con- 
trary to  the  rules  of  Harmony  (q.  v.). 
Consecutive  (q.  v.).  A  natural  inter- 
val is  that  between  two  tones  of  a 
major  scale. 

The  ratios  of  the  vibrations  of  diaton- 
ic intervals  are  prime,  i  :  i  ;  second, 
8:9;  third,  4:5;  fourth,  3:4;  fifth, 
2:3;  sixth,  3:5;  seventh,  8:15; 
octave,  I  :  2. 

intervening.  Intermediate  (of  a  fugue 
subject). 

intimo  (In'-tK-mo),  /.  Intimate,  ex- 
pressive, intimis'simo.  Most  e.\- 
pressive. 

intonare  (In-to-nare),  /.  To  in- 
tone. 

intona'tion.  i.  The  production  of 
sound  by  voice  or  instr.,  as  regards 
quality  and  pitch,  false  i.  That 
which  is  untrue  to  the  key  or  pitch. 

2.  The  initial  phrase  of  the  antiphon. 

3.  Method  of  singing  plain-chant.  4. 
Vide  CHANT,     fixed  i.     Vide  fixed 

TONE. 

intonato  (Tn-t6-na -to),  /.  Tuned,  set 
to  music. 

in'tonator.     Monochord. 

intonatura  (In-to-na-too'ra),  intona- 
zione  (In-t6-na-tsl-6'ne),  /.  Intona- 
tion. 

intoni(e)ren  (Tn-to-ne'ren),  G.  i.  To 
intone.  2.  To  voice,  as  pipes.  3. 
The  voicing. 


Intonireisen  (ner'-I-z^n),  G.  A  knife 
used  in  trimming  and  tuning  pipes. 

Intrade  (In-tra'-de),  G.  A  prelude  or 
entrance-music. 

intreccio  (In-tret'-cho),  /.  "  Intrigue." 
A  short  dramatic  work. 

intrepidezza  (In-tra-pT-ded'-za),  /.  In- 
trepidity, intrepido  (ln-tra'-pe-d5), 
intrepidamen'te.     Bold(ly). 

introduction,  £.,  introducimen'to 
(doo-chT),  introduzione  (doo-tsl-o'- 
ne),  /.  The  preliminary  measures, 
or  movement  preparatory  for  the 
main  subject. 

introit  (in  F.  an-trwa),  introito  (Jn- 
tro-e'-to),  /.,  intro'itus,  Z.  "  En- 
trance "  ;  a  hymn  or  antiphon  sung 
in  R.  C.  service  while  the  priest  goes 
to  the  altar  ;  in  the  Anglican  Church 
Communion,  when  the  minister  goes 
to  the  table.  In  the  Ambrosian  rit- 
ual called  Ingressa. 

intuonare  (in-too-6-na -re),  I.  To  in- 
tone. 

invention  (in  F.  an-vans-yon),  in- 
venzione  (In-ven-tsI-6'-ne),  I.  A 
short  informal  contrapuntal  study 
with  one  theme. 

Inventions  (horn)  (Kn-ven'tsl-ons),  F. 
A  Waldhorn  fitted  with  crooks  by 
Werner,  1760. 

inver'sio,  L.,  inversion,  E,  The 
transposition  of  the  elements  of  (a), 
chords,  (b)  intervals,  (c)  themes,  (d) 
parts,  (a)  The  triad  is  "inverted" 
from  its  fundamental  position  with 
the  root  in  the  bass,  to  the  first  in- 
version with  the  3d  in  the  bass,  and 
the  second  i.  when  the  fifth  is  in  the 
bass  (a  6-4  chord),  etc.,  vide  chord. 
(b)  The  inversion  of  intervals  is  the 
lowering  of  the  upper  tone  an  octave, 
thus  bringing  the  lower  note  above, 
and  the  upper  below  ;  for  example, 
to  invert  a  major  6th,  e'^-c  ,  we  lower 
c  an  octave,  securing  c-e\f  a  minor 
3d.  The  new  product  of  an  inver- 
sion is  always  the  difference  between 
the  first  interval  and  the  number  9, 
e.  g.,  a  6th  inverted  becomes  a  3d, 
a  5th  inverted  becomes  a  4th,  etc. 
The  result  of  inversion  is  to  change 


76 


THE    MUSICAL    GUIDE 


major  intervals  to  minor,  and  vice 
versa  ;  and  augmented  to  diminish, 
and  vice  versa  ;  but  perfect  remain 
perfect,  (c)  A  theme  is  inverted  by 
being  repeated  backwards,  hence, 
retrograde  inversion,  or  inversio 
cancrizans,  "crab-like."  (d)  Two 
parts  are  inverted  when  the  lower  is 
raised  by  an  octave  (inversio  in  oc- 
tavam  acutam),  or  by  a  fifth,  tenth, 
twelfth,  etc.,  or  when  the  higher  is 
lowered  by  an  octave  (inversio  in 
octavam  gravem,  or  inferiorem), 
a  fifth,  tenth,  twelfth,  etc.  (vide  coun- 
ter-point). 

invert,  inverted.  Vide  inversion. 
K  pedal-point  \n  any  part  other  than 
the  lowest  is  called  inverted.  A  turn 
commencing  with  the  lowest  note  is 
inverted. 

invi'tatory,  E.,  invitato'rio,  Sp.,  in- 
vitato'rium,  L.  i.  An  antiphon  in 
the  R.  C.  Matins.  2.  In  the  Anglican 
Church,  the  versicle  "Praise  ye  the 
Lord,"  and  the  response  sung  at 
matins.  3.  In  the  Greek  Church  the 
"  O  come  let  us  worship  "  sung  thrice 
before  the  psalms  at  the  canonical 
hours. 

invocazione  (ka-tsT-o'-n^),  /.  Invoca- 
tion. 

lo'nian,  lon'ic.     Vide  modes. 

ira  (e'-ra),  /.  Anger,  wrath,  irate 
(e-ra'-to),  iratamen'te.  Passion- 
ate(ly). 

Irish  harp.  i.  An  ancient  instr.  having 
more  strings  than  the  lyre.  2.  Trade 
name  for  "  Jew's  harp." 

irlandais  (er-lan-de'),  F.,  irlandisch 
(er'-lent-Ish),  G.  An  air  or  dance  in 
the  Irish  style. 

iron  harp.  A  semicircular  arrange- 
ment of  tuned  iron  rods  which  vi- 
brate sympathetically  when  a  violin 
is  played. 

ironico  (e-r5'-nt-k6),  /.,  ironicamen'- 
te.    Ironical(ly). 

irregular,  E.,  irregolare  (er-ra-go- 
la're),  /.  Not  according  to  strict 
rule  or  practice.     Vide  cadence. 

irresolute  (er-ra-zo-Ioo'-to),  /.  Irres- 
olute. 


isdegno  (es-dan'-yo),  /.      Indignation. 

i  sochronal,  Cr.,  isochronous.  Uni- 
form in  time. 

i'son.  In  Greek  Church  chant,  the 
movable  tonic. 

isoton'ic.  Used  of  a  system  of  inter- 
vals in  which  all  concords  are  tem- 
pered alike,  and  contain  twelve  equal 
semitones. 

istes'so,  /.  The  same.  i.  tempo.  The 
same  time  (as  before). 

istrepito  (es-tra-pe'-to),  /.  Noise,  blus- 
ter. 

istrionica  (es-trl-o'nT-ka),  /.  Histri- 
onic. 

istrumentale  (es-troo-m^n-tal^),  /. 
Instrumental,  istrumentazione  (ta- 
tsl-o'ne).  Instrumentation,  istru- 
men'to.     An  instrument. 

Italian  mordent.  Shake  or  trill  of  a 
tone  with  the  next  above.  Italian 
sixth.  Vide  altered  chords. 
Italian  strings.  Catgut  strings 
largely  made  in  Rome. 

italiano  (e-ta-ll-a'-no),  /.,  italienisch 
(e-ta-lI-a'-nTsh),  G.,italien(ne)  (e-tai- 
yafi  [or-yen]),  F.     Italian. 

i'te,  mis'sa  est  (ecclesia),  L.  "De- 
part, the  congregation  is  dismissed." 
Vide  MASS  ;  from  the  word  fnissa  the 
word  mass  is  derived. 


7 


JACK,  /.  I.  An  upright  slip  of  wc 
on  the  back  end  of  a  key-leve 
carrying  a  crow-quill  or  piece 
hard  leather   which    projected 
right  angles  (in  the  harpsichord),  ot 
a  metal  tangent  (in  the  clavichord) 
and  which  struck  and  set  in  motior 
a  string.      The    quill    or  the  leather 
served  as  a  plectrum.    2.  The  "hop- 
per." 
Jagd  (yakht),  C.  Hunt,  hunting.  Jagd- 
horn,  Jagdzink  (tstnk).     Hunting- 
horn,    bugle-horn.      Jagdruf  (roof). 
Sound   of   the    horn.      J-lied    (let). 
Hunting-song.      J-sinfonie   (sTn-fo- 
ne').      A  symphony  of  the  hunt.     ]- 
stiick.     A  hunting-piece. 


DICTIONARY    OF    TERMS       177 


Jagerchor  (ja'-kher-kor),  G.  Chorus 
of  hunters.  Jagerhorn.  Hunting- 
horn. 

jailtage  (yal'-taj).  The  sole  musical 
instr.  of  Tartary,  a  slender  box  of  fir, 
about  4  ft.  long,  over  which  si.x  wire 
strings  are  stretched.  It  is  played 
with  both  hands. 

jaleo  (ha-la'-6),  Sp.  A  Spanish  dance 
in  3-8  time,  moderato,  for  one  per- 
son. 

Jalousieschweller  (yal-oo-ze'  -sh  vel- 
ler),  G.    "  Venetian-blind  "  swell. 

Janitscharentnusik  (ya-ntt-sha'ren- 
moo-zek),  (7.,  jan'izary  music.  Mil- 
itary music  for  cymbals,  triangles, 
etc. 

Jankd.     Vide  key-board. 

jeu  (zhu)  pi.  jeux  (zhu),  F.  i.  Play  ; 
style  of  playing  on  an  instr.  2.  A 
stop  on  the  organ,  harmonium,  etc. 
3.  The  organ-power,  as  grand  j. 
(gran),  or  plain  j.  (plan).  Full  organ. 
demi-j.  Half-power,  j.  abouche(a 
boosh).  Flue-stop.  j.  c61este  (sa- 
fest). Vide  CELESTK.  J.  d'anche 
(dafish).  Reed-stop.  j.  d'anges 
(danzh).  Vox  angelica,  j.  d'6chos 
(da-ko).  Echo-stop.  j.  de  flutes 
(fiiit).  Flute-stop.  j.  de  mutation 
(mii-tas-yoh).  Mutation,  or  a  mi.xt- 
ure-stop.  j.  de  timbres  (tahbr). 
Glockenspiel,  j.  de  violes  (ve-61). 
Consort  of  viols,  j.  de  voix  hu- 
maine  (vwa  U-men).  Vox  humana. 
j.  d'orgues  (dorg).  Register,  or 
row  of  pipes,  jeux  forts  (for).  Loud 
stops. 
Jew's  harp     or  jewstrump.      Vide 

HARP. 

jig.  A  light,  brisk  dance  in  6-8  or  12-8 
time.     Vide  suite. 

jingles.  The  disks  of  metal  on  a  tam- 
bourine. 

jobel  (yo'-bel),  Heb.  Trumpets  or 
horns, 

joc'ulator.     A  jongleur. 

Jodler  (yot'-ler),  G.  A  style  of  sing- 
ing affected  by  the  Tyrolese,  falsetto 
alternating  rapidly  with  chest-regis- 
ter, jodeln  (yo'deln).  To  sing  in 
such  style. 


jongleur   (zhoh-gliir),   F.      A  hired  or 

strolling    musician.      Vide    trouba- 
dour. 
jota  (ho'-ta),  Sp.     A  Spanish  dance  in 

rapid  3-8  time. 
jouer   de    (zhoo-a-dii),    F.        To   play 

upon  (as  an  instr.). 
jour  (zhoor),  F.     "  Day."     corde  a  j. 

Open  string. 
ju'ba.     Part  of  the  breakdown  dance  of 

the  American  negro. 
Jubal    (yoo'-bal),    G.       A   2  or  4   ft. 

stop. 
Jubelflote  (yoo-bel-fla'-te),  G.    A  stop. 

Jubelgesang,  Jubellied  (let).  Song 

of  jubilee.     Jubelhom.     Key-bugle. 
jubelnd  (yoo'-belnt),  G.     Rejoicing. 
Jubilate,  L.   "Be  joyful."    The  name 

for  the   loth  Psalm'  in  the  Anglican 

Church. 
jubila'tio,  L.     The  cadence  on  the  last 

syllable  of  "  Alleluia  "  in  R.  C.  music. 
jub'iloso  (yoo-bI-l6'-s6),  /.     Jubilant. 
ju  bilus,  L.     I.  An  elaborate  passage 

sung  to  one  vowel.     2.   Jubilatio. 
Judenharfe  (yoo'-den),  G.     Jew's  harp. 
Jula  (yoo'-la),  G.     An  old  5  ^-ft.  stop, 
jump.     I.   A  progression  by  a  skip.    2. 

Vide  DUMP. 
Jungfernregal   (yoonk-farn-ra'-gal)  or 

J-stimme,  G.     Vox  angelica. 
Jupiter   symphony.      Mozart's  49th, 

in  C  major. 
just.      Used   of    consonant    intervals, 

voices,  strings,  pipes,  etc.,  that  speak 

or  sound  with  exactness. 
juste  (zhust),  F.     Accurate,  perfect  (of 

intervals),   justesse  (zhiis-tes').     Ex- 
actness of  intonation. 


K 


[NOTE. — Many  German  ivords  are 
spelt  either  with  "C"  or  "  K,"'  prefer- 
ably the  latter :\ 

KABARO  (ka-ba'-ro).     A  small 
Egyptian  drum. 
Kadenz     (ka-dents'),    G.      i. 
Cadence  (q.  v.).    2.  Cadenza. 
kalamaika   (kal-a-ma'-ka).      A    lively 
Hungarian  dance  in  2-4  time. 


THE    MUSICAL    GUIDE 


Kalkant  (kal-kiint),  G.  Bellows-tread- 
er.  K.-glocker.  Signal-bell  to  the 
blower. 

Kammer  (kani'-mer),  G.  Chamber 
(q.  v.).  K.-kantate  (kan-ta -te). 
Chamber-cantata.  K.  komponist. 
Court-composer.  K.  konzert.  Cham- 
ber-concert, or  concerto.  K.  duet. 
C.  duet.  K.  musik,  K.  spiel  (shpel). 
Chamber-music.  K.  musikus  (moo^- 
zl-koos).  Member  of  a  prince's  pri- 
vate band.  K.  Sanger  (zeng-gr). 
Court-singer.  K.  stil  (shtel).  Style  of 
chamber-music.  K.  suiten.  Cham- 
ber-suites. Vide  SUITE.  K.  ton. 
International  pitch.  K.  virtuose. 
Court-virtuoso. 

kampoul  (kam-pool).  A  Malay 
gong. 

kandele  (kan-da-le).  i.  Ancient  Fin- 
nish harp.     2.  A  dulcimer. 

Kanon  (ka-non),  C  "A  rule."  i.  A 
canon.  2.  A  monochord  with  mov- 
able bridge  ;  sometimes  it  had  a  sec- 
ond string  in  unison,  kanonik  (ka- 
no'-nek).     Canonic. 

kanoon',  kanun .  Turkish  instr.  of 
the  dulcimer  variety  ;  the  canun. 

Kantate  (kan-ta'-te),  G.     Cantata. 

Kan  tor,  G.     Cantor. 

Kanzelle  (kan-tsel'-le),  G.  Groove  in 
a  wind-chest. 

Kanzellied  (let),  G.  Hymn  before 
the  sermon. 

Kanzone  (kan-ts6'-ne).  G.     Canzone. 

Kapelle  (ka-pel'-le),  G.  A  chapel.  I. 
A  musical  establishment,  a  choir  or 
a  band  connected  with  a  church  or 
court.  2.  Any  orchestra.  Kapell- 
knabe(n)  (kna -be(n).  Choir-boy(s). 
Kapellmeister  (ka-pel  -mish-ter),  G. 
I.  Conductor.  2.  Chapel -master. 
Kapellmeister-musik.  Music  full 
of  such  strains  as  must  sound  reminis- 
cent to  the  conductor.  K.  stil  (ka- 
pgl'-shtel),  G.  Same  as  A  cappella, 
i.  e.,  unaccompanied. 

Kapodas  ter,  G.     Capotasto. 

Karfreitag  (kar-frl'-takh),  G.  Good 
Friday. 

Kassation  (kas-sa-tsl-on),  G.  Cassa- 
tion. 


Kastagnetten  (kas-tan-y^t'-t^n),  G. 
Castanets. 

Kat  zenmusik  (moo-zek),  G.  "Cat- 
music."     Charivari. 

Kavatine  (kav-a-te'-ne),  G.    Cavatina. 

kazoo'.  A  tube  with  a  vibrating  string 
which  gives  the  voice  an  amusing 
qualitv  when  spoken  or  sung  through. 

keck  (kek),  G.  Fresh,  bold.  Keck- 
heit  (kek'-hlt).     Boldness,  vigor. 

keen'ers.     Irish  paid  mourners. 

Kehle  (ka'-16),  G.  The  voice,  the 
throat.  K.-fertigkeit  (fer-tlkh-kit). 
Vocal  agility.  K.-kopf.  Larynx. 
K.-schlag  (shlakh).  Coup  de  glotte. 
K.-laut  (lowt).     A  guttural  sound. 

Kehrab  (kar'-ap),  Kehraus  (ows),  G. 
Colloquial  term,  for  the  final  dance  of 
a  ball. 

kemangeh  (ke-man-gah').  A  Turk- 
ish stringed  instrument. 

kenet  (ken'-et).     Abyssinian  trumpet. 

Ken'ner,  G.  A  connoisseur,  "one 
who  knows." 

Kent  bugle  (C,  Kenthorn).  Vide 
BUGLE.  So  named  in  honor  of  the 
Duke  of  Kent. 

kerana  (ke-ra'-na).  A  Persian  horn 
sounded  at  sunset  and  midnight. 

ker'anim.     Vide  keren. 

ke'ras,  Gr.     A  horn. 

Keraulophon  (ke-row'-16-fon),  G.  An 
8-ft.  stop,  a  small  round  hole  bored 
in  the  pipe  near  the  top  promoting 
the  overtones ;  inv.  by  Gray  and 
Davidson. 

keren  (ker'-en),  pi.  keranim,  Heh.  A 
horn.  keren-Jebel  (ya-bel).  Ju- 
bilee horn. 

Kern  (karn),  G.  The  languid  (q.  v.). 
K.  stimmen.  The  fundamental 
stops. 

kerrena  (ker-ra'-na).     The  kerana. 

Kes  sel,  G.  Cup  (of  a  mouthpiece). 
Kesselpauke  (pow-kc).  Kettle- 
drum. 

ketch.     Old  name  for  catch. 

Ket  tentriller,  G.     Chain  of  trills. 

kettledrum.  A  brass  or  copper  ket- 
tle over  the  top  of  which  is  stretched 
a  head  of  vellum,  tightened  by  a  ring 
and  tuned  by  screws,  or  by  cords  and' 


DICTIONARY    OF    TERMS       179 


braces.  Kettledrums  are  usually 
played  in  pairs  with  sticks  having 
flexible  handles  and  soft  knobs. 
Each  has  a  compass  of  a  fifth  ;  the 
lower  may  be  tuned  to  any  note  from 
F  to  c,  and  the  higher  B  flat  to  f. 
key.  I.  A  family  of  chords  and  a 
chain  of  tones  (i.  e.,  a  scale)  finding 
their  centre  and  point  of  rest  in  a  cer- 
tain tone  (the  tonic)  from  which  the 
key  takes  its  name.  All  keys  con- 
form to  the  standard  for  major  keys, 
or  to  that  for  minor  keys.  The 
signature  in  which  the  number  of 
sharps  or  flats  of  a  major  key  is 
written  serves  as  the  signature  for 
its  related  tniiior  key,  the  tonic 
of  which  is  a  minor  third  below. 
The  key  of  C  has  neither  sharps  nor 
flats,  the  key  a  fifth  above  (G)  has 
one  sharp,  the  key  a  fifth  below  (F) 
has  one  flat ,  and  so  the  progression  con- 
tinues, forming  (in  a  tempered  instru- 
ment. Vide  temperament)  what  is 
called  the  circle  of  fifths,  as  Y%  and  G^^ 
are  enharmonic  keys  traversing  the 
same  tones.  The  following  ingenious 
chart  from  Riemann's  Dictionary 
tabulates  the  keys  and  their  signatures 
concisely,  the  flats  and  sharps  ap- 
pearing in  the  same  order  on  the 
signatures  as  here  : 

Major  Keys. 
Flats. 


A  tuning-hammer.  6.  A  lever  con- 
trolling organ-pallets. 

key-action.  The  entire  mechanism 
of  a  keyed  instr. 

key-board.  The  series  of  digitals  or 
pedals  of  a  piano,  organ  or  such  instr. 
The  idea  of  having  a  key-board  so 
arranged  that  each  digital  can  be 
struck  in  3  different  places  seems  to 
have  occurred  first  to  Paul  von  Janko, 
who  in  1882  inv.  the  Jankd  key- 
board, which  has  the  look  of  si.x 
contiguous  key-boards  on  a  rising 
plane.  The  advantages  are  that  all 
scales  are  fingered  alike  and  that  the 
reach  of  the  hand  is  greatly  increased, 
so  that  a  good  hand  can  cover  14  digi- 
tals. The  consequent  simplification 
and  enrichment  of  piano-resources 
are  inestimably  valuable.  It  may 
be  applied  to  any  key-board  and  is 
sometimes  called  a  chromatic  key- 
board. 

key-bugle.     Vide  bugle. 

key-chord.     The  triad  on  the  tonic. 

keyed.  Furnished  with  keys,  as  a 
flute,  or  piano,  keyed  violin.  Pi- 
ano-violin. 

key-stop  violin.  One  having  a  finger- 
board fitted  with  thirty-three  keys 
acting  as  stops  perpendicularly  upon 
the  strings. 

Sharps. 


765432IOI234567 

Cb  Gt>  Db  Ab  El7  Bb  F   C  G  D  A  E  B  F$  C«  G«  D«  A« 
765432101234567 


Flats. 


Mi. 


Keys. 


Sharps. 


attendant,  or  related  k.  Vide  re- 
lated, chromatic  k.  One  with 
sharps  or  flats,  opposed  to  natural 
k.  extreme  k.  A  remote,  unrelated 
k.  parallel  k.  a.  Related,  b.  Used 
of  a  major  and  a  minor  key  with  the 
same  tonic  but  different  signatures. 
2.  Old  name  for  clef.  3.  A  me- 
chanical lever  for  controlling  tone, 
whether  digital  or  foot-key.  4.  One 
of  such  keys  as  those  on  the  outside 
of  a  flute  covering  certain  holes.     5. 


key-harp.  An  adjustment  of  tuning- 
forks  over  cavities  of  sonorous  metal, 
with  piano-key  action,  inv.  by  Dietz 
and  Second,  1819. 

key-note,  key-tone.  The  tonic,  key- 
ship.     Tonality. 

key-trumpet.  One  with  keys  or 
valves. 

khal'il.     Hebrew  flute  or  oboe. 

khasan  (kha'zan),  Ileh.  Chief  singer 
in  a  synagogue. 

Kicks,  G.     Vide  goose. 


i8o 


THE    MUSICAL    GUIDE 


Kielflugel  (kel'-flll-khel),  G.  Wing- 
shaped  harpsichord. 

kin  chi  (Itln  che).  A  Chinese  dulcimer 
with  5  to  25  silk  strings. 

Kinderscenen  (kint'-er-za-nen),  G. 
Childhood  scenes.  Kinderstiick 
(shtuk).     An  easy  piece. 

king  chi  (king  che).  A  Chinese  instr. 
with  sixteen  pendent  stones  gradu- 
ated and  struck  with  a  hammer. 

kinnor  (kin'-nor),  Heb.  A  small  harp, 
or  lyre. 

kin'tal.     Small  Indian  cymbals. 

Kirche  (ker'-khe),  G.  (in  compounds 
Kirchen).  Church.  K.  kantate 
(kan-ta'-te).  A  cantata  for  church 
service.  K.  komponist'.  Com- 
poser of  church  music.  K.  dienst 
(denst).  Church  service.  K.  fest 
(fesht).  Church  festival.  K.  gesang 
(gS-zang),  K.  lied  (let).  Canticle, 
psalm,  or  hymn.  K.  musik  (moo- 
zek').  Church  music.  K.  schluss 
(shloos).  Plagal  cadence.  K.  stil 
(shtel).  "  Church  style  "  ;  in  an  ec- 
clesiastical mode.  K.  tone  (tan'-6). 
The  church  modes. 

kis'sar.     5-stringed  Nubian  lyre. 

kit.  A  small  pocket  violin,  with  3 
strings,  c'-g'-d". 

kitra  (kl-tra').  A  guitar-like  instr.  of 
the  Arabs. 

kitha'ra,  Gi-.     Greek  lyre. 

Klage  (kla'-khe),  G.  Lamentation. 
K.-gedicht  (ge-dlkht),  K.-lied  (let). 
Elegy.  K.-ton  (ton).  Plaintive  tune, 
or  melody.  klagend  (kla'-khent). 
Plaintive. 

Klang  (klang),  pi.  Klange  (kleng'-e), 
G.  I.  Sound,  ringing.  2.  Vide 
CLANG.  K.-boden.  Sound-board. 
K.-far'-be.  Sound-color,  clang-tint. 
K.-geschlecht  (gg-shlekht).  A  ge- 
nus, or  mode.  K.-lehre  (la-re). 
Acoustics.  K.-folge  (fol-khe).  A 
chord-progression  in  point  of  ton- 
ality. K.-figuren  (fl-goo'-ren).  No- 
dal figures.  K.-leiter  (ll-tSr).  A 
scale.  K.-saal  (zal).  Concert-room. 
K.-schliissel,  K.-vertretung.  Vide 
KLANG-KEY.  klanglos  (klang'los), 
G.     Soundless. 


Klappe  (kliip'pe),  G.  Valve  (of  a  wind- 
inst.).  Klappenfliigelhorn  (flu'g^l), 
G.  Keyed  bugle.  Klappenhorn. 
Keyed  horn.  Klapptrompete.  A 
keyed  trumpet. 

klar  (kliir),  G.  Clear,  bright.  Klar- 
heit  (klar'-hit).  Clearness,  plainness. 
klarlich  (kler-lTkh),  G.  Clearly,  dis- 
tinctly. 

Klarinette  (kla-rl-net'-te),  G.  Clari- 
inet. 

klassisch  (klas'sTsh),  G.  Classi- 
cal. 

Klausel  (klow'-zSl),  G.  A  cadence. 
Bassklausel.  The  progression  of  the 
bass  in  a  final  cadence  from  dominant 
to  tonic. 

Klaviatur  (kla-fl-a-toor),  G.  Key- 
board. K.  harfe  (or  Klavier-harfe). 
A  harp  inv.  by  Lutz,  Vienna,  1893, 
in  which  the  strings  are  plucked  by 
plectra  manipulated  by  a  key-board. 
The  same  man  in  the  same  year  inv. 
the  K.-zither,  a  small  piano  with 
single  strings,  plucked  by  means  of  a 
key-board. 

Klavier  (kla-fer').  i.  Key-board.  2. 
Key-board  instr.,  especially  the  clav- 
ichord (formerly  the  piano).  Klavi- 
erauszug  (ows-tzookh).  Arrange- 
ment for  piano.  K. -harfe.  Vide 
KLAViATUR-HARFE.  K.-hafmonium. 
An  harmonium  shaped  like  a  grand 
piano,  inv.  by  Woroniecki,  1893. 
K.-hoboe.  The  harmoniphon.  K.- 
massig  (mes-sikh).  Suitable  for,  in 
the  style  of  the  piano.  K.-satz. 
Piano-music,  or  manner.  K.-sonate 
(kla-fer'-s6-na-te).  Piano-sonata.  K.- 
spieler  (shpe'-ler),  G.  Piano-player. 
K.-violoncello.  A  'cello  in  a  frame 
with  a  key-board  arrangement  for  the 
left  hand,  of  special  advantages  ;  inv. 
by  de  Vlaminck,  Brussels,  1893.  K.- 
viola.  A  viola  with  key-board  at- 
tachment. 

klein  (kiln),  G.  Small,  minor.  K.- 
bass  (klln-bas),  K.-bassgeige  (gi'- 
khe),  G.  Violoncello.  Kleinege- 
dacht.  A  flute-stop.  kleiniaut 
(lowt),6^.  Small  or  low  in  tone  or 
voice. 


DICTIONARY    OF    TERMS       181 


klingbar  (klTng'-bar),  G.  Resonant. 
Klingel  (kllng-el).  A  bell,  klingeln 
(kllng'-eln).  To  jingle,  klingend 
(kllng-ent).  Ringing.  klingende 
Stimme.  Speaking  (as  opposed  to 
dummy)  pipes.  Klingklang  (kllng- 
klang).     Tinkling,  bad  music. 

Klutter  (kloot'-ter),  G.     A  bird-call. 

Knabenstimme  (kna'-ben-shtlm-me) , 
G.     "  Boy's  voice,"  counter-tenor. 

knee-stop.  A  lever  worked  by  the 
knee,  and  (a)  controlling  the  wind, 
(b)  opening  the  swell-box,  (c)  drawing 
all  the  stops. 

knell.     The  tolling  of  a  bell. 

Knie  (kne,  not  ne).  Knee.  K.-gui- 
tarre.  Guitarre  d'amour.  K.-zug 
(tsookh).  Knee-stop.  K.-geige  (kne- 
gi'-khe),  G.  Viol  da  gamba.  K.- 
rohre  (ro-rS),  G.     A  mitred  pipe. 

Knopfregal  (knopf-ra'-gal),  G.  An 
obs.  reed-stop. 

Knote  (kno'-te),  G".  Node.  K.-punkt. 
Nodal  point. 

kobsa  (kob'-sha),  Rus.  A  crude  lute- 
like instrument. 

Kollectivzug  (kol-lek-tef -tsookh),  or 
Kombinationspedale  (kom-bl-na- 
tst-6ns-pe-da'-le),  G.  Combination 
pedal. 

kollo  (k6r-I6),/a/.     A  Japanese  harp. 

kol'lern,  G.  To  sing  in  a  thin  reedy 
voice. 

Kolophon'.     Resin. 

Kombinationstone  (kom-M-na-tst- 
6ns'-ta-ne).     Resultant    tones.    Vide 

also  KOLLEKTIVZUG. 

Komiker  (k5'-ml-ker),  G.  A  writer  of 
burlettas  ;  comic  performer. 

komisch  (ko'-mlsh),  G.     Comical. 

Komma  (kom'-ma),  G.     Comma. 

komponi(e)ren  (k6m-p6-ne'-ren),  G. 
To  compose.  komponi(e)rt.  Com- 
posed.    Komponist'.     A  composer. 

Komposition  (k6m-p6-ze'-tsT-6n),  G. 
A  composition.  Kompositionslehre 
(la-re).     The  art  of  composition. 

Konservatorium  (to'-rt-oom),  G.  A 
conservatory. 

kon'tra,  G.  Contra.  Kontrabass. 
Double-bass.  K.-fagott.  Double- 
bassoon.    K.-oktave.  Contra-octave. 


K.-punkt.  Counterpoint.  K.  - 
subjekt.  Counter-subject.  K.-tone 
(ta-ne).  The  deepest  tones  of  a  bass 
voice. 

Konzert  (kon-tsirt').  Concert ;  con- 
certo. K.-meister  (ml-shtSr).  First 
violin ;  leader.  K.-oper.  Concert 
opera.  K.-stiick  (shttik).  A  free 
concerto  in  one  movement,  or  any 
short  concert-solo. 

koous.     A  Persian  brass  drum. 

Kopfstimme  (kopf'-shtlm-me),  G.  Fal- 
setto. 

Koppel  (kop'-pel),  G.  Coupler,  coup- 
Hng-stop.  K.  ab  (or  an).  "  Coupler 
off  (or  on)." 

Kornett  (kor-net'),  G.    Cornet. 

koryphae'us,  Gr.  Chief,  or  leader  of 
the  dances. 

kos  (koz),  Hun.     A  Hungarian  dance. 

Kosake  (ko-sa-ke).  A  national  dance 
of  the  Cossacks  in  2-4  time. 

ko'to.  Japanese  zither  with  13  silk 
strings,  compass  2  octaves. 

Kraft  (kraft),  G.  Power,  energy,  kraf- 
tig  (kref'-tikh).     Powerful,  vigorous. 

Kragen  (kra -khen),  G.     Lute  peg-box. 

Krausel  (kri'-zel),  G.     Mordent. 

Krakoviak  (kra-ko'-vlt-ak),  Krako- 
vienne  (kra-ko-vt-en),  F.  The  cra- 
covienne. 

krebsgangig  (kraps'-geng-tkh),  G. 
' '  Crab-going  "  ;  retrograde  imitation. 
Krebskanon.     Canon  cancrizans. 

kreischend  (krl'-shent),  G.    Shrieking. 

Kreisfuge  (krls'-foo-khe),  G.  A  canon. 

Kreisleriana  (krls'-la-rt-a -na),  G.  A 
series  of  piano  pieces  by  Schumann, 
named  after  an  eccentric  conductor 
called  Kreisler,  in  one  of  Hoffman's 
novels. 

Kreistanz  (kris'-tants),  G.  Dance  in  a 
circle. 

kreol  (kra -61).     A  Danish  reel. 

Kreuz  (kroits),  G.  A  sharp,  dop- 
pelt  K.  A  double  sharp.  K.- 
saitig  (z!-tlkh).  Overstrung.  K.- 
tonart.     Sharp  key. 

Kriegsgesang  (krekhs'-ge-zang), 

Kriegslied  (let).  G.  A  war-song. 
K.-spieler    (shpe-ler).     A  military 


l82 


THE    MUSICAL    GUIDE 


kriegerisch  (kre'-kh^r-tsh).  Mar- 
tial. 

Krome  (kro'-me),  G.     Vide  chroma. 

kro  talon,  Gr.     Crotalum. 

krumm  (kroom),  G.  Crooked,  curved, 
bent.  K.-bogen  (bo'-khen).  A 
crook.  K.-horn.  Crooked  horn. 
I.  An  obs.  wind-instr.  resembling  a 
small  cornet  ;  it  had  a  range  of  nine 
notes,  and  was  made  in  several  sizes  ; 
its  plaintive  tone  has  led  to  its  imita- 
tion in  (2)  an  organ-stop  of  4  and 
8  ft.  pitch  (and  in  the  Krummhorn- 
bass,  of  16  ft.).  Same  as  crom- 
horn. 

krustische  Instrumente  (kroos -tTsh- 
e),  G.     Instr.  of  percussion. 

kuhn  (koon),  G.     Bold,  decided. 

Kuhhorn  (koo-horn),  G.  Swiss  "  cow- 
horn." 

Kuh-kuk  (koo'-kook),  G.  The  cuckoo 
used  in  toy  symphonies. 

Kuhreigen  (koo'-ri-khdn),  G.  "Cow- 
round-up."      Vide  KANZ  DES  VACHES. 

kuit'-ra.     Kitra. 

Kunst  (koonst),  G.  Art,  skill.  K.- 
fuge  (foo-khe),  ftiga  ricercata.  Vide 
FUGUE.  Kiinstler  (kKnst'-lr).  Ar- 
tist. K.-lied  (let).  An  art  (as  opp. 
to  a  folk)  song.  K.-pfeifer  (pfl'-fer). 
Street  musician.  Kunstwerk  der 
Zukunft  (koonst'-virk  der  tsoo'- 
koonft).  "Art  work  of  the  future." 
A  term  given  by  Richard  Wagner  to 
his  theory  of  music. 

ku'rum.  Curved  trumpet  of  the  West- 
ern Nile. 

kurz  (koorts),  G.  Short,  detached, 
staccato.  kiirzen.  To  abridge. 
kurzer  Mordent.  Short  mordent. 
kurze  Oktave.  Short-octave,  kur- 
zer Singesatz.  Cavatina.  Kiir- 
zung  (kiir'-tsoongk).  Abbreviation. 
Kiirzungszeichen  (tsl'-khen).  Sign 
of  abbreviation. 

kussir  (kijs-ser),  F.  Turkish  instru- 
ment. 

Kyrie  eleison  (ke'-rl-a  a-la'-e-s6n),  Gr. 
"  Lord,  have  mercy  (upon  us)."  Vide 

MASS. 

kyrielle  (ke-re-^1),  F.     Litany. 
kyr'riole.     Old  E,  for  Carol. 


LAbbr.  for  Left  {G.,  Links).  1.  h.. 
left  hand.  1',  abbr.  for  le  or 
la,  "the." 
la.  I.  Vide  solmisation.  2. 
The  note  A  {F.  and  /.).  la  bemol, 
or  bemolle,  atz ;  la  difese  (la  dl-ez), 
F.,  at. 

la  (la).  /.  and  F.     The. 

labecedisa'tion.     Vide  solmisation. 

labial.  Lipped  (of  flue-pipes).  La- 
bialstimme  (Iri-bl-al-shtlm-m^),  or 
pfeife  (pfi-fe),  G.     Flue-stops. 

labisa  tion.     Vide  solmisation. 

Labien  (lii -bl-en),  pi.,  G.     Pipes. 

Labium  (la'-bl-oom),  Z.  and  G.  The 
lip  of  a  pipe. 

lacrimando  (la-krT-man'-do),  lacri- 
mo'so,  /.     Mournful. 

Lacrimosa(la-krl-m6'-sa),  L.  "Weep- 
ing." An  occasional  part  of  the  Re- 
quiem. 

Lade  (la-de),  G.  Wind-chest  of  an 
organ. 

Lage  (Iji-khe),  G.  Position,  i.  Of 
a  chord.  2.  Of  the  hand  in  violin 
shifts,  eng'e  L.  Close  harmony, 
opposed  to  weite  (vi'-te),  open. 

Lagenwechsel  (vekhs-^l),  G.  Shift- 
ing. 

lagnoso  (lan-yo'-s6),  /.  Plaintive,  dole- 
ful. 

lagrimando  (la-grl-man'-do),  lagri- 
mo'so,  /.      Weeping. 

lah.     Vide  TONIC  sol-fa. 

lai  (le),  /'.     Lay,  ditty. 

lament'.  Old  name  for  harp  music  or 
songs  of  pathos. 

lamentabile  (la-men-ta'-bl-lS),  lamen- 
tabilmen'te,  /.  Mournful(ly).  la- 
mentan  do,  lamentevole  (la-men- 
ta'-v6-ld),  lamento'so.     Plaintive. 

Lamentations.  Words  from  Jere- 
miah sung  at  Vespers  in  Passion 
week. 

lampon  (laii-pon),   F.     Drinking-song. 

Ian  cers,  F.,  lanciers  (lans-ya),  /".  A 
set  of  quadrilles. 

Landerer  (len'-de-rer),  Landler  (lent'- 
ler),  G.  Slow  German  or  Austrian 
waltz  in  3-4  or  3-8  time,  the  last  notes 


DICTIONARY    OF    TERMS       183 


of  each  measure  a  dotted  Sth  and  a 

i6th  note. 
landerisch   (l^n'-der-lsh),    G.      In  the 

Landler  style. 
Undlich  (lent'-lTkh),  G.  Rural. 
Landlied  (liint  -let),  G.     Rustic-song. 
landu   (lan'-doo),  Port.     A  Portuguese 

dance  in  duple -time. 
landums  (lan'-dooms),    Po7-t.      Portu- 
guese music  of  sentimental  tone. 
lang  (liing),  G.     Long. 
langsam    (lang'-zam),     G.      Slow(ly), 

largo.       langsamer   (lang'-zam-er). 

Slower. 
language,  languid.     In  a  flue-pipe  a 

horizontal  strip  of  metal  or  wood  just 

inside  the  mouth. 
languendo  (lan-gwen'-do),    languen'- 

te,  languido  (lan-gwe'-do),  /.     Lan- 
guishing,       languemen  te.        Lan- 

guishingly. 
languette  (lah-get),  F.    i.  The  tongue 

of  reed-pipes.     2.   Pallet.     3.    Key  on 

a  wind-instr.    4.  Tongue  carrying  the 

quill  of  a  jack. 
languid.     Vide  language. 
lan'tum.      A    large    hurdygurdy    with 

rotary  bellows  and   reeds  played  by 

buttons. 
lapid'eon.       A    scale    of    flint-stones 

played  with  hammers  ;  inv.  by  Bau- 

dry. 
largamente  (lar-ga-men'-t^).    Broadly, 

nobly.     Vide  largo. 
largando  (lar-gan'-do),  /.  Broadening, 

becoming  largo  (q.  v.). 
large.      The   longest   note  in  ancient 

music  equal  to  four  breves  (eight  of 

our  whole  notes).     Vide  not.\tk)X. 
large  (larzh),  F.  Broad,  largo,    large- 

ment  (lirzh-mah).     Broadly. 
larghetto  (lar-get'-to),  /.     Not   quite 

so  slow  as  largo. 
larghezza   (lar-gW-za),    /.     Breadth, 

slowness,     larghissimo    (lar-gls'-sT- 

mo).     Very  slow. 
largo  (lar'-go),  /.     Slow,  noble,  broad, 

usually  taken  as  slower  than  lento. 

1.  assai  (as-sa'-e),  1.  di  molto  (de- 

mol'-to).      Very   slow.      1.  ma    non 

troppo.     Slow,  but  not  too  slow.     1. 

un  poco  (oon  po'-ko).     Rather  slow. 


larigot  (lar-I-go),  F.  i.  Shepherd's 
pipe.     2.   A  very  shrill  i^^-ft.  stop. 

laringe  (la-ren'-je),  /.     Larynx. 

larmoyant  (lirm-wa-yah),  /".  Weep- 
ing. 

larynx.  Upper  part  of  the  trachea  or 
wind-pipe  ;  a  human  reed-pipe  vary- 
ing at  will  the  tones  of  the  voice. 

laud  (la-oodh),  Sp.     Lute. 

laud,  lauda  (lii'-oo-da),  /.  and  Z.,  /.  pi. 
laiide,  L.  pi.  latides.  I.  Hymn(s)  of 
praise.     2.   Vide  hora. 

Lauda  Si'on,  Salvato'rem.  "  Zion, 
praise  the  Saviour  "  ;  a  sequence  sung 
at  the  High  Mass  of  Corpus  Christi. 

laudis'ti,  L.     Psalm-singers. 

Lauda'mus  Te,  L.  "  We  praise  Thee." 
Part  of  the  Gloria.     Vide  mass. 

Lauf  (lowf),  G.  I.  Peg-box.  2.  A 
run,  a  trill.  Lauftanz  (lowf'-tants). 
A  running  dance,  corante.  Laufe 
(iT'-fe).  Rapid  divisions.  Laufer (li- 
fer).    A  run,  trill,  or  shake. 

Launenstiick  (low'-nen-shtiik),  G.  A 
voluntary'. 

launig  (low'-nTkh).      Humorous. 

Iaur6ate  (lo-ra-St),  F.  A  winner  of 
the  Grand  Prix  de  Rome  (q.  v.). 

laut  (lowt),  G.  I.  Loud.  2.  A  sound. 
lautlos  (lowt-16s).     Soundless,  mute. 

Laute  (lowt'-e\  G.  The  lute.  Laut- 
enist'j  Lautenschlager  (shla'-kher), 
or   spieler    (shpe-ler),    G.    Lutenist. 

Lautenfutter  (foot-ter),  lautenkas- 
ten.  Lute-case.  Lauteninstru- 
mente.  Instrs.  whose  strings  are 
plucked.  L.-geige.  Viol.  L.-zug. 
Lute  compass.  L.-macher(ma -kher). 
Lutemaker. 

lauten  (h'-tSn).     To  toll,  to  sound. 

lavol'ta.     Old  Italian  waltz. 

lay.     Song. 

le  (lu),  /".,  le  (la),  /.,  pi.     The. 

lead  (led),  i.  The  announcement  by 
one  part  of  a  theme  to  reappear  in 
others.  2.  A  sign  giving  the  cue  for 
the  entry-  of  the  various  parts  of  a 
canon,  etc. 

leader,  i.  Conductor,  director.  In 
older  times  the  first  violinist  was  the 
actual  conductor  and  is  still  called 
"leader"    though    he   has    lost    his 


84 


THE    MUSICAL    GUIDE 


function  as  conductor.  2.  The  first 
comet  (in  bands).  3.  The  first  so- 
prano (in  chorus). 
leading,  i.  As  a  noun.  A  melodic 
progression  or  tendency.  2.  As  an 
adjective.  Guiding,  compelling,  char- 
acteristic, predominant.  1. -chord. 
The  dominant.  l.-tone,  or  note. 
The  7th  degree  of  a  scale  (because  it 


leads  in  and  demands  the  tonic), 
l.-melody.  The  chief  melody. 
leading-motive,  A  musical  phrase  or 
figure  (as  those  in  Wagner's  operas), 
used  as  a  sort  of  autograph  or  trade- 
mark of  a  certain  character,  mood  or 
sentiment,  and  recurring  whenever 
that  character  or  mood  is  to  appear 
oris  remembered. 


Leading-Motives. 

By  Gustave  Kobbe. 

OTHER  composers  before  Wagner  have  used  typical  phrases  to 
express  some  personal  characteristic  or  idea,  and  have  repeated  them 
in  a  manner  which  suggests  what  is  now  termed  a  leading-motive. 
Such  is  the  '*  Idee  fixe''''  in  Berlioz's  "Fantastique  "  symphony;  or  the 
phrase  in  Weber's  "Euryanthe"  which  occasionally  even  is  spoken  of  as 
the  "  Tomb  Motive."  I,  however,  have  always  considered  that  Beethoven 
in  the  use  he  made  of  the  opening  theme  of  his  Fifth  Symphony  more  nearly 
approached  the  leading-motive  than  any  of  Wagner's  predecessors.  The 
theme  recurs  with  great  variety  of  effect  throughout  the  symphony,  the 
second  movement  excepted.  It  is  found  as  a  mysterious  threatening  figure 
accompanying  the  second  theme  of  the  first  movement,  while  in  the  Allegro, 
the  scherzo  of  the  symphony,  it  partakes  of  a  joyous  character,  to  reappear 
as   a  disturbing  element    in    the   finale.      It  has   the   plasticity  of  a  leading- 


motive,  but  it  may  be  questioned  whether  Beethoven  intended  to  use  it  for  an; 
other  than  a  purely  musical  effect.     In  fact  any  suggestions  Wagner  ma;' 


DICTIONARY    OF    TERMS       185 

have  received  from  other  composers  were  so  slight  that  the  leading-motive 
in  the  modern  sense  may  unhesitatingly  be  said  to  be  his  invention.  ^It 
is  easier  to  say  what  a  leading-motive  is  not,  than  to  give  it  a  fixed  defi- 
nition. The  first  idea  to  disabuse  one's  self  of  is  that  a  leading-motive 
is  anything  like  a  label.  The  "Walhalla"  motive  in  the  "Ring  of  the 
Nibelung "  is  not  a  guide-post  which  reads  "Walhalla  to  the  right — 3 
miles" — nor  does  it  even  represent  Walhalla  as  a  pile  of  masonry.  It 
expresses,  in  its  simple  yet  lofty  measures,  the  rulership  of  Wotan,  the 
hegemonia  of  the  gods.  A  leading-motive  is  a  musical  searchlight  or  X-ray 
which  illuminates  and  enables  us  to  look  deep  into  every  character,  thought, 
mood,  purpose,  idea,  and  impulse  in  the  drama.  Even  conscience  itself 
does  not  escape  Wagner.  Witness  how  he  lays  it  bare  with  his  scalpel  of 
leading-motives  in  the  first  meeting  of  Siegfried  and  Hagen  in  "  Goetterdaem- 
merung  "  with  the  Curse  Motive,  which  hints  at  Hageii' s  fell  purpose, 
darkening  the  noble  Siegfried  Motive.  The  use  of  the  Curse  in  this  episode 
clearly  foreshadows  the  death  of  the  Volsung  hero  at  Hagen'' s  hand  and  lays 
the  gloom  of  impending  tragedy  heavily  upon  the  hearer's  soul.  ^[How 
plastic  a  leading-motive  may  be,  how  closely  welded  to  the  ever-changing 
phases  of  the    drama  and    how  clearly  it    expresses    them,   the    wonderful 


=5=P^^Mfpi=^E^g^i 


variants  of  the  motive  of  Siegfried  the  Fearless — the  call  Siegfried  sounds  on 

his  silver   horn — will  show.      Joyous  and    buoyant  in  its  simplest  form,   it 

becomes  when  he  takes  leave  of  Briinhilde  to  sally  forth  in  quest  of  adven- 

p.     tare,  heroically  grand,  and  in   the  Death   Music,  that  strain  of  triumphant 

5.1  mourning  which  thrills  every  hearer  and  stamps  the  episode  as  the  greatest 

til  climax  ever  achieved  in  a  musical  work  for  the  stage.      Indeed,    the  whole 

scene  is  a  triumph  for  the  leading-motive  idea,  since  here,  as  Siegfried' s  Hfe- 


i86 


THE    MUSICAL    GUIDE 


less  body  is  borne  up  on  the  mountain  crest,  the  orchestra  gives  a  musical 
epitome  of  his  career  bv  voicing  successively  the  motives  most  intimately 
relating  to  him  which  have  been  heard  in  the  cycle  of  music-dramas.  •  But 
Wagner's  use  of  leading-motives  singly  and  in  complex  combinations  ac- 
cording to  the  trend  of  the  drama  however  interesting  analytically  would 
wholly  have  failed  were  not  the  motives  themselves  musically  valuable.  They 
are  enunciated  chiefly  bv  the  orchestra  (which  thus  forms  a  constant  com- 
mentary upon  the  proceedings  of  the  stage)  and  they  are  considered  by  those 
who  are  in  the  van  of  musical  opinion  to  have  resulted  in  the  most  eloquent 
and  sublime — if  at  times  the  most  tedious — scores  ever  penned.  To  ap- 
preciate what  a  genius  Wagner  really  was,  it  is  only  necessary  to  listen  to  the 
works  of  some  of  his  imitators. 

Liszt  in  his  Symphonic  Poems  has  adapted  the  leading-motive  to  instru- 
mental music,  in  which  respect  Richard  Strauss  may  be  regarded  as  follow- 
ing him. 


leaning  note.     Appoggiatura. 

leap.  I.  Skip.  2.  In  piano-playing  a 
long  jump  for  the  hand.  3.  A  dis- 
tance composed  of  several  interme- 
diate intervals. 

Leben  (la-ben),  G.  Life,  vivacity,  le- 
bendig  (la -ben-dikh),  lebhaft  (lap'- 
haft).  Lively.  Lebhaftigkeit  (kit). 
Vivacity. 

le^on  (ICi-son),  F.     Lesson,  exercise. 

ledger  line,  leger  line.  A  short  ad- 
ditional line  above  or  below  the  staff, 
for  notes  too  high  or  too  low  to 
be  written  on  the  staff.  1.  1.  are 
counted  away  from  the  staff,  the 
nearest  being  the  first,  ledger  space. 
The  space  between  two  1.  1. 

leere  Saiten  (la-re  zT'-ten),  G.  Open 
strings. 

legabile  (le-ga'-bl-le),  legando,  /. 
Legato. 

legate  (le-ga-re).     To  bind,  or  tie. 

legato  (le-ga'-t5),  /.  "Bound."  In 
a  smooth,  connected  manner,  opposed 
to  staccato,  and  indicated  by  a  slur,  or 
legato-mark  {G.,  legato-bogen) 
thus,  „.  L.  touch.  A  touch  pro- 
longing the  tone,  till  it  exactly  con- 
nects with  the  ne.xt.  legatis  simp. 
Exceedingly  legato. 


legatura  (la-ga-too  -ral,  /.  i.  A  slur. 
2.  Syncopation.  1.  di  voce.  Vide 
LI(;.\TUK1-  (2). 

legend,  legende  (la-zharid),  /•.,  Le- 
gende  (la-gen  -de),  G.  A  composi- 
tion in  romantic  or  narrative  style. 
im  Le  gendenton,  G.  In  the  ro- 
mance manner. 

leger.     Vide  lkd(;kk. 

legcr  (la-zha),  legere  (la-zhar),  /". 
Light,  nimble,  legerement  (man). 
Lightly,  legerete  (la-zhar-ta).  Agil- 
ity. 

leggenda  (led-jen'-da),  /.     A   legend." 

leggeramente  (led-jer-a-men  -te),  leg- 
germen  te,  /.  Lightly,  leggeran- 
za  (led-jer-an'-tsa).  leggerezza 
(Icd-jer-c'd'-za).      Lightness. 

leggiadro  (led-ja'-dro),  leggiadra- 
men  te,  /.     Graceful(ly). 

leggiere    (led-ja -re),    leggiero,    leg- 
gieramente,       leggiermen  te,    /. 
Light(ly).     leggierezza  (led-je-red 
za).      Delicacy. 

leggieruco  lo.     Rather  light. 

legno  (lan-yo),  /.  Wood.  col.  1. 
To  be  played  with  the  back  or  wood 
of  the  bow. 

Lehrsr  (la-rer),  feminine  J-ghrerin, 
(7.     Teacher,  master, 


DICTIONARY    OF    TERMS 


87 


Leich  (likh),  (7.     A  lay. 

Leichenmusik  (ll'-khen-moo-zck'),  G. 
Funeral-music.  Leichenton  (ton). 
\  lugubrious  sound. 

leicht  (iTkht),  G.  Light,  easy,  facile. 
L.  bewegt  (b^-vakht),  (a)  delicately 
swift,  (b)  agitatedly.  Leichtheit 
(hit),  Leichtigkeit'  (llkh-tikh-kTt). 
I.ightness,  facility.  leichtfertig 
(fer-tlkh).      Light(ly),  careless(ly). 

Leidenschaft  (iT'-den-shaft),  G.  Pas- 
sion, leidenschaftlich  (llkh).  Pas- 
sionate. 

Leier  (ll'-er),  G.  A  lyre.  L.-kasten 
(kjist'en).  A  hurdygurdy.  Lejer- 
madchen  (mat'-khen).  A  girl  who 
plays  on  a  hurdygurdy.  Leiermann 
(man).  A  male  player  of  a  hurdy- 
gurdy.  Leierorgel  (lT'-er-6rkh-el). 
Hand-organ.  Leierspieler  (shpc- 
ler).     One  who  plays  on  a  lyre. 

Leine  (iT'-ne),  G.     A  line  on  the  staff. 

leise  (iT'-ze),  G.  Low,  soft,  gentle.  1. 
wie  fiir  sich  (ve  fur  zlkh).  Softly,  as 
if  to  one's  self. 

Leitakkord  (lit'-rik-kord),  G.  A  har- 
mony progressing  naturally  to  an- 
other, as  the  dominant.  Leitmotiv 
(iTt'-mo-tef).  Leading-motiye  (q.  v.). 
Leitton  (lit'-ton).    The  leading  note. 

Leiter  (iT'-ter),  G.  i.  Leader.  2. 
"  Ladder,"  the  scale  of  any  key. 

leitereigen  (iT-ter-Ikh'-n).  Proper  and 
peculiar  to  a  key,  opposed  to  foreign 
notes  which  are  L-fremd  (fremt). 

lene.  Old  term  for  a  note  sustained, 
while  other  parts  moye. 

leno  (la-no),  /.  Weak,  feeble,  faint. 
lenezza  (la-ned'-za).     Gentleness. 

lent  (lah),  F.  Slow,  lentement  (lant- 
mah),  F.  Slowly.  lenteur  (lan- 
tiir').     Slowness,  delay. 

lentando   (len-tan'-do),  /.     Retarding. 

lento  (len'-to),  /.  Slow  ;  usually  con- 
sidered between  andante  and  largo. 
1.  assai,  1.  di  molto  (de  mol'-td),  1. 
lento.  Very  slow.  lentis'simo. 
E.xtremely  slow,  lentamen'te,  len- 
temen'te.  Slovyly.  lentezza  (ISn- 
tod'-za).     Slowness. 

lesser.  Minor,  as  the  1.  third.  1. 
appoggiatura.  Vide      .vppocg. 


L  barbiton.  The  kit.  I.  comma. 
The  diaschisma, 

lesson.  A  piece  of  two  or  three  move- 
ments for  the  harpsichord  or  piano- 
forte, often  combined  into  a  suite. 

lesto  (les'-tu),  /.  Lively,  lestissimo. 
Verj'  quick,  lestezza  (les-ted'-za), 
/.     Agility. 

letterale  (I'et-te-ra'-le),  letteralmen- 
te,  /.    Literal(ly).    E.xactly  as  written. 

letter-name.  A  letter  designating  a 
tone,  key,  etc.,  as  a,  b,  c.  Letter-no- 
tation is  old  as  the  Greeks. 

leuto  (la-oo'-to),  /.     Lute. 

leva  (la'-va),  /.  Lift,  release,  si  leva 
il  sordino,  "lift  the  mute";  si  le- 
vano  i  sordini,  "release  the  damp- 
ers." 

Iev6  (lil-va'),  /".     Up-beat. 

levet.      A  blast  of  a  trumpet  ;  reveille. 

levezza  (le-ved'-za),  /.     Lightness. 

levier  pneumatique  (lev-T-a'-nii-ma- 
tek),  F.     The  pneumatic  lever. 

leziosamen'te  (la-tsl-o),  /.  Affected- 
ly- 

lezzioni  (led-zT-o'-ne),  /.,  pi.  Les- 
sons.. 

Leyer  (IT'-Sr),  G.     Lvre. 

L.  H.     Abbr.  for  "left  hand." 

liaison  (!e-ez'-on),  /".  i.  A  bind  or 
tie.  2  Vide  LIGATURE,  2.  3.  1.  d 'har- 
monic (drir-mo-ne).  Syncopation. 
1.  de  chant  (du  shan).  Sostenuto 
singing. 

libero  (le'-b^-ro),  liberamen'te,  /. 
Free(ly),  unrestrained(ly). 

libitum,  L.  Pleasure,  will,  ad  libitum. 
At  the  pleasure  of  the  performer, 
who  may  decide  tempo,  e.\pression, 
etc.,  or  even  omit  the  section  so 
marked. 

librement  (lebr-mafi),  /'.     Freely. 

libretto.  The  te.xt  of  an  opera,  ora- 
torio, etc.  librettist.  A  writer  of 
such  texts. 

li'cence  (in  F.  le-sans),  licenza  (le- 
chen'-tsa),  /.  A  deviation  from  the 
rules,  con'  alcuna  (al-koo'-na)  li- 
cenza.    With  some  freedom. 

liceo  (le-cha'-6),  /.    Lyceum  ;  academy. 

-lich-  (llkh),  G.  Suffix,  equivalent  to 
"-like,"  or  "-ly." 


i88 


THE    MUSICAL    GUIDE 


lich'anos,  Gr.     Vide  lyre. 

Ii6  (le-a'),  F.  Smooth(ly),  legato.  Ii6 
coulant  (koo-lan).  Slurred  but  flow- 
ing. 

Liebeslied  (le'-Ws-let).  Love-song. 
Liebesflote.  A  flute-stop.  Lieb- 
haber  (lep'-ha-ber).  Amateur. 
lieblich  (lep'-llkh).  Lovely,  charm- 
ing. Lieb  lichgedacht  (ge-dakht). 
A  stopped-diapason  organ  register. 

Lied  (let),  pi.  Lieder  (le-der),  G. 
Loosely,  any  song ;  technically,  a 
song  (as  opposed  to  the  ballad  or 
Strophenlied),  in  which  the  text 
predominates  over  merely  melodic 
rights,  and  the  music  interprets,  rather 
than  disregards,  the  words.  Such  a 
song  in  which  each  stanza  has  special 
music  is  often  called  durchkompon- 
i(e)rtes  (doorkh-kom-p5-ner'-tes),  or 
one  "  composed  all  through."  Lied 
(or  lieder)  ohne  Worte  (5'-ne 
v6r'-t6),  G.  Song  (or  songs)  without 
words.  Lied  form  (form).  The  form, 
or  theme  of  a  song.  Liedchen  (let- 
khen).  A  short  song.  Liederbuch 
(bookh).  A  song  or  hymn-book.  L.- 
bund  (boont).  A  society  of  singers. 
L.-cyclus  (tse'-kloos).  A  cycle  of 
songs.  L.-dichter  (dTkh'-tSr).  A 
song  -  writer.  L,  -  kranz  (krants). 
Glee-club.  L.  -  kreis  (kris).  A 
"  wreath  "  of  songs.  L.-satnmlung 
(zam'-loongk).  Collection  of  songs. 
L.-sanger  (zSng'-Sr).  A  ballad- 
singer.  L. -spiel  (shpel).  An  oper- 
etta. L.-sprache  (spra -khe).  Words 
adapted  to  songs.  L.-tafel  (ta -fgl). 
"Song-table";  a  glee-club  of  male 
voices.  L.-tafler  (tef'-ler).  Glee- 
singers.  L.-tanz  (tants).  A  dance 
with  songs. 

lier  (ler),  Dutch.    A  lyre. 

ligare    (ll-ga-re),     ligato    (le-ga-to). 

Vide  LEGARE,   LEGATO. 

Ligatur  (le-gii-toor'),  G.,  ligatura 
(le-ga-too'-ra),  /.,  lig'ature,  E.  (pron. 
in  /'.  le-ga-tiir').  i.  A  succession  of 
notes  sung  to  one  syllable  or  in  one 
breath,  or  played  with  one  stroke  of 
the  bow.  2.  A  tie.  3.  A  syncopa- 
tion.    4.  In  old  music  a  succession  of 


notes   sung   to   one   syllable.      Vide 

NOTATION. 

ligne  (len'-yu),  F.  A  line.  1.  addition- 
nelle  (ad-des-yii-nel),  or  ajouti 
(a-zhoo-ta),  or  postiche  (pos-tesh), 
or  suppl^mentaire  (siip-pla-mafi- 
tar').     A  ledger  line. 

lig  neumpsalte'rium,  L.    Xylophone. 

limite  (le'-ml-te),  /.     Limit. 

lim'ma,  Gr.  An  interval  in  Greek 
music,  less  by  a  comma  than  a  major 
semitone. 

linea  (le'-ne-a),  /.     A  line  of  the  staff. 

line.  One  of  the  five  lines  making  up 
the  staff  (q.  v.).  added,  or  ledger 
line.     Vide  ledger. 

lingua  (lln'-gwa), /.  i.  The  tongue  in 
a  reed.      2.    The  reed  itself. 

Lingualpfeife  (len-goo-al'-pfi-fe),  G. 
A  reed-pipe. 

lin'gula,  L.     Glottis. 

Linie  (le'-ne),  pi.  Linien,  G.  Line(s). 
Liniensystem  (le'-nl-Sn-zes-tam). 
The  staff. 

lining-out.      The  old  practice  of  read- 
ing out  one  or  two  lines   of  a  hymn  , 
before  singing  them. 

li'nings.  The  supporting  strips  glued 
to  the  ribs  of  violins,  etc. 

link  (link),  links  (links).  G.  Left, 
linke  Hand  (hant).     The  left  hand. 

linos,  Gr.  1.  A  rustic  air.  2.  A 
dirge. 

lip,  E.,  Lippe  (llp'-p^),  G.  i.  The 
flat  surface  above  or  below  the  mouth 
of  a  flue-pipe.  2.  Vide  embouchure. 
Lippenpfeife.     A  flue-pipe. 

lira  (le'-ra),  /.  i.  The  Greek  lyre.  2.' 
In  i6th-i8th  cent,  a  viol,  hence,  1. 
barberi'na.  A  small  viol  inv.  by  j 
Doni  in  17th  century.  1.  da  braccio 
(da  brat'-sho).  Obsolete  instr.  like 
the  tenor  viol,  with  seven  strings,  i 
1.  da  gam'ba.  An  instr.  held  be- 
tween the  knees  and  having  12  to  16 
strings.  1.  dop'pia.  Double  lyre. 
1.  grande  (grjin'-de).  A  viol  with  six 
strings,  formerly  used  in  Germany. 
1.  pagana  (pa-ga-na),  1.  rustica 
(roos'-tl-ka),  1.  tedesca  (ta-dSs'-ka). 
A  hurdygurdy. 

lire  (ler),  F.  To  read. 


DICTIONARY    OF    TERMS 


89 


liressa  (le-rSs'-sa).     A  bad  lyre. 

lirico  (le'-ri-ko),  /.     Lyric. 

lirone  (le-ro'-ne),  /.  The  large  bass 
viol  with  24  strings. 

liscio  (le'-sho),  /.     Smooth. 

lispelnd  (lls'-pelnt),  G.     Lisping. 

I'istesso  (les-tes'-so),  /.     The  same. 

litanei'a,  Gr.,  litania  (le-ta-ne'-a), 
Z.  and  /.,  litanie  (ll-ta-ne'),  F., 
Litanei  (le-ta-m),  C,  lit'any, j?.  A 
solemn  form  of  supplication,  the  min- 
ister offering  prayers,  to  which  the 
congregation  add  "Lord  have  mer- 
cy."    kyrie  elfison  is  the  lesser  1. 

lit'terae  significa'tivae,  L.  Letters 
of  doubtful  meaning,  used  in  neu- 
matic  notation. 

lit'uus,  L.     A  kind  of  trumpet. 

liuto  (le-oo'-t5),  I.    A  lute. 

livre  (levr),  F.  A  book  ;  II.  V  ouvert 
(oo-vSr).     At  first  sight. 

livret  (le'-vra),  F.     A  libretto. 

lo  (16),  I.     The. 

Lobgesang  (I6p'-g5-zang),  Loblied 
(lop'-let),  G.     A  hymn  of  praise. 

Loch  (lokh)  in  der  Stimme,  G. 
"  Hole  in  the  voice,"  used  of  that 
part  of  a  register  where  certain  tones 
are  weak  or  wanting. 

loco  (l6'-k5),  /.  "Place."  I.  Aword 
nullifying  Sva  or  all  ottava,  and 
meaning  that  the  notes  are  to  be 
played  as  written,  not  an  octave 
higher  or  lower  as  before.  2.  A  sign 
for  a  violinist  to  return  to  his  original 
position,  form  or  shift. 

Locrian  (lo'-krt-an),  lokrisch  (16'- 
krKsch),  G.     Vide  modes. 

lo'geum,  L.    I.  A  stage.    2.  A  motet. 

Logier'ian  system.  The  system  of  in- 
struction of  John  Bernard  Logier, 
including  class-work,  harmony,  etc., 
and  use  of  the  chiroplast. 

lombardo.     A  dance  of  Lombardy. 

long,  longa,  Z.  An  obsolete  note  half 
the  length  of  the  large,  or  equal  to 
four  of  our  whole  notes,  long  double. 
An  old  character  equal  to  four  breves. 
As  adjective,  long  appoggiatura. 
An  accented  app.  of  a  single  note 
forming  part  of  the  theme,  and  borrow- 
ing half  the  length  of  the  next  note.    1. 


drum.  The  bass-drum  of  military 
bands.  I.  mordent.  A  mordent 
of  four  notes.  1.  roll.  A  drumbeat 
to  arms.  1.  spiel.  An  ancient  long 
and  narrow  Icelandic  bow  instrument. 

longue  pause  (16ng'-p5z),  F.  A  long 
pause. 

lontano  (16n-ta'-n6),  /.  Distant,  re- 
mote, da  1.  At  a  distance,  lon- 
tananza  (16n-ta-nan'-tsa).  Dis- 
tance. 

loop.  I.  The  vibrating  part  between  2 
nodes.  2.  The  chord  binding  the  tail- 
pieces of  violins,  etc.,  to  the  button. 

Losung,  fortschreitende  (fort-shri- 
ten-de-la'-zoongk),  G.     Resolution. 

loud  pedal.     Vide  damper. 

lourde  (loord),  F.  Heavy,  lourdement 
(man).     Heavily. 

loure  (loor),  F.  i.  An  old  F.  bagpipe, 
thence  ;  2.  A  slow  dance  in  6-4  time, 
strongly  accented. 

lour6  (loo-ra'),  F.     Smooth(ly),  legato. 

louvre  (loovr),  F.  Applied  to  an  air, 
called  "  L' Amiable  Vainqueur,"  a 
favourite  of  Louis  XIV.  ;  thence  a 
dance. 

Indus,  Z.  Play.  ludi  moderator. 
Organist,  ludi  spirituali.  Miracle- 
plays. 

lugubre  (loo-goo'-bre),  I.  Lugubrious, 
sad. 

luinig.  A  plaintive  song  of  the  Heb- 
rides sung  by  the  women  at  work. 

lullaby.     A  cradle-song. 

lu-lu.  The  Chinese  official  laws  of 
music. 

lundu  (loon'-doo).  Port.  A  Portuguese 
dance  in  duple  time. 

lunga  (loon'-ga),  pi.  lunghe  (loon-ge). 
I.     Long,  prolonged. 

luogo  (loo-6'-g6),  I.     Same  as  loco. 

lur  (loor),  Dan.  i.  A  birch-bark  instr. 
similar  to  the  alp-horn.  2.  A  pre- 
historic curved  and  conical  bronze 
instr.  5  to  7  feet  long,  with  cupped 
mouthpiece,  and,  instead  of  a  bell,  a 
circular  flat  plate,  ornamented  with 
bosses  and  bronze  tassels. 

lusing.     An  abbr.  of  lusingato. 

lusingando  (loo-sen-gan'-do),  lusio- 
gan'te,    lusingato  (ga'-to),  lusin- 


igo 


THE    MUSICAL    GUIDE 


ghevole  (ga'-v5-le),  /. ,  lusinghiere 
or  o  (gl-a'-re).  Coaxing  lusinghevol- 
men'te.       Insinuatingly,  persuasive- 

ly- 

lustig  (loos'-tlkh),  G.  Merrv,  cheer- 
ful. 

Lustlied  (loost'-let),  G.     A  gay  song, 

lute  (lut,  not  loot),  E.,  lut  or  luth 
{Hit),  F.  A  very  ancient  string  instr. 
now  obsolete  except  in  the  small  form 
of  the  mandolin  and  the  modified 
form  of  the  guitar.  It  was  pear- 
shaped,  and  had  a  neck  wnth  fretted 
finger-board.  The  stringing  was  va- 
rious ;  the  largest  form  having  paired 
strings  tuned  in  unisons,  and,  besides, 
a  series  of  strings  that  did  not  cross 
the  finger-board  but  were  played  upon 
as  a  bass.  This  form  required  a 
double  neck  and  was  called  a  theor- 
bo, arch-lute,  or  chitarrone.  The 
strings,  sometimes  as  many  as  13 
pairs,  were  played  as  in  the  guitar. 
Lute-music  was  written  in  tablature. 
Lute -players  were  called  lutists, 
luters,  lutanists,  lutenists,  or  lu- 
tinists,  A  lute-maker  was  a  luthier 
(lut-ya),  a  name  also  given  then, 
and  now,  to  violin-makers.  The 
trade  and  its  product  are  called  lu- 
therie  (lut-re').  lutina.  A  small 
lute,  or  mandolin. 

luttuoso  (loot-too-6-s6),  luttuosa- 
mente,  /.      Mournful(lv). 

Lyd  ian,  E.,  lydisch  (let'-lsh),  G.  Vide 
MDDKS.  Lydian  chant,  A  chant 
of  a  sorrowful,  melancholy  style. 

Lyon  catlins.     Thick  bass-strings. 

lyre  (lir  in  E.  ;  in  F.  ler),  lyra  (le'-ra), 
Z. ,  /. ,  and  G.  i.  A  most  ancient 
instr.  consisting  of  a  sound-box  or 
board  with  2  long  cun-ed  arms  carry- 
ing a  cross-bar  from  which  descend- 
ed, across  a  bridge,  the  3  to  10 
strings,  struck  with  a  plectrum.  On 
the  8-stringed  lyre,  the  strings  were 
thus  named,  beginning  nearest  the 
body  :  hy'pate  (hi'-pa-te)  (the  low- 
est in  tone),  parhy'pate,  lich'anos, 
me'se,  par'amese,  trite  (tre -te), 
paranete,  nete  (na'-te).  The  largest 
lyre  was  the  cithara,  the  treble  was 


the  chelys.  A  large  20-stringed 
instr.  on  which  octaves  were  played 
was  the  magadis.  2.  The  modern 
lyra  is  a  rebec,  and  various  bow- 
instrs.  have  been  called  lyres,  or  lyre- 
viols,  since  the  14th  cent.  ;  some 
have  a  double  neck  or  bijuga  like 
the  theorbo  (Vide  lute),  including 
the  lyra  di  braccio  (brat'-cho)  or 
arm-viol  and  archeviole  di  1.,  or  1. 
doppia.  The  1.  di  gamba  is  a  leg- 
viol.  1.  barbarina.  An  old  instr. 
resembling  the  guitar,  but  played 
with  the  bow.  1.  hex'achordis,  Gr. 
A  six-stringed  lyre.  1.  mendico'rum, 
Z.  "  Beggar's  lyre,"  a  hurdygur- 
dy.  Lyra-sang'er  (zeng -er),  or 
-spieler  (shpe  -ler),  G.  Performer  on 
the  lyre.  3.  The  modern  Stahlspiel. 
lyric,  lyrical,  lyrisch  (lir-lsh),  G 
"  Fitted  to  be  sung  to  the  lyre," 
hence  used  of  subjective  moods,  usu- 
ally brief  and  enthusiastic  as  opposed 
to  narrative,  dramatic,  or  epic,  lyric 
drama  is  opera,  lyric  tragedy.  .\ 
tragic  opera.  1.  comedy.  Comic 
opera.     1,  opera.     A  ballad  opera. 

M 

MAbbr.  of  Mezzo,  Metronome, 
Mano,  Main;  m.  f.,  foi 
Mezzo-forte ;  m.  ^.,MezzO' 
piano  ;  m.  v.,  Mezzo-voce. 

M.  M.  Abbr.  for  Maelzel's  Metro- 
nome (q.  v.). 

ma  (ma),  I.      But  ;   as  allegro  ma  tu 
trcppo,  quick,  but  not  too  much  so, 

machalath  (ma'-ka-Iath),  Heh.  A  term 
employed  in  the  Psalms,  supposed  by 
some  to  mean  a  flute,  but  by  others 
to  indicate  familiar  tunes. 

machete  (ma-she'-te).     Fort.    A  small 
guitar    with    4   strings,    tuned   d'-^ 
i)'-e" . 

mach-icotage  {mash-!-ko-tazh),  F., 
macicota  ticum,  L.  Embellishment 
added  to  the  cantm:  finnus  of  plain- 
chant,  customary'  in  France  in  the 
1 8th  cent.  The  clergy  alone  5 
the  embellished  or  machicot6e 
fmash-I-ko-ta)   plain-song,   and    were 


DICTIONARY    OF    TERMS       191 


called  machicots  (mash-T-ko)  or  ma- 
cicico'nici.  The  choir  sang  the 
can /its  firm  us  without  embellishment 
(si  ne  macicota  tico). 

machine-head.  A  rack  and  pinion 
appliance  to  be  used  in  place  of  ordi- 
nary tuning-pegs. 

machol  (ma'-kol),  Heb.  Instr.  sup- 
posed to  be  either  string  or  pulsatile. 

Madre,  alia  (al'-la  mad-re).  "  To  the 
Mother."  Used  of  hymns  to  the  Vir- 
gin. 

madriale  (ma-drl-a'-l$),  /.  Madrigal. 
madrialet'to.     A  short  madrigal. 

madrigal  (in  /■.  mad-rl-gal ;  in  G.  mfi- 
drt-hal),  madrigale  (mad-rl-gal'-e), 
/.  I.  Loosely,  a  short  amorous  or  pas- 
toral lyric.  2.  Strictly  an  unaccom- 
panied chorus  in  from  2  to  8  parts, 
based  on  a.canlus  fir»ius,  and  written 
with  elaborate  counterpoint.  Begin- 
ning in  Italy  in  the  15th  cent,  it 
spread  all  over  Europe,  madrigal- 
es'co,  /.  Pertaining  to  the  madri- 
gal. 

maesta  (ma-as'-ta),  maestade  (ma- 
as-ta'-de),  maestate  (tii'-te),  /. 
Majesty,  grandeur.  maestevole 
(ta'-v6-ie),  maestevolmen'te,  ma- 
estoso, maestosamen  te.  Majes- 
tic(ally),  noble  (nobly). 

maestria  (mji-as-tre'-a),  /.  Masterv, 
skill. 

maestro  (ma-as'-tro),  fem.,  maestra 
(ma-as'-traj,  /.  Master.  m.  al 
cembale.  A  conductor,  since  he 
formerly  sat  at  the  harpsichord. 
m.  al  piano.  Pianist  of  an  orches- 
tra, m.  del  coro.  Master  of  the 
choir.  m.  di  camera.  Conduc- 
tor of  chamber-music.  m.  di 
canto.  A  singing-master,  m.  di 
cappella  (de  kiip-pel'-la).  i.  Chap- 
el-master.     2.   Conductor. 

mag'adis,  Gr.  i.  Vide  lyke.  2. 
i6th  cent,  name  for  monochord. 

magadizing.  A  vocal  performance  in 
octaves. 

mag'as,  Gr.  i.  Bridge.  2.  Fret.  3. 
Vide  MAG.\Dis,  2. 

Magazinbalg  (makh-a-tsen'-balkh),  G. 
Reservoir-bellows, 


maggiolata  (mad-j6-la'-ta),  /.    A  song 

in  praise  of  May. 
maggiore  (mad-jo-re),/.    "Greater," 

major. 
niaggot.     An  impromptu  fantasy. 
magistrate    (ma-jis-tra -Ig),     /.     Vide 

MAESTRALK. 

Magnificat,  Z.  A  part  of  the  Vespers 
from  "  Magnificat  anima  mea  Domi- 
num,"  My  soul  magnifies  the  Lord. 

main  (man),  F.  The  hand.  m.  droite 
(drwat).  Right  hand.  m.  gauche 
(gosh).  Left  hand.  m.  harmonique 
(ma-nar-mun-ek).      Harmonic    hand. 

maitre  (metr),  F.  A  master,  a  director. 
m.  de  chappelle  (sha-pel).  Chapel- 
master  ;  conductor ;  director  of  a 
choir,  m.  de  musique  (dii  mli-zek). 
Musical  director,  or  teacher. 

maitrise  (met-rez),  /'.  A  music  school 
connected  with  a  cathedral. 

majesta  (ma-yas-ta),  /.,  majesty  (mi- 
zhes-ta),  /'.  Majesty,  majestueux 
(ma-zhest-yu').  Majestic,  majesta- 
tisch  (mii-yes-ta'-tlsh),  G.     Majestic. 

major,  E.,'  majeur  (ma-zhur),  F. 
"  Greater,"  asopp.  to  minor  ("  less  "), 
and  used  of  intervals  greater  by  a 
semitone  than  the  minor  (though  less 
by  a  semitone  than  the  augmented); 
hence,  those  major  chords  and  major 
scales  and  keys  in  which  major  inter- 
vals predominate,  m.  triad.  One  with 
a  major  3d  and  perfect  5th.  m.  ca- 
dence.    One  ending  on  a  m.  triad. 

Mai  (mil),  G.  Time,  as  zum  ersten 
M.,  for  the  first  time. 

malaguena  (ma-la-gwan'-ya),  .S^.  A 
fandango. 

malanconia  (ma-lan-ko-ne'-a),  malin- 
coni  a,  /.  iVIelancholy.  malenco- 
nico,  malincol  ico,  malinco'nico, 
malinconio'so,  malincono'so,  ma- 
linconicamen  te,  /.  In  a  melan- 
choly style. 

mama  (ma'-ma),  /.  In  drum-music  the 
right  hand. 

manca  (man'-ka),  /.     The  left. 

mancando  (man-kan'-do),  /.  Decreas- 
ing and  retarding. 

manche  (mahsh),  F.  Neck  (of  a  vio- 
lin, etc.). 


192 


THE    MUSICAL    GUIDE 


mandolin(e)  (man'-do-ltn),  E.,  mando- 
lino  (man-do-le'-no), /.  A  small  lute 
with  fretted  neck,  and  paired  strings 
played  with  a  plectrum.  The  com- 
pass g-g.  "  The  Neapolitan  {man- 
dolino  napolita  no)  has  4  pairs  tuned 
g-d'-a'-e"  ;  the  Milanese  (w.  lom- 
bardd)  has  five  or  six  pairs  tuned 
g-c'-a'-d"-e",  or  g-b-e'-a'-d"-e". 
mandolinata  (a -ta).  To  be  played 
with  mandoHn-like  effect,  mando'la, 
mando'ra,  mando're.  A  large  man- 
dolin. 

mangeot  (man-zho),  F.  A  piano  a 
claviers  renverse. 

manico  (manl-ko),  /.  Neck  (of  vio- 
lin, etc.). 

man'ichord,  E.,  manichord'ium,  Z., 
manichord'on,  Gr.  An  old  term  for 
various  string  instrs.  Manichor- 
diendraht  (drat),  6".  Wire  for  the 
manichord. 

maniera  (ma-nt-a-ra),  /.,  manifere 
(m5n-var),  F.  Manner,  style,  m. 
affettata  (af-fet-ta'-ta),  /.  Affected 
delivery,  m.  languida  (lan'gwi-da), 
/.     A  languid  style. 

Manier  (ma-ner'),  pi.  Manieren  (ma- 
ne'-ren),  G.  Grace(s),  embellish- 
ment(s). 

manifold  fugue.  One  with  two  or 
more  subjects. 

Mannerchor  (men-ner-kor),  G:  Male 
chorus.  Mannergesangverein  (ge- 
zang'-fer-in).  A  male  choral  society. 
Man'nerstimmen.     Male  voices. 

mano  (ma-no),  /.  The  hand.  m. 
destra  (das'-tra),  m.  diritta  (dl-rlt'- 
ta),  or  dritta  (drit'-ta).  The  right 
hand.  m.  sinistra  (sl-nes'-tra).  The 
left  hand. 

man'ual,  E.,  Manual  (ma-noo-al'),  G., 
manuale  (ma-noo-a-le),  /.  and  L.  i. 
Key-board  of  an  organ.  2.  A  digital, 
especially  manual-key.  manual- 
iter.  Without  pedals,  "  on  the  man- 
uals alone."  M.-koppel,  G.  A  coup- 
ler connecting  one  manual  with 
another,  m.-mente  (ma-noo-al-men'- 
t^),  /.  Manually.  M.-untersatz 
(oon-ter-zats),  G.     A  32-ft.  stop. 

raanubrio  (ma-noo'-brI-6),   /.,    Man- 


ubrien  (ma-noo'-brl-en),  pi.,  G.  The 
handle(s)  by  which  a  stop  is  drawn. 
M.  koppel.     A  draw-stop  collar. 

marcan'do,  marcato  (mar-ka'-to),  /. 
Marked,  accented,  marcatis'simo. 
Very  strongly  marked. 

march.  A  composition  to  accompany 
marching.  There  are  two  kinds,  the 
quick  m.  or  quickstep,  and  the  solemn 
processional,  funeral  or  dead 
Usually  in  4-4  time,  the  m.  may  be  in 
2-4,  3-4  or  6-8  time.  The  march 
usually  includes  a  second  part,  or  trio, 
and  a  repetition  of  the  first  subject. 
The  second  part  is  often  lyrical  rather 
than  rhythmic.  The  cadence  for  the: 
quick  step  in  the  American  army  is 
120  to  the  minute. 

marche  (marsh),  F.  i.  A  march.  2. 
A  progression,  as  m.  harmonique 
(ar-mun-ek). 

marcia  (mar'-cha),  /.  A  march,  m. 
fun^bre  (foo-na-bre).  Funeral-i 
march.  marcia'le,  or  marziale; 
(mar-tsl-a -le),  or  alia  m.  In  march-j 
style,  marciata  (mar-cha'-ta). 
march. 

marked.    Accented. 

mark.      A   sign,     cadence-m.      Vic 
CHANT.       harmonic-m.      Vide  has 
MONic.    metronomic-m.     Vide  met-I 
RONOME.     expression-m.     Vide  ex-I 
PRESSioN.     tempo-m.     Vide  tempo.] 

markiren  (mar-ke'-ren),  C,  marquetl 
(mar-ka),  F.  To  mark,  emphasize.f 
markirt  (miir-kert'),  6".,  marqu^j 
(marka'),  F.  Well  marked,  marqueaj 
un  peu  la  melodie  (mar-ka  lifi  ptj 
la  ma-16-de'),  F.  "  Emphasize  thC 
melody  slightly." 

Marsch  (marsh),  pi.  marsche  (mar'l 
she),  G.  March(es).  marschartijf 
(marsh'-ar-tikh).  In  the  style  of  ;! 
march. 

Marseillaise,  la  (la  mar-se-yez),  / 
The  French  national  anthem,  writtc 
and  composed  by  Capt.  Rouget  d 
Lisle,  April  24,  1792,  and  called  b 
him  "  Chant  de  guerre  de  I'armee  d 
Rhin,"  but  first  popularized  by,  an, 
always  named  after,  the  soldiers  fror 
Marseilles. 


DICTIONARY    OF    TERMS 


93 


marteau  (mar-to),  F.     i.   Hammer,  in 

piano-action.     2.  Tuning-key. 
marteld  (mar-tu-la'),    /'.,   martellato 

(mar-tel-Ia'-to),      martellan  do,      /. 

Strongly    marking   the    notes,    as   if 

hammering. 
martellement    (mar-tel-mafi),    F.      i. 

Played  with  the  acciacatura.     2.   In 

old  music  a  mordent. 
marziale  (mar-tsl-a-le),  /.    Vide  mar- 

CIA. 

mascherata  (ma-ske-ra -ta).  Masque- 
rade. 

maschera  (ma'-ska-ra),  /.     A  mask. 

Maschinen  (ma-she'-nen),  G.  Pistons. 
Vide  VALVE.  M.-pauken.  Kettle- 
drums with  a  mechanical  adjuster  of 
pitch. 

mask,  E.,  masque  (mask), /^.,  Mas- 
kenspiel  (mas-ken-shpcl),  G.  A  spec- 
tacular entertainment  usually  allegor- 
ical and  dramatic,  with  music.  Verj' 
elaborately  done  in  Elizabethan 
times. 

mass.  In  the  R.  C.  service,  that  por- 
tion accompanying  the  consecration 
of  the  Host.  Before  this  service, 
those  not  permitted  to  take  part  are 
dismissed  with  the  words,  "  Ite 
missa  est  "  (vide  ite) — hence,  by  cor- 
ruption, the  name  "mass."  The 
service  up  to  the  dismissal  was  called 
"  Mass  of  the  catechumens,"  that 
after  it,  "Mass  of  the  faithful" 
(A/issa  Jidelum).  A  mass  without 
music  is  low  m.  ;  with  music  high 
m.     The  musical  service  is  as  follows  : 

1.  The  kyrie,  (a)  Kyrie  Eleison,  (b) 
Christe    Eleison,   (c)   Kyrie    Eleison. 

2.  The  gloria,  or  doxology,  (a) 
Gratias  agimus,  (b)  Qui  tollis,  (c) 
Quoniam,  (d)  Cum  sancto  spiritu.  3. 
The  credo,  (a)  Et  incarnatus,  (b) 
Crucifixus,  (c)  Et  resurrexit.  4.  The 
sanctus.  Benedictus  and  Hosanna. 
5.  The  agnus  dei,  and  Dona  Nobis. 
These  divisions  are  named  from  the 
first  words  of  their  text  (which  will  be 
found  translated  under  the  separate 
heads). 

The  short  m.  is  that  of  tne  Protes- 
tant Church,  which  uses  only  the  kyrie 
or  the  gloria. 


Masses  have  been  written  in  all  elab- 
orations from  simple  unison  to  fullest 
counterpoint  and  to  choral  works  in 
from  S  to  32  parts  with  orchestral  ac- 
companiment. (Vide  PALESTRINA  in 
the  B.  D.) 

Mass  (mas),  G.     Measure,  time. 

massig  (mes'-sikh),  G.  i.  Moderate, 
moderate(ly).  2.  Asa  sufifix,  "appro- 
priate to,"  as  klaviermdssig,  etc. 

massima  (mas'-sl-ma),  /.  The  "  great- 
est." I.  A  whole  note.  2.  Augmented 
intervals.  3.  A  maxim.  Vide  nota- 
tion. 

master  chord.  The  dominant,  m. 
fugue.  An  elaborate  fuga  ricercata. 
m.  note.  The  leading-tone.  m.- 
singer.     Vide  meistersinger. 

Masure  (ma-zoo'-re),  G.,  Masure(c)k 
(ma-zoo' -rek),  Pol.,  Masurka  (ma- 
zoor'-kii),   G.     Vide  mazurka. 

matachin  (ma-ta-chen'),  Sp.  A  gro- 
tesque Merry  Andrew  dance. 

mat'alan.     A  small  Indian  flute. 

matassins  (ma-tas-sSh),  F.  i.  Ma- 
tachin.    2.  The  dancers  of  it. 

matelotte  (mat-lot),  F.     Sailor's  horn- 

.  pipe.  , 

matinare  (ma-tl-na  -re),  /.  To  sing 
matins. 

matinata  (ma-tt-na -ta),  /.  Morning 
serenade. 

mat'ins.  The  first  morning  service  in 
the  R.  C.  Church.     Vide  hor.«. 

Maultrommel  (mowl'-trom-mel),  G. 
A  Jew's  harp.  M.-t.-klavier.  Me- 
lodicon. 

max'im(a),  L.     Vide  notation. 

Mazourk  (ma-tsoork').  Maz(o)urka 
(ma-tsoor'-ka),  mazur  (ma-tsoor), 
Mazur'ca,  Mazurek  (mii-tsoo'-rek). 
Mazurka  (ma-tsoor'-ka  ;  pi.  Mazur- 
ke,  ma-tsoor'-ke),  G.  mazurka,  £. 
(ma-zoor'-ka).  A  Polish  national 
dance  of  whimsical  mood  ;  in  triple 
time  with  the  3d  beat  variously 
treated. 

m.  d.   Abbr.  of  Main  Droite,  right  hand. 

me.     Vide  tonic-sol-fa. 

mean.  Inner,  as  tenor,  or  alto  (of 
voices)  ;  as  the  ^  or  a  strings  (of  a  vio- 
lin), mean  clef.  Tenor  clef,  mean- 
tone  system.    Vide  temperament, 


194 


THE    MUSICAL    GUIDE 


measurable.     Vide  me.nsurakle. 

measure,  i.  The  unit  of  rhythm, 
corresponding  to  the  metrical  foot 
and  including  the  notes  between  two 
bars  ;  each  measure  has  one  and  only 
one  major  accent.  Vide  time.  2. 
Loosely  for  tempo.  3.  A  stately 
dance  as  the  passy  m.,  a  cinque-pace. 
measure-note,  the  typical  standard 
note  of  a  measure,  as  the  Sth  note  in 
3-3  time,  measure-rest.    Vide  rest. 

m6canisme  (ma-kan-ezm),  F.  Tech- 
nic. 

Mechanik  (me-ka'-nek),  G.  i.  Action. 
2.  Machine-head.  3.  The  mechan- 
ism of  fingering  and  wrist-action.  4. 
Technic. 

mechanism,  i.  Action.  2.  Finger 
and  wrist  action. 

medesimo  (me-da'-sl-mo),  medesmo, 
/.  The  same.  m.  tempo.  The  same 
time,  as  before. 

medial,  i.  Concerning  the  Mediant. 
2.  Intermediate  or  secondary  (of  ac- 
cent).     Vide  C.\DENCE. 

me'diant,  m^diante  (ma'-dl-ant),  F., 
mediante  (ma-dl-an'-te),  G.  and  /. 
I.  The  third  note  of  the  scale.  2. 
One  of  the  3  pivotal  tones  of  a  mode, 
midway  between  final  and  dominant. 

mediation.     Vide  chant. 

medius.     Vide  accentus  eccl. 

medley.  A  conglomerate  of  unrelated 
and  usually  familiar  tunes. 

Meertrompete  (mar-trom-pa'-te), 
Meerhorn,  G.     Sea-trumpet. 

mehr  (mar),  G.  l^Iore.  m.  chorig 
(ka-rikh).  For  several  choruses,  mehr- 
fach  (mar-fakh).  Manifold,  of  an  in- 
terval, a  canon,  or  a  compound  stop. 
mehrstimmig  (shtlm -mlkh).  For 
several  voices.  Mehrstimmigkeit 
durch  Brechung  (klt-doorkh-brekh- 
oongk).  Polyphony  that  consists 
only  of  broken  chords. 

Meis'ter  (ml-ster),  G.  Master.  M. 
fuge  (foo'-ge).  A  ricercata  fugue. 
M.-gesang  (ge-zang).  Minstrel- 
song.  M. -Sanger  (zeng-er),  or 
singer  (zing-er).  A  member  of  the 
singing  guild  founded  at  Mainz  in  the 
14th    cent,   and    lasting   till    1839  at 


I'lm.  Wagner's  opera  describes 
their  strict  and  elaborate  rules 
Tabulatur.  (Vide  Stories  of  the 
Operas,  "  Die  Meistersinger.")  Meis- 
terstiick  (shtiik).    Masterpiece. 

melancolia  (ma-lan-k5-le'-a),  /.,  m6- 
lancolie  (ma-iah-ko-le),  F.  Melan- 
choly. 

melange  (ma-lahzh),  F.     A  medley. 

melis'ma,  Gr.  i.  A  vocal  embellish- 
ment or  run.  2.  melismat'ic  song.; 
That  in  which  one  syllable  is  sung 
to  many  notes,  opposed  to  syllabic | 
song. 

melode    (ma-l6'-de),  or  melodia  (r 
16-de-a),  /.     i.   Melody.     2.  A 
much  like  the  clarabella. 

melo  deon.     Vide  American  orcxAN. 

melodic   interval,  or  step.     One 
which  the  tones  are  taken  in  succes 
sion,    as  opposed  to    harmonic, 
which  they  are  simultaneously  taken.] 

melo  dica.     A    tiny    pipe-organ    will 
compass  of  3-^^  octaves,  inv.  1770, 
Stein,  of  Augsburg. 

melodico  (ma-l6'-dl-k6).     Cantando. 

melod  icon,     A  key-board  instr.,  invjj 
by  Rififel,  in  Copenhagen,  the  tone 
produced  from  tuning-forks. 

melodies.     Theory  of  melody. 

melodic  (ma-16-de),  F.  Melody,  air! 
m.  bien  sentie  (bT-an  safi-te). '  Tht 
melody  well  accented. 

melodieuse  (ma-l6d-yuz).  Melodious 
melodieusement  (maii).  Melodi 
ously. 

Melodik  (me-l6'-dek),  G.    Vide  Melo 

Dies. 

melo'diograph.     Melograph. 
melo'dion.     A    key-board   instr.    witl, 

range  of   6  octaves  inv.  by  Dietz,  0 

Emmerich,     the    tone    produced    b 

tuned  steel  bars  pressed  by  a  rotatin;; 

cylinder. 
meiodioso  (me-l5-dI-6'-so),  /.,  melc 

disch  (me-15'-dlsh),  G.     Melodious, 
melodista    (ma-16-des'-ta),    /.,    m^lc 

diste  (ma-l6-dest),  F.     Melodist. 
Melodistik  (me-l6-des'-tek),  G.    Mek 

dies. 
melodium.      i.    American    organ.     : 

Alexandre  organ.  1 


I 


DICTIONARY    OF    TERMS       195 


melodrama,  E.,  Melodram  (ma'-l6- 
drjim),  G.,  m^lodrame  (ma-Io-dram), 
/".,  melodramma  (ma-lo-dram'-ma), 
/.  I.  Originally  opera.  2.  Spoken 
drama  accompanied  with  instr.  music, 
hence  the  music  accompanying  action. 
3.   A  play  of  sensational  nature. 

melody,  i.  A  tune.  2.  A  succession 
of  tones,  rhythmically  and  symmetri- 
cally arranged,  as  opposed  to  har- 
mony, a  combination  of  simultaneous 
tones.  3.  The  leading  part,  lead- 
ing ra.     A  principal  melody. 

rae'lograph.  A  piano  inv.  1827,  which 
recorded  what  was  improvised.  Many 
attempts  of  this  sort  have  been  made, 
the  most  successful  an  electric  m.,  the 
Phonaut'ograph,  by  Fenby,  of  Eng- 
land, recording  after  the  manner  of 
telegraphy.  This  record  cut  into 
cardboard  is  run  through  a  key-board 
attachment,  the  melotrope,  to  repro- 
duce the  music. 

mel  ologue.     Recitative  and  music 

meloman,  Gr.,  m^lomane  (ma'-l6- 
man),  F.,  Meldmaniac,  E.  A  pas- 
sionate lover  of  music,  me'lomanie 
(ma-16-ma-ne),  F.,  melomany.  Mu- 
sic mania. 

melopea  (ma-l6-pa'-a),  /.,  m^lop^e 
(ma-16-pa),  F.     The  art  of  melody. 

mel'ophare.  A  lantern  with  oiled 
music  paper  sides  for  use  in  sere- 
nades. 

mel'opiano.  A  device  inv.  1870  by 
Caldera,  of  Turin,  for  giving  the 
piano  power  to  increase  the  volume 
of  a  sustained  tone.  A  treadle  works 
small  hammers  acting  rapidly  on  the 
strings. 

mel'oplaste  (mel'-o-plast).  Pierre  Gal- 
ius's  simplified  method  of  teaching  the 
rudiments  by  singing  popular  airs  and 
pointing  the  place  of  the  notes  on  the 
staff,  and  by  using  two  metronomes 
for  beats  and  measures. 

melopoea  (me-16-pe'-a),  Gr.  Art  of 
Composition. 

Melos  (ma'-l5s).  Melody.  Used  by 
Wagner  for  the  melody,  also  the  en- 
tire implied  harmony,  the  musical 
idea.     Vide  recitative. 


mel'otrope.     Vide  melograph. 
meme  (mem),  F.     The  same,    a  la  m. 

tempo.     In  the  original  tempo. 
men  (man),  /.     Abbr.  of  meno  before 

a  vowel,    men  allegro.     Less  quick. 
mendstrel  (mu-nas-trel),  F.    Minstrel. 

Vide  TROUBADOUR. 

men^'trier  (mii'na-trl-a),  F.  A  min- 
strel or  rustic  musician.  Vide  trou- 
badour. 

meno  (ma'-no),  /.  Less ;  not  so  fast. 
m.  mosso.     Less  speed. 

Mensur  (men-zoor),  G.  Measure,  of 
time,  intervals,  scale  of  pipes,  and 
sizes  of  instr.  strings,  etc. 

men'sura,  L.     Measure,  time. 

mensurable,  E.,  mensural  (men- 
zoo-ral'),  G.  The  original  plain- 
chant  was  in  notes  of  equal  duration  ; 
in  the  12th  cent,  the  old  square 
notes  were  modified  and  given  a 
"  measurable  "  value.  The  first  men- 
surable notes  were  the  maxima, 
longa,  brevis  and  seinibrevis ;  in 
1300,  the  mijiima  and  semiminima 
were  added.  In  the  15th  cent,  white 
notes  displaced  the  black,  which  were 
chiefly  used  for  smaller  values.  The 
music  so  written,  or  mensurable 
music,  was  governed  by  many  com- 
plicated laws.     Vide  notation. 

mente  (men'-te).  Mind,  alia  m.  Im- 
provised. 

menuet  (mCi-noo-a),  /".,  Menuett 
(men-oo-et'),  (7.,  menuetto  (ma- 
noo-et'-to),  /.      Minuet. 

mer'ula,  L.  A  set  of  pipes  in  water 
producing  a  warbling  tone. 

me'ris,  Gr.  The  6th  part  of  an  oc- 
tave. 

mesau'lion,  Gr.  Symphony,  ritor- 
nello. 

mescal.  A  Turkish  instr.  of  twenty- 
three  cane  pipes,  each  giving  three 
different  sounds. 

mescolanza  (mes-ko-lan'-tsa),  /.  A 
medley. 

me'se,  me'son,  Gr.     Vide  chart  oe 

GREEK  MODES  and  LYRE. 

me'sotonic.    i.  Mean-tone.  Vide  tem- 
perament.    2.  Vide  lyre. 
mes'sa,  /.     A  mass. 


196 


THE    MUSICAL    GUIDE 


messa  di  voce  (mes'-sa  dt  v6'-che),  /. 
The  gradual  swelling  and  diminishing 
of  a  tone  ;  to  attack  and  swell  is  for- 
mare  il  tuono  (f6r-ma -re  el  too-o'- 
no) ;  to  sustain  loudly  is  fermare  il 
t.  (fer-ma'-re) ;  to  diminish  is  finire 
(fe-ne'-re)  il  t. 

messanza  (mes-san'-tsa),  /.  Quodli- 
bet  (q.  v.). 

messe  (mes),  F.,  Messe  (mes'-se),  G. 
A  mass. 

mes'sel,  ^^a3.  "Measure."  The  Ara- 
bian method  of  reckoning  intervals, 
the  lower  notes  receiving  greater 
values  than  the  higher  because  the 
vibrating  portion  of  the  string  which 
produces  them  is  longer. 

mesto  (mas'-to),  /.  Melancholy,  mes- 
to'so.     Sad. 

mesure  (mii-zur'),  F.  Measure,  a  la 
m.  In  time.  m.  a  deux  temps  (dii 
tan).  Common  time.  m.  a  trois 
temps  (trwa  taii).  Triple  time.  m. 
demi  (d'me).     Half  measure. 

met.     Abbr.  of  Metronome. 

metal  (ma-tai'),  Sp.  Strength,  compass 
of  the  voice. 

metallico  (me-tal'-lt-ko),  /.  (Of  a  voice) 
"  metallic  "  in  a  good  sense,  clear, 
ringing,  hence  metal'lo,  "metal." 

metamorphoses.     Variations. 

meter,  or  metre,  E.,  metre  (metr),  F. 
In  music  as  in  verse,  the  arrange- 
ment of  rhythmic  units,  or  measures. 
The  m.  of  hymns  is  classified  by  the 
number  of  syllables  to  a  line,  the  met- 
rical foot  and  the  number  of  lines  to  a 
stanza.  In  Iambic  m.  are  common 
m.  (C.  M.),  4  lines  alternately  8  and 
6  syllables  long ;  common  partic- 
ular, or  hallelujah  m.  (C.  P.  M.), 
886886  ;  longm.  (L.  M.),  4  lines  of  8 
syllables ;  long  particular  m.  (L. 
P.  M.),  or  long  m.  six  lines,  6 
lines  of  8  ;  short  m.  (S.  M.),  6686  ; 
short  particular  m.  (S.  P.  M.,), 
668668  ;  stanzas  of  8  lines  are  called 
double  (C.  M.  D.  ;  L.  M.  D.  ;  S.  M. 
D.).  Other  line-lengths  are  sevens 
and  sixes  (7676),  tens  (four  lo's), 
hallelujah  (666688,  or  66664444). 
In  trochaic  m.  are  sixes  (four  6's), 
sixes    and    fives    (6565),    sevens 


(four  7's),  eights  and  sevens  (8787). 
In  Dactylic  m.  are  eights,  eights, 
sevens  and  fours,  etc.  ;  elevens 
(four  ii's),  and  elevens  and  tens 
(11,  10,  II,  10),  etc.  Classic  and 
French  metres  depend  on  quantity 
or  length  of  syllables,  instead  of  on 
their  stress  or  accentuation  as  withj 
us.     Vide  FOOT. 

method,  E.,  m^thode  (ma-tod),  F., 
metodo  (ma-to-do),  /.  A  course  of 
instruction  ;  classification  ;  system. 

Metrik  (mat'-rek),  G.  Metrical  art. 
metrisch  (met'-rlsh).     Metrical. 

metro  (ma'-tro),  /.  and  Sp.     Metre. 

Metrometer  (me-tro-ma-ter),  G.,  m6- 
trom^tre  (ma-tro-metr),  F.,  metro- 
metro  (ma-tro-ma'-tro),  /.  Metro- 
nome. 

metronome,  E.,  Metronom  (ma- 
tro-nom),  6".,  metronome  (ma-tro- 
nimi),  /'.,  metronomo  (ma-tro-no'- 
mo),  /.  A  pendulum  worked  by 
clock-work,  and  weighted  below  ;  pro- 
vided with  a  movable  slide,  and 
graduated  that  its  rate  of  vibration 
per  minute  can  be  fixed  by  the  slider ; 
with  the  slider  at  60  it  beats  60  times 
a  minute,  etc.  It  moves  with  an  au- 
dible click  ;  the  bell-metronome  has 
also  a  bell  which  rings  every  third  or 
fourth,  etc.,  beat.  Perfected  by  Win-  ; 
kel  it  was  put  on  the  market  by 
Maelzel  (vide  B.  D.),  and  is  called 
Maelzel's  metronome(abbr.  M.M.). 
It  is  useful  as  a  composer's  indica- 
tion of  the  standard  time  of  a  compo- 
sition ;  hence  the  metronome-mark, 
thus  M.  M.  J -90,  means  a  rate  for 
quarter  notes  equal  to  90  per  minute,  • 
as  indicated  by  the  slider  set  at  go. 
It  is  used  also  to  beat  time  for  stu- 
dents. It  is  made  also  in  watch- 
form  as  a  pocket  m. 

met'rum,  L.     Metre. 

Mette  (met'-te),  G.     Matins. 

metter  la  voce,  /.  Same  as  messa  di 
voce. 

mettere  in  musica  (met'-te-re  in  moo'- 
zl-ka),  /.     To  set  to  music. 

mettez  (met-ta),  /'".     "  Draw  (a  stop).": 

mettre  d'accord  (metr  dak-kor),  F., 
To  tune.     m.  en  musique  (an-mii- 


DICTIONARY    OF    TERMS       197 


zek).  To  set  to  music,  m.  en  re- 
petition (ra-pa-tes'-yon).  To  put  in 
rehearsal. 

met'zilloth,  metzilltheim,  Heb.  Cym- 
bals. 

mez.     Abbr.  of  Mezzo. 

mezzo  (med'-z6),  /.  Medium,  half. 
m,  aria.  Vide  aria  parlante.  m. 
bravura.  Moderate  difficulty,  m. 
forza  (for'-tsa).  Moderately  loud. 
m.  manica  (ma'-nl-ka).  The  half- 
shift,  mezzana  (med-za'-na).  Middle 
string  of  a  lute.  m.  orchestra.  Half 
the  string-band.  m.  voce  (vo'-che), 
/.  Half  the  voice,  with  moderate 
tone.  m.  forte  (for'-te).  Moderately 
loud.  m.  piano  (pl-a-n5),  /.  Rather 
soft.  m.  soprano.  A  voice  lower 
than  soprano,  higher  than  contralto. 
mezzo  soprano  clef.  The  C  clef  on 
the  second  line,  in  old  church-music 
or  madrigals.  The  treble,  or  soprano, 
clef  now  supplies  its  place,    m.  stac- 

■  cato.  A  little  detached,  m.  teno're. 
A  low  tenor  voice,  nearly  barytone,  m. 
tuono  (too-6'-no),  /.     A  semi-tone. 

m.  f.     Abbr.  of  mezzo  forte. 

m.  g.  Abbr.  of  main  gauche  (left 
hand). 

mi  (me),  /.  and  F.  r.  The  note  E. 
mi  beraol  (ba-mol).  E  flat,  mi 
di^se  (dl-ez).  The  note  E  sharp. 
2.  Vide  SOLMISATION.  3.  The  3d 
of  the  scale,  nti  contra  fa  est  diabo- 
lus  in  musica,  **  mi  against  fa  is  the 
devil  in  music,"  was  the  medireval  ob- 
jurgation against  the  tritone  (q.  v.), 
mi  being  B  natural  in  the  hard  hexa- 
chord,  fa  being  F  in  the  natural 
hexachord.   mi-re-ut.  Vide  octave. 

mi'crophone.  An  instr.  for  the  mag- 
nifying of  sounds. 

mid-c,  or  middle  c.  c'  (vide  pitch), 
because  it  is  in  the  centre  of  the  piano 
and  between  the  treble  and  bass 
staves. 

middle  voices.     Tenor  and  alto. 

mignon  (men-yon),  F.  i.  Favourite, 
pet.     2.  Delicate. 

militaire  (mll-I-tar),  F.,  militare  (me- 
ll-ta-re),  /.,  militairement  (mll-I- 
tar'-mah),  F.,  militarmen'te,  /. 
Martial(ly). 


Militarmusik  (me-ll-tar'-moo-zek). 
Military  band  or  music. 

military  band.  An  orchestra  for  out- 
of-doors,  substituting  for  stringed 
instrs.  additional  and  more  powerful 
clarinets,  and  using  saxophones,  cor- 
nets, etc.,  freely. 

milote  (me-l6'-te),  Sp.  An  Indian 
dance. 

mi'modrama,  E.,  mimodrame  (me- 
mo-dram'), /".     Pantomime. 

minacciando  (me-nat-chan'-do),  min- 
accievole  (cha'-v5-le),  minaccio'so, 
minaccie'volmente,  minaccio'sa- 
mente.     Threatening(ly)- 

minagnghinim  (mi-nangd'-gT-ntm), 
Heb.  A  table  over  which  was  stretched 
an  iron  chain  and  a  hempen  cord 
through  balls  of  wood  or  brass  ;  strik- 
ing against  the  table  they  made  a 
ringing  sound. 

minder  (mint'-er),  G.     Minor,  less. 

mineur  (me-niir'),  F.     Minor. 

min  im,  minima  (me'-nT-ma),  /.,  min- 
ime  (mln-em'),  F.    A  half-note.  Vide 

NOTATION. 

Minnedichter  (mTn'-ne-dlkh'-ter),  M.- 
sanger  (zeng-er),  M.-singer  (zlng- 
er),  G.  From  the  12th  to  the  14th 
century  a  German  troubadour  of 
noble  birth  celebrating  pure  love  in 
song  (Minne-gesang).  The  sing- 
ers wrote  both  words  and  music,  sing- 
ing and  playing  on  the  arpanetta  or 
the  viol.  Their  festivals  of  contest 
are  reproduced  in  Wagner's  "  Tann- 
hauser."  They  were  less  formulaic 
than  their  successor  the  "  Meister- 
singer."  In  the  opera  of  the  latter 
name,  Wagner  (vide  "Stories  of  the 
Operas  "  in  this  book)  shows  Walter 
the  Minnesinger  in  conflict  with  the 
dogmas  of  the  Meistersinger. 

minor,  E.,  minore  (me-no'-re),  /. 
"Smaller,"  of  intervals,  etc.,  as  op- 
posed to  major.  Vide  interval,  ma- 
jor, MODE,  SCALE,  m.  tonc.  The 
lesser  whole  tone,  10:9.  m.  triad. 
One  with  minor  3d  and  perfect  5th. 

min'strels.  Singers,  usually  of  a  servile 
or  vagabond  class,  sometimes  acting 
as  attendants  on  the  trouveres  and 
troubadours  (q.  v.),  and  generally  play- 


THE    MUSICAL    GUIDE 


ing  the  rebec,  negro  m.  One  who 
gives  an  imitation  (usually  remote)  of 
the  songs,  dances,  etc.,  of  the  Amer- 
ican negro. 

minue  (me-noo-a),  Sp.     A  minuet. 

minuet  (min-u-et'),  .£.,  minuetto  (me- 
noo-et'-to),  /.  A  stately  and  delib- 
erate dance  (originating  probably  in 
Poitou  in  the  17th  centur}-)  in  triple 
time,  with  gallant  and  amorous 
spirit.  As  one  of  the  most  important 
music-forms,  it  contains  usually  a 
principal  subject  and  a  trio  each  in 
contrasted  sections.  Appearing  first 
as  a  movement  in  the  suite  and  par- 
tita it  became  a  part  of  the  sonata  and 
symphony,  Beethoven  substituting  for 
it  the  Scherzo,  and  Tchaikovsky,  in 
one  case,  a  Viennese  waltz,  minuet- 
tina  (tena),  /.     A  little  minuet. 

miracle,  mirade-play.  Vide  mys- 
tery. 

mi-re-ut.     Vide  oct.we. 

miscel  la,  L.     Mi.^cture-stop. 

mise  de  voix  (mez-du-vwa).  Vide  mes- 

SA  DI  VOCE. 

miserere  (me-ze-ra-re),  L.  First  word 
of  Psalm  LI. beginning  miserere  mei, 
domine,  "  Pity  me.  Lord."  Hence 
a  setting  of  this  Psalm  sung  in  the 
R.  C.  service  for  the  dead,  and  dur- 
ing Holy  Week. 

misericordia  (me'-za-rl-kor'-dl-a),  L. 
A  miserere. 

misk'in.     A  little  bagpipe. 

mis  sa,  L.  and  /.  A  mass  (q.  v.). 
m.  brevis.  Short  mass.  m.  can  on- 
ica.  A  canonical  mass.  m.  cantata. 
Chanted  mass.  m.  pro  defunc  tis. 
"Mass  for  the  dead."  Requiem. 
m.  solen  nis.     High  mass. 

missal,  E.,  missa  le,  Z.,  Missel 
(mis  -sel),  G.  The  mass-book  contain- 
ing the  forms  of  the  year. 

misshaliig,  or  misshellig  (mTs-hel- 
llkh),  G.  Discordant.  Misshallig- 
keit  (kit).  Dissonance.  Missklang 
(klang).  Discord.  missklingen 
(mTs  -kllng-en),  misslauten  (low- 
ten).  To  be  discordant.  Misslaut 
(lowt).  Discordant  sound.  Miss- 
lautead  (low-tent).     Dissonant,  dis- 


cordant,   misstimmen  (shtlm'-men). 
To  put  out  of  tune. 

misterio  (mls-ta -ri-o),  mistero  (mls- 
ta'-ro),  /.  Mystery,  misterio  SO, 
misteriosamen  te.     Mysterious(ly). 

mistichanza  (mes-tl-kan'-tsa),  /, 
Quodlibet  (q.  v.). 

mis  to,  Gr.     Mixed.   Vide  modes. 

misura  (me-soo  -ra),  /.  Measure,  mis- 
urato  (me-soo-ra'-to),  /.  In  strict 
time. 

mit  (mit),  G.     With,  by. 

Mitklang  (mit  -klang),  G.  Resonance. 
mitklingende  Tone  (mlt'-kllng- 
ent-e  ta'-ne).     Overtones. 

Mitlaut  (mit'-lowt),  G.,  Mitlauter 
(mit  -low-ter).  Concord,  consonance. 
mitlauten.     To  sound  with. 

mitleidsvoll  (mlt'-llts-fol),  G.  Compas- 
sionate. 

Mittel  (mit'-tel),  G.  Middle,  half. 
mittel  c.  (tsa).  Middle  C.  Mittel- 
kadenz  (ka-dents).  A  half-cadence. 
Vide  CADENCE.  Mittel-laut  (lowt). 
Middle  sound,  mittelmassig.  In- 
different. M.-stimme  (shtlm'-me). 
Inner  part. 

mixed.  Vide  cade.nce.  m.  canon. 
Vide  CANOx.  m.  chorus,  etc.  One 
with  both  male  and  female  voices,  m. 
in  organ,  the  mi.xture-stops. 

mix'olydian.     Vide  modes. 

mixture,  A.,  mixtu  ra,  L.,  Mixtur 
(mex-toor'),  G.  A  compound  flue- 
stop  consisting  of  2  to  6  ranks  of 
pipes,  giving  2  to  6  harmonics  of  any 
tone.  The  m,  is  auxiliary  only, 
usually  sounding  only  the  octave  and 
the  fifth,  and  aiming  to  brighten  the  , 
foundation-stops.  Ancient  m. 's  had  ■ 
from  8  to  24  ranks,  the  result  doubt- 
less being  atrocious  discord. 

mobile  (mo-bl-le),  /.  Facile,  impul- ; 
sive,  fickle. 

moderato  (mo-de-ra'-t5),  7.  Moderate, 
in  time.  moderatissimo,  or  m. 
assai  (as-sa'-e).  In  very  moderate 
time,  moderamen'te.  Moderately. 
moderanza  (ran'-tsri),  moderazione 
(ra-tsl-5'-ne).     Moderation. 

moderna,  alia  (al'-la  mo-der'-na),  /. 
In  the  modern  style. 


DICTIONARY    OF    TERMS       199 
Modes. 

Bv  THE  Editor. 

PERHAPS  the  most  graphic  definition  of  modes  to  the  modern  mind 
would  be  : — overlapping  portions  of  the  C  major  scale  :  or  succes- 
sive octave-stretches  along  the  white  keys  of  the  pianoforte.  Eccle- 
siastical modes  were  the  Middle  Age  perversion  of  the  Greek  Modes.  While 
overthrown  by  Nineteenth  Century  scales  and  tonality,  traces  of  their 
influence  persevere,  and  many  of  the  old  chants  still  in  use  in  the  Roman 
Catholic  and  Anglican  services  are  more  or  less  exact  specimens  of  the 
capabilities  of  the  modes.  The  Twenty-first  Century  will  probably  qualify 
and  develop  our  own  system  oi  keys  out  of  shape  and  recognition.  The 
complete  overthrow  of  the  ideas  of  tonality  and  modulation  of  the  earlier  part 
of  the  Twentieth  Century  is  indeed  even  now  beginning.  We  are  already 
over  the  doorsill  of  the  nullitonic  or  omnitonic  harmonies,  and  the  mukitude 
of  accidental  sharps  and  flats  and  naturals  required  to  notate  the  highly 
chromatic  music  of  our  day  renders  inevitable  some  radical  change  in  the 
system  of  keys  ;  meanwhile,  the  obsolete  modal  systems  have  at  least  a  keen 
historical  interest  and  importance.  There  is  place  here  for  only  an  allusion 
to  a  few  of  the  salient  points.  Full  statement  of  the  details  and  the  contro- 
versies on  them  would  fill  a  large  library.  ^Though  the  Greeks  properly 
gave  music  a  very  high  place  in  their  educational  system,  they  were  too 
much  engrossed  in  theories,  rules,  and  restrictions  to  build  up  large  material. 
Their  musical  resources  were  of  the  slenderest.  While  their  noble  tragedies 
were  exactly  Wagner's  idea  of  opera,  the  music  to  which  they  were  set 
seems  to  have  been  of  the  most  limited  range  and  variety  ;  and  furthermore, 
absolutely  lacking  in  harmony  even  in  the  Middle  Age  sense.  ^The  Greek 
svstem  difi"ers  from  ours  in  being  all  of  a  minor  tendency,  in  having  the 
notes  named  downwards,  and  in  paying  attention  only  to  melody  and  not  at 
all  to  chords.  The  white  piano  keys  from  e'  (just  above  middle  C)  to  the 
E  an  octave  below,  represent  their  oldest  and  central  mode,  the  Dorian.  By 
remembering  that  all  these  steps  are  whole  tones  except  the  two  semitones 
fi-om  c'  to  b  and  F  to  E,  and  by  representing  a  whole  step  by  a  (  +  )  and  a 
half  step  by  a  (  — ),  it  will  be  seen  that  this  Dorian  mode  descends  by  the 

following  steps,  +  H \-  -\ .      These  make   two    similar  groups  of  three 

steps  or  four  notes,  which  were  called  tetrachords.  The  word  chord  with 
them  meant  "string  "  not  "harmony,"  for  their  whole  music  took  its  rise 
from  their  lyre,  a  stiff  and  limited,  unfretted  instrument  of  many  poetical 
associations  but  stinted  in  practical  possibilities.  The  pattern  of  tetrachord 
( -f  -1 )  into  which  this  Dorian  mode  divided  was  called  the  Dorian  tetra- 


aoo 


THE    MUSICAL    GUIDE 


Chart  of  the  Greek  Modes. 


Dorian  (^'-i?)  (^Hypo--(_      4- 
mixo-lydian). 


-I-  6.  Hyper-phrygian  (or  Locrian)  d'-ij. 
-I-    7.  Hypo-phrygian  (or  Ionian)^' 
+  ^  S.   Hyper-lydian(^i-^). 
-I-       +1^  9.  Hypo-lydian  (/'-/). 

2.  Phrygian  {J' -J). 

3.  Lydian  (c'-c).  — 

4.  Mixo-lydian  0-B).  »J,  -f 
5.  (>35olian  or)  Hypo-dorian  (a-. 4).   -f- 

T/zt'  2u/io/t'  stt-ps  are  indicated  bv  +  ,    the  half -steps  by  —  ;  the  Diazeuxis 
is  'indicated  by  4"- 


DICTIONARY    OF    TERMS       201 

chord.  They  superimposed  on  the  top  note  e'  a  similar  tetrachord  of  the  tones 
a',  g',  P,  e,  and  added  below  another  e,  d,  c,  B.  To  these  they  added  the 
low  A  as  a  supplementary  (in  Greek  proslambanomenos').  The  outer  couples 
of  tetrachords  overlap.  Between  the  middle  two  is  an  imaginary  line  of  sep- 
aration {diazeuxis).  Each  of  these  was  therefore  a  "  disjunct  "  (^diazeng- 
menofj)  tetrachord.  The  "complete  system  "  (^systema  teleioTt)  of  two  octaves 
(a'  down  to  A)  was  divided  thus  into  four  tetrachords,  each  of  them  given 
the  name  whichi  (with  its  English  translation)  is  shown  in  the  chart  here- 
with. For  purposes  of  modulation  they  laid  across  the  middle  of  this  system 
an  overlapping  or  "  conjunct  "  {syriemmejio?i)  tetrachord  in  which  the  b  was 
flattened,  d',  c',  b^,  a  (+  -^  _).  ^The  octave  from  e'  down  to  E  was, 
as  already  stated,  called  the  Dorian  mode.  Other  portions  of  the  systema 
were  given  other  names,  d  to  D  being  called  the  Phrygian,  d  to  C  the 
Lydimt,  and  b  to  B  the  Mixo-Lydian.  ^They  conceived  a  way  of  extend- 
ing these  octaves  by  duplicating  one  of  the  tetrachords  below  (in  Greek 
"hypo"').  Thus,  if  the  upper  tetrachord  (e'  to  a)  of  the  Dorian  mode 
be  transferred  an  octave   below,  and    fastened  to   the  lower  tetrachord,  we 

shall  no  longer   have   e',  d',  c',   b,  a,  g,  f,  e,  (  +  H f-  H )  but   a,   g, 

f,  e,  d,  c,  B,  A,  which    also   is    +  -| \-  -\ ,  with    the  added   step  + 

{proslambanomenos).  This  is  called  the  Hypo- Dorian  mode.  ^The  Phryg- 
ian, Lydian,  and   Mixo-Lydian  modes  do  not  descend  by  the  same  whole 

and  half  steps  as  the  Dorian,  but  as  follows  :   Phrygian  (H +  +  -1 h), 

Lydian  (_+-f  — -f+_),  Mixo-Lydian  (-f -f- +  _ -f -f  _).  It  vvill 
be  found,  however,  that  these  modes  are  capable  of  the  same  ^j/o-treatment, 
thus  making  two  more  modes,  Hypo- Phrygian  and  Hypo- Lydian, — for  the 
Mixo-Lydian  (b  to  B)  being  too  low  to  add  a  tetrachord  beneath,  it  is 
added  above,  giving  /  to  e,  which  is  identical  with  the  Dorian.  The 
principal  note  {tonic)  of  the  regular  modes  was  the  top  note.  Each  hypo- 
mode  kept  for  its  chief  note  the  chief  note  of  the  original  (or  its  octave). 
The  names  and  ranges  of  these  seven  modes  with  two  others  added  later  are 
shown  in  the  chart,  which  shows  also  the  names  (and  their  translations)  given 
each  note  and  each  tetrachord.  ^With  this  system  as  a  foundation  and 
with  the  use  of  the  conjunct  tetrachord  and  its  b  flat  as  an  entering  wedge, 
the  Greeks  gradually  added  several  notes  above  and  below  their  systema,  and 
inserted  half  steps  between  the  full  steps  until  they  acquired  a  complete 
chromatic  scale  on  which  they  transposed  their  scales  with  much  melodic 
freedom.  Harmony,  of  course,  they  did  not  have.  These  transposed  scales 
were  not  named  like  the  original  modes  from  their  chief  notes,  but  were 
given  the  name  of  the  scale  whose  steps  they  resembled.  By  making  use  of 
the  -|-  and  —  ,  or  other  signs  for  indicating  half  or  whole  steps,  it  is  easy  to 
plot  out  the  steps  of  any  scale  and  find  its  prototype  and  its  name  in  the 


202  THE    MUSICAL    GUIDE 


original  modes.  ^The  Greek  notation  was  by  letters  and  symbols.  It  is 
too  complicated  to  explain  here.  ^A  method  of  manipulating  their  scale 
melodically  may  be  mentioned.  The  tetrachords  as  described  were  called 
diatonic,  but  in  the  Dorian  e,  d,  c,  b,  if  the  d  were  omicted,  the  tetrachord 
became  e — c,  b,  and  was  called  the  older  enharmonic.  A  later  plan  was  to 
keep  the  d,  but  lower  it  by  half  a  tone  (that  is,  to  tune  the  d  string  to  c 
sharp),  making  the  four  strings  e,  cJJ,  c,  b.  This  was  the  chromatic  genus. 
A  still  later  plan,  called  the  nezuer  enharmonic,  was  to  tune  the  d  to  a  pure 
third  with  the  e,  making  the  tetrachord  e,  c,  c,  b  ;  the  two  c  strings  differ- 
ing slightly  in  tone  (see  the  word  comma).  ^This  group  of  three  tones,  c, 
c,  b,  or  cj,  c,  b,  was  the  pyknon  (plural  pykna).  Other  variations  m  the 
treatment  were  called  chroai  (colourings).  Definite  melodies  were  given 
definite  names,  a  melody  being  a  nomas  (i.  e.,  arrangement,  order,  or  set 
ting).  ^jUpon  this  false,  but  elaborate,  system,  enormous  ingenuity  was( 
spent,  and  appalling  complexity  and  scholarship  of  a  kind  were  made  possible, 
to  the  delight  of  the  typical  theorist.  In  respect  of  melody  the  Greek  modes 
offered  far  more  freedom  than  the  church  modes,  which,  however,  possessed! 
the  modern  invention  of  harmony. 


ECCLESIASTICAL    MODES. 


Music,    along  with  all   the  other   early  Christian  arts,  borrowed  largely; 
from  the   Greeks,  but  rejected  their  warmth  and  ornate  sophistication  for  j; 
stark  rigidity.      •[[Early  church  musicians  took  the  Greek  modes  as  best  they 
could  understand  them,  making  as  many  mistakes  as  was  usual  in  the  de 
generate  classicism  of  those  times.      The  Byzantine  school  perverted  Greelj 
music   and    passed   it  along,  as  it   had  done   with   painting  and  architecture; 
The  range  and  the  chromatic  graces  of  later  Greek  melody  were  deserted  fo| 
a  heavy  march  through  one  octave  of  one  key.      Furthermore,  the  scale  wai 
considered  now  as  ascending,  instead  of  descending.      ^St.  Ambrose  is  tra, 
ditionally  credited  with  establishing   four   modes  for  church  music.      Frori 
these   St.    Gregory  was  believed  to  have  derived  four   new  modes.      Th; 
original   four  are  called  Authentic,  i.  e.,    "governing,"  or  "chief"      Th' 
latter  four  are  called  Plagal,   i.  e.,  "oblique"  or   "inferior."      To  thes 
were  added  other  modes,  some  of  them  being  denied  a  right  to  exist,      h 
with  all  the  old  Greek  modes,  all  the  church   modes  are  to  be  found  on  tk^ 
white  keys  of  the  piano  ;   no  chromatic  was  allowed  except,  finally,  b  fla 
which   was  admitted   to  avoid  the  forbidden  tritone  and  the  diminished  fiftl 
A  melody  that  did  not  stray  out  of  its  octave  mode  was  called  perfect ;  oi 
that  did  not  use  all  of  its    range    was    imperfect ;    one  that  overstepped  i 
octave  was  superfluous ;  one  that  used  up  both  a  mode  and  its  plagal  was  ini 
mixed  mode.      ^ Greek  names  were  used  for  the  church  modes,   but    wi 


DICTIONARY    OF    TERMS 


AUTHENTIC  MODES, 

OR 

MODI  AUTHENTICI. 

Each  authentic  mode  is 
•connected  with  its  plagal 
by  a  line  through  the  key- 
note or  finalis  of  both. 


PLAGAL   MODES, 

OR 

MODI  PLAGALES. 


203 


O 


u 


U 


204         THE    MUSICAL    GUIDE 

many  differences  from  the  old  nomenclature.  •fjAn  authentic  mode  is  based 
on  its  Final  or  lowest  note  ;  the  next  most  important  note,  usually  a  fifth  or 
a  third  above,  is  its  dominant.  A  plagal  mode  is  found  a  fourth  below  its 
authentic,  and  the  final  of  the  authentic  serves  also  for  the  plagal.  The 
dominant  of  a  plagal  is  a  third  below  that  of  its  authentic  (save  where  it  falls 
on  b,  in  which  case  c  is  used).  ^Curiously  enough,  the  two  modern  keys 
which  we  think  of  as  white  keys,  c  major  and  a  minor,  were  not  added  until  the 
sixteenth  century,  and  then  as  the  Ionian  and  ^olian  modes.  ^Besides 
many  impressive  hymns  the  church  modes  have  been  unconsciously  allowed 
to  fit  many  popular  modern  tunes.  It  is  not  hard  to  test  the  mode-ship  of 
any  air.  First,  if  necessary,  bring  the  melody  into  a  range  requiring  no  key- 
signature.  If  it  now  contains  any  accidentals  save  b  flat,  it  is  not  in  any  of 
the  modes.  Otherwise  note  the  tone  on  which  the  air  ends.  This  will  be 
the  final  of  its  mode.  If  this  is  the  lowest,  or  almost  the  lowest  note  used, 
and  if  the  melody  does  not  soar  higher  than  an  octave  above  it,  the  air  is  in  an 
authentic  mode.  If  the  final  is  in  approximately  the  centre  of  the  melodic 
range,  and  if  the  range  does  not  exceed  the  fifth  above,  or  the  fourth  below, 
it  is  in  a  plagal  mode,  or  it  may  be  in  a  mixed  mode.  The  name  of  the\ 
final  indicates  the  mode.  The  airs  ♦*  God  save  the  King"  (or  "  America")! 
and  the  "Blue  Bells  of  Scotland  "  are  authentic  melodies.  The  "  OldJ 
looth"  and  *<  Eileen  Aroon  "  axc  plagal.  "Jock  o' Hazeldean  "  is  in  al 
mixed  mode.  ^Much  of  the  music  in  the  old  church  modes  is  as  shocking: 
to  the  modern  sense  of  tonality  as  our  modern  music  would  seem  anarchistic 
to  an  old  master.  Superb  treasures  were  given  to  immortality  in  those  stifi 
and  arbitrary  forms.  Yet,  after  all,  the  modes  deserve  their  eternal  obsolete- 
ness. They  were  unsatisfactory  and  arbitrary  in  their  own  day.  They  are 
hopelessly  inappropriate  to  the  modern  musical  ideas  and  ideals.  The  ma- 
jestic beauties  of  some  of  their  results  are  but  as  the  impressive  fossils  of  earlieij 
evolution.  Their  fate  should  warn  us  against  stolid  satisfaction  with  qui 
own  musical  system. 


modesto  (mo-das' -to),  modestamente.  (mo-doo-la'-re),    /.       To    modulate 

Modest(ly).  modulan'te.     Modulating. 

modification.     Temperament   (q.  v.).  modulate,  j?.,  moduler  (mod-u-la),  / 

modificazioni      (m6-de-fI-ka-tsI-6'-ne),  To  effect  a  modulation. 

/.,  pi.     Slight  alterations.  modula'tion.     i.. Change  of   key,   to 

modinha   (mo-den'-a).  Port.     A   short  nality,  or   mode  (usually  to   a  relat 

song.  ed  key  by  means  of  chords  on  th 

mod.     Abbr.  of  Moderate.  dominant  of  the  new  major,  or  on  th 

modo  (m6'-d5),  /.  and  Sp.   Mode,  scale,  leading-tone  of  the  new  minor  key' 

style.  The  m.  may  be  transient,  transi 

modto.     Abbr.  of  Moderato.  tory,  or  passing,  when  it  leads  t 

modolare     (m5-d5-la'-re),      modulare  still  a  third  key  or  back  to  the  first' 


t! 


DICTIONARY    OF    TERMS       205 


it  may  be  final  when  it  establishes  a 
new  tonaHty.  enharmonic  m.  is  that 
by  means  of  enharmonic  (q.  v.) 
changes  of  notation.  2.  Obsolete. 
Melodic,  or  rhythmic  measurement, 
inflection. 

modulator.     Vide  tonic-sol-fa. 

modulatore  (mo-doo-la-to'-re),  /.  i. 
Singer.     2.  Tuner. 

modulazione  (mo-doo-la-tsl-o'-ne),  /. 
Modulation. 

moduliren  (mo-doo-le'-ren),  G.  To 
modulate. 

mo  dus,  L.     Key,  mode,  scale. 

moglich  (makh-likh),  G.  Possible. 
so  rasch  wie  m.  (z6-rash-ve).  As 
fast  as  possible. 

mohinda  (mo-en'-dii).  A  short  Portu- 
guese love-song. 

Mohrentanz  (mo-ren-tants),  G.  Mo- 
risco. 

moins  (mwan),  F.     Less. 

moll  (mol),  G.  Minor.  Mollakkord, 
or  Molldreiklang.  Minor  chord  or 
triad,  etc. 

molla  (mol'-Ia),  /.  A  key  (of  the  flute), 
etc. 

mol'le,  L.  Soft.  I.  Vide  "b."  2. 
Used  of  the  hexachord  f-d  in  which 
b  flat  was  substituted  for  the  older 
b  natural.     3.   Minor. 

molle  (mol),  F.     Soft,  delicate. 

mollemente  (mol-le-men'-te),  /.  Softly, 
gently. 

mollis,  L.     Vide  molle. 

Molltonart  (mol'-ton-art),  G.  Minor 
key.  MoUtonleiter  (ll-ter).  Minor 
scale. 

moltisonante  (m6l-te-s6-nan'-te),  /. 
Resounding,  very  sonorous. 

molto  (mol' -to),  /.  Much,  very,  di  m. 
E.xtremely.  m.  adagio.  Very  slow. 
m.  allegro.     Very  quick,  etc. 

momen'tulum,  L.     A  i6th  rest.  • 

momen'tum,  L.     An  8th  rest. 

monau'los,  Gr.  An  ancient  beak- 
flute. 

monocordo  (mo'-no-kor'-do),/.,  mon'- 
ochord,  F.,  monochorde  (m6n-6- 
kord),  F.  I.  An  instr.  of  one  string 
with  a  movable  bridge,  for  determin- 
ing intervals  and  pitch.     2.   Marine 


trumpet.  3.  A  clavichord.  4.  A 
German  i-stringed  zither  with  fretted 
finger-board  and  resonance-box.  5. 
a  monocordo  =  "  on  one  string," 
i.  e.,  with  the  soft  (or  monochord) 
pedal  down. 

monferina  (mon-fe-re'-na),  /.  Lively 
dance  in  6-8  time. 

raonodia  (mo-no-de'-a),  /.,  Monodie 
(mon-o-de),  /'.  and  G.     Monody. 

monodie.  P'or  one  voice  ;  or  with  one 
voice  predominant. 

monodra'ma,  monodrame  (dram).  A 
musical  drama  with  only  one  actor. 

mon'ody.     Homophony. 

monophon'ic.     Homophonic. 

monoph  onous.  Producing  but  one 
tone,  as  the  drum. 

monotone,  i.  Uniformity  of  sound. 
2.   Recitation  on  one  tone. 

Monotonie  (mo-no-to-ne'),  G.  Monot- 
ony. 

monot'onous.  Monophonous ;  lack- 
ing variety. 

montant  (moh-tah),  F.     Ascending. 

monter  (moh-ta),  F.  i.  To  string.  2. 
To  tune.  3.  To  put  an  instr.  to- 
gether.    4.   To  ascend. 

montre  (mohtr),  F.  The  pipes  (usu- 
ally the  diapason)  erected  and 
"  shown  "  at  the  front  of  the  organ. 

Moorish  drum.     A  tambourine. 

Moralitaten  (moral-l-ta'-ten),  C,  mo- 
ralit^s  (mo-ral-I-ta ),  F.,  moralities, 
F.  Allegorical  moral  plays  of  the 
middle  ages,  a  later  form  of  the  mys- 
teries. 

morbidezza  (mor-bl-ded'-za),  /.  Lux- 
urious delicacy. 

morceau  (m6r-s6),  F.  A  "piece." 
I.  A  short  composition.  2.  A  phrase. 
m.  d'ensemble  (dan-sahbl).  A  piece 
harmonised  for  voices,  m.  de  genre 
(du  zhanr).     Characteristic  piece. 

mordant  (mor-dah),  F.  A  trilled 
grace  (q.  v.). 

mordent,  F. ,  Mordent,  C. ,  mordente 
(mor-den'-te),  /.  A  grace  (q.  v.),  long, 
short,  or  inverted. 

moren'do,  moriente  (mo-rt-en'-tS),  /. 
Dying  away  ;  diminishing  in  volume 
and  speed. 


2o6 


THE    MUSICAL    GUIDE 


moresca  (mo-res'-ka),  /.,  moresque 
(mo-resk),  F.  Moorish  dance  with 
jingling  anklets  and  clashing  swords. 

Morgengesang  (mor'gen-ge-zang), 
M.-liea  (let),  G.  Morning  song.  M. 
-standchen  (shtent'-khen).  Morn- 
ing serenade. 

morisco  (mo-res'-ko),  /.  Moorish.  Vide 

MORESCA. 

tno'risk.     Morris-dance. 

mormoramen'to,  /.  A  murmur,  mor- 
morando  (rjin'-do),  mormorevole 
(ra-v6-le),  mormoro'so.  Gently 
murmuring. 

morrice-dance,  morris-dance,  mor- 
riske-dance.  An  English  country- 
dance  of  supposedly  Moorish  origin 
in  4-4  time,  the  dancers  wearing 
ankle-bells  and  grotesque  costumes. 

mort  (in  F.  mor).  A  tune  at  "the 
death  "  of  the  game. 

mosso  (mos'-s6),  /.  "  Moved,"  rapid. 
molto  m.  Very  fast,  meno  m. 
Less  fast,  etc. 

mostra  (mos'-tra),  /.     A  direct. 

mot  (mo,,  F.  A  note  or  strain  on  the 
bugle. 

motet(t),  E.,  Motette  (mo-tet'-te),  G*., 
motet  (mo-ta),  A.,  motet  to, /.  i. 
An  almost  always  unaccompanied  vo- 
cal composition  contrapuntally  devel- 
oped, and  using  biblical  text ;  a  sacred 
madrigal.     2.   Loosely,  an  anthem. 

mote'tus,  L.  i.  A  motet.  2.  An 
obscure  mediiTsval  term. 

motif  (mo-tef),  F.     Motive,  subject. 

motion.  Progression,  i.  Of  a  single 
part  by  degrees  (conjunct  m.),  or  by 
skip  (disjunct  m.).  2.  Of  two  parts 
relatively  considered ;  contrary  or 
opposite  if  one  ascends  as  the  other 
descends ;  oblique,  if  one  is  sta- 
tionary while  the  other  progresses  ; 
parallel  or  consecutive,  if  both 
move  in  the  same  direction  by  the 
same  interval  ;  similar,  if  both  move 
in  the  same  direction  by  unequal  in- 
tervals (the  latter  terms  are  loosely 
used  as  synonymous);  mixed,  if,  in 
the  case  of  several  parts,  two  of  the 
above  motions  occur  simultaneously 
between  different  parts.      3.  perpet- 


ual m.  Vide  perpetual.  4.  pulse- 
motion.  That  in  which  the  prevail- 
ing tone-length  is  that  of  the  standard 
note  of  the  measure,  as  \  notes  pre- 
dominating in  3-2  time  ;  half-pulse, 
that  in  which  the  prevailing  motion  is 
in  notes  of  half  the  pulse-value,  as  J 
notes  in  3-2  time,  etc.  5. eighth-note 
motion.  That  in  which  the  prevailing 
entrances  of  tones  fall  uniformly  on 
eighth  notes. 

motive,  .£■.,  Motiv  (mo-tef),  G.,  mo^ 
tivo  (m5-te  -v6),  /.  i.  Theme,  sub- 
ject, a  brief  phrase  or  figure.  2.  Vide 
LEADING-MOTIVE.  3.  In  Form,  a 
measure,  measure-m.  One  whose 
accent  is  that  of  the  measure. 

moto  (mo'-to),  /.  I.  Motion  (q.  v.). 
2.  Speed,  con  moto.  With  motion, 
rather  fast.  m.  contrario  (kon-tra- 
rT-6).  Contrary  motion,  m.  mis'to. 
Mixed  motion.  m.  obliquo  (6b- 
le'-kwo).  Oblique  motion,  m.  ret'- 
to.  Parallel  motion,  m.  perpet'uo. 
Vide  PERPETUAL,  m.  precidente 
(pra-chl-den'-t£).  The  same  time  as 
the  preceding  movement,  m.  primo 
(pre'-mo).  The  same  time  as  the  first. 

motteggiando  (mot-ted-jan'-do),  /. 
Mocking(ly),  jocose(iy). 

mottetto  (mot-tet'-to),  /.     Motet. 

mo'tus,  L.  I.  Motion  (q.  v.).  2.  Move- 
ment, m.  contrarius.  Contrary 
motion,  m.  obliquus.  Oblique  mo- 
tion. 

mouth.  The  opening  in  the  front  of  a 
pipe.  m. -harmonica,  or  m.  organ. 
I. Vide  UARMOMCA.      2.    Pan's  pipes. 

mouthpiece.  The  part  of  a  wind- 
instr.  applied  to  the  lips. 

mouvement  (moov-man),  F.,  movi- 
men  to,  /.  i.  Motion.  2.  Move- 
ment,    m.  de  I'archet  (du-lar'-sha),. 

'  F.  Bowing.  bien  mouvement6, 
(b'yan  moov-man-ta).  Rhythmically 
elegant  ;  well  regulated. 

movement.  i.  Rate  of  speed.  2. 
Style  of  rhythm,  as  waltz-ra..  3.  A 
major  division  of  a  composition,  hav- 
ing a  certain  integrity  in  itself,  as  the 
slow   or  the  2d  m.  of   a  symphony 


DICTIONARY    OF    TERMS       207 


(left 


m.  p.     Abbr.  of  Mezzo-piano. 

m.  s.     Abbr.   of    Mano    Sinistra 
hand). 

muance  (mii-ans),  F.  A  change  or 
variation  of  note.  Vide  mut.'VTION 
(2). 

mue  (mu),  F.     See  mutation. 

muet  (mii-a),  F.     Mute. 

Mund  (moont),  G.  Mouth.  M.  har- 
mo'nika.  Mouth-harmonica.  Vide 
HARMONICA.  M.-loch  (lolvh).  Mouth 
of  a  pipe.  M.  stUck(shtuk).  Mouth- 
piece. 

muiieira  (moon-ya-e'-ra),  Sp.  A  mod- 
erately fast  Galician  dance,  in  2-4 
time,  beginning  on  the  unaccented 
beat,  with  the  strong  beat  in  casta- 
net-rhythm. 

munter(moon'-ter),  G.  Lively,  spright- 
ly.    Munterkeit  (kit).     Vivacity. 

murk'y-  Used  of  a  harpsichord  comp. 
having  a  bass  in  broken  octaves 
(called  murky-bass). 

murmeln  (moor'-meln),  G.  To  mur- 
mur, murmelnd  (moor'melht).  Mur- 
muring. 

Mus.  Bac. 
of  Music. 

Mus.  Doc. 
Music. 

muse  (muz) 
desses  of  art. 
of  a  bagpipe. 

musetta  (moo-zet'-ta),  /.,  musette  (in 
F..  mu-zet',  in  F.  mii-zet).  i.  A 
small,  imperfect  oboe.  2.  A  bag- 
pipe with  bellows.  3.  Hence,  a  short 
pastoral  dance-tune  (often  part  of  the 
Gavotte)  in  duple  or  triple  time  with 
a  drone-bass.     4.   A  reed-stop. 

musica  (moo'-zl-ka),  L.  and  /.  Music. 
m.  da  camera  (da  ka -me-ra).  Cham- 
ber-music, m.  da  teatro  (ta-a'-tr5). 
Dramatic  music,  m.  di  gat'ti. 
"Cat-music."  Vide  charivari,  m. 
plana.     Plain-chant. 

musicale  (moo-zl-ka'-le),  musical- 
men'te,  /.     Musical(ly). 

•  musicale  (mu'-zl-kil).  An  "  at  home  " 
concert. 

music-box.  A  box  containing  an  au- 
tomatic   musical    instr.     The   Szviss 


Abbr.  of  Bachelor  (q.  v.) 

Abbr.  of  Doctor  (q.  v.)  of 

I.  One  of  the  nine  god- 
2.   The  muzzle  or  tube 


m.  b.  has  a  steel  comb  of  graduated 
teeth  set  in  vibration  by  small  pegs  in 
a  revolving  cylinder. 

music-drama.  An  opera  (particularly 
of  the  Wagnerian  school)  in  which 
the  te.xt  and  the  action  determine 
the  music,  and  are  not  interrupted  by 
set  arias,  duets,  etc. 

musicien  (mi'i-zes-yafi),  F.     Musician. 

musicista  (moo-zl-che'-sta),  /.  Musi- 
cian. 

musico  (moo'-zl-ko),  /.  i.  Musician. 
2.  A  male  soprano,  particularly  a 
eunuch. 

musicone  (moo-zl-ko'-ne),  /.  A  great 
musician. 

music-pen.  i.  A  5-pointed  pen  for 
ruling  the  staff.  2.  A  broad-pointed 
pen  for  writing  music. 

music-recorder.     A  melograph. 

music-timekeeper.  An  English  instr. 
enabling  a  performer  to  keep  time. 

Musik  (moo-zek),  G.  Music.  Mu- 
siker(moo'-z'(-ker).  Musikus  (koos). 
A  musician.  Musikalien  (kal'-I-en). 
Trade  name  for  compositions.  Mu- 
sikant  (moo-zl-kant ).  A  vagabond 
musician.  M.-fest.  A  musical  festival. 
MusiKbande,  or  Musikanten- 
bande  (ban-de).  A  band  of  strolling 
musicians.  Musik'diktat  (dek-tat). 
Vide  DICTATION.  M.-direktor.  Con- 
ductor. M.-lehrer  (la  -r$r).  Music- 
teacher.  M.-meister  (m!-shter). 
Bandmaster.  M. -probe  (pro'-bS). 
Rehearsal.  M.-verein  (fe-rln).  A 
musical  society.  M.-zeitung  (tsl- 
toongk).      A  musical  periodical. 

musique  (mii-zek'),  F.,  Music,  m. 
d'eglise  (da-glez).     Church-music. 

musiquette  (mii-zl-ket).  i.  A  short 
composition.     2.    Light  music. 

muta  (moo'-ta).  "  Change  !  "  A  di- 
rection in  scores  to  change  the  crooks 
or  tuning  of  an  instr.  in  preparation 
for  a  change  of  key. 

mutation,  F.  (in  F.  mu-tas'-yon), 
mutazione  (moo-ta-tsI-6'-ne),  /.  i. 
The  transformation  of  the  male  voice 
at  puberty  (in  F.  mue  (mi'i)).  2.  Vide 
soi.MiSATioN.  3.  Shifting.  4.  As 
prefix,  used  of  all  tierce,  quint,  etc., 


208 


THE    MUSICAL    GUIDE 


stops  not  producing  the  unison  or 
octave  of  the  foundation-stop. 

mute.  A  device  for  muffling  tone  ;  in 
string-instrs.  a  clamp  of  brass,  wood 
or  ivory  placed  on  the  bridge  and 
deadening  the  resonance  ;  in  wind- 
instrs.  a  pear-shaped  leather  pad,  a 
cylinder  of  perforated  wood  or  a 
pasteboard  cone  introduced  into  the 
bell. 

mut(h)ig(moo'-ttkh),  G.  Courageous, 
spirited. 

muthwillig  (^moot'-vtl-likh),  G.  Mis- 
chievous. 

Muterung  (moo'-te-roongk),  G.  Mu- 
tation, I. 

mysteres  (mts-tar),  F.,  Mysterien 
(me-sta'-rT-en),  (7.,  mysteries,  E. 
Medieval  sacred  dramas  dealing  with 
the  Last  Judgment  and  other  myster- 
ies, as  the  moralities  dealt  with  alle- 
gorical virtues  and  vices,  and  miracle- 
plays  with  the  miracles  of  Christ. 
The  idea  persists  in  the  Passion  Play 
dealing  with  Christ's  sufferings.  In 
these  dramas,  often  accompanied  with 
music,  oratorio  had  its  beginning. 


N 

NABLA    (na-bia),  Heh.     The 
nebel. 
nacaire  (na-kar),  F.,  nacara 
(na-ka'-ra),    /.        An    obs. 
kettledrum. 

naccara  (nak-ka'-ra),  nacchera  (nak- 
ka'-ra),  /.     Kettledrum. 

nach  (nakh),  G.  After  ;  according  to. 
Nach'ahmung  (a-moongk).  Imita- 
tion, nach  Belieben(be-leb'n).  Ad 
libitum.  Nachdruck  (drook).  Em- 
phasis, accent,  nachdrucklich  (driik- 
llkh),  nachdrucksvoll  (drooks'fol). 
Emphatic.  nachgi(e)biger  (ge'-bTkh- 
er).  More  slow  and  sustained. 
Nachhall(hal),  Nachklang  (klang). 
Resonance,  echo.  nachklingen 
(kUng-en),  nachlassend  (las'-sent). 
Slackening  in  time.  nachlassig 
(les-stkh).  Carelessly.  Nachruf 
(roof).  A  farewell.  Nachsatz  (zats). 


The  second  part  of  a  period,  follow- 
ing the  Vordersatz.  Nachslag 
(shlakh).  (a)  An  after-note,  an  ap- 
poggiatura  following  its  principal  note 
(the  opposite  of  Vorschlag).  (b) 
An  au.xiliary  note  at  the  end  of  a 
shake,  also  Nachschliefe  (shle-fe). 
Nachspiel  (shpel).  Postlude.  nach 
und  nach  (oont).  By  degrees.  Nach- 
tanz  (tants),  F.  Second  movement 
of  a  dance. 

nachtsverwandte  Tone  (nekhst'fer- 
vant'-tg-ta-ne),  G.  The  nearest  rel- 
ative keys. 

Nacht  (nakht).  Night.  N.-horn,  N.- 
schall.  An  8-ft.  flue-stop.  N.-horn- 
bass.  The  same  stop  on  the  pedal. 
N.-musikstandchen,  N.-stiick 
(shtiik).     Nocturne,  serenade. 

Nachtschlager  (nakht'-shlakher), 

Nachtigall  (niikht'-l-gal),         G. 

Nightingale  ;  an  imitative  instrument. 

nae'nia,  Gr.     A  dirge. 

nafie  (na'-fe).     A  Persian  trumpet. 

nafiri  (na-fe'-re).     An   Indian  trumpet. 

nagarah  (na-ga'-ra),  nagaret',  na- 
gareet'.     Oriental  kettledrums. 

nag'uar.     An  Indian  drum. 

Nagelgeige  (niikh'-el-gT-khe),  nail- 
fiddle.     Vide  KIDDLE  (Iron). 

naif  (na-ef),  F.,  fem.  naive  (na-ev),  F. 
naiv  (na-ef),  G.  Artless,  natural. 
naivement  (na-ev-mah).  Naturally. 
naivete  (na-ev-ta).  Artlessness,  sim- 
plicity. 

naked.  Of  intervals,  as  fourths  or 
fifths  lacking  the  third  or  other  ac- 
companiment. 

na'ker,  nakeres.  Old  E.  Small 
metal  drum(s). 

nakokus  (na-kd'-kiis),  Egypt.  Two 
brass  plates  suspended  and  struck. 

nan'ga.     Negro  harp. 

Nanien  (na-nl-en),  G.     Dirges. 

narrante  (nar-ran'-te),  /.  In  narrative 
style. 

narrator.  The  chief  performer  in  ar 
oratorio  or  Passion  Play. 

Narrentanz  (nar'-ren-tants),  G  Fool's 
dance. 

nasard  (na-zar),  /".,Nas(s)at'(nas-zat') 
C,  Hazard'.     An  old  name  for  a  stoj 


DICTIONARY    OF    TERMS       209 


tuned  a  twelfth  above  the  diapasons. 
nasar'do,  /.  and  S/>.,  nasarde  (na- 
zard),  F.,  nassart  (nas'-sart),  na-sil- 
lard.  A  25^-foot  stop.  The  Grosnas- 
ard  (gro-na-zSr),  /".,  or  Grossnasat 
(gros-na-ziit),  C,  is  a  quint-stop  on 
manual  or  pedal,  petit-nasard  (p'te), 
orlarigot,  is  a  i>^-ft.  stop. 

na'son.     A  4-ft.  flute-stop. 

Nationallied  (na-tsl-o-nal'-let),  G.  Na- 
tional song. 

Natur  (na-toor'),  G.  Nature.  N.  horn. 
A  valveless  Waldhorn.  N.-scala. 
Natural  scale.  N.-tone.  Vide  n.\t- 
URAL  TONE.  N.  trompcte.  Valve- 
less  trumpet.  natiirliche  (na-tiir'- 
llkh-e).  Natural.  Naturalist'.  A 
self-taught  singer.  naturalistisch 
(Ist'-Ish).     Untrained. 

nat'ural.  i.  The  sign  2  nullifying  a 
sharp  or  flat.  2.  A  white  digital. 
n.  harmonics.  Those  on  an  open 
string,  n.  hexachord.  That  based 
on  C.  n.  modes.  The  authentic 
church  modes.  n.  modulation. 
That  to  a  nearly  related  key.  n.  key, 
or  scale.  That  of  C  major,  n.  pitch. 
That  of  a  pipe  not  overblown,  n. 
tones.  Those  producible  on  a  wind- 
instr.,  as  the  horn,  without  altering 
the  length  of  the  tube  with  valves, 
keys,  etc.,  hence  natural  horn,  etc., 
one  producing  tones  without  valves 
or  keys. 

naturale  (na-too-ra'-le),  /.  Natural. 
naturali  suoni  (soo-6'-ne).  Sounds  in 
the  compass  of  the  voice,  natural- 
men'te.     Naturally. 

natural'is,  Z.  Natural ;  Cantus  n., 
music  in  the  hexachordian  N.  (the 
hexachord  based  on  C). 

naturel(le)  (nat-li-rel),  F.     Natural. 

naublum      (no-bloom),    Heb.        Vide 

NEBF.L. 

nay  (na).     A  Turkish  flute. 
Neapolitan    sixth.      Vide    altered 

CHORDS. 

nebel  (na-bel),  nebel  nassor  (na-bel- 
nas'-sor),  Heb.     Ten-stringed  harp. 

neben  (na-ben),  G.  Accessory.  N.- 
dominant.  The  dominant  of  the 
dominant.     N.-dreiklang.    Second- 


ary triad.  N.-gedanke.  Subsidiary 
theme,  or  idea.  N.-klang.  Acces- 
sory tone.  N.-note.  Auxiliary  note. 
N. -register,  N.-ziige  (tsu-khe). 
Acessory  stops.  N.-septimenak- 
korde.  Secondary  sevenths.  N.- 
stimme.  Subordinate  voice  or  part. 
N.-werk,  Choir-organ. 

necessario  (na-ches-sa'-rI-6),  /.  Nec- 
essary. 

nechiloth  (nek'-M6t),  neg(h)inoth 
(ne'-gl-not),  Heb.  A  wind-instru- 
ment. 

neck.  That  part  of  an  instr.  which 
carries  the  finger-board. 

ne'fer.     Egyptian  guitar. 

negligente  (nal-ye-j^n'-te),  negligent- 
emente,  I.  Negligent(ly).  negli- 
genza  (jen'-tsa).     Carelessness. 

negli  (nal'-ye),  nei  (na-e),  /.,  pi.  In 
the. 

nei  (na'-e),  Tur.    A  flute  made  of  cane. 

nekeb  (na-keb),  Heb.  A  wind-instr. 
formed  of  a  single  tube. 

nei,  nella,  nelle,  nello,  nell',  /.  In 
the,  at  the. 

nenia.     Vide  naenia. 

neo-German.  Used  of  the  program- 
matic school. 

nero  (na-ro),  /.  "Black."  A  quarter 
note. 

nete  (na-te),  Gr.  Vide  lyre  and 
mode. 

net  (net),  nette  (net),  P.,  nett  (net), 
C,  net'to,  /.  Neat,  clear.  nettet6 
(net-ta),  F.,  Nettheit  (net-hit). 
Nettigkeit  (net'-tlkh-klt),  G.  Neat- 
ness, distinctness,  nettamen'te,  /. 
Crisply. 

neu  (noi),  G.  New.  n.-deutsche 
Schule  (doit-she  shool'-e).  Vide  neo- 
german  school. 

neu'ma,  neume  (num).  i.  One  of  the 
characters  in  the  early  notation  by 
points,  commas,  hooks,  etc.  Lines 
were  introduced  later,  but  they  were 
always  rather  an  aid  to  memory  than 
a  notation.  2.  Melisma.  3.  A  slur. 
The  neumes  somewhat  resembled 
modern  shorthand  and  served  some- 
what the  same  function.  The  earlier 
forms  before  lines  are  quite  indeciph- 


210 


THE    MUSICAL    GUIDE 


arable.  A  single  note  was  called 
Virga,  virgula,  punctus,  or  punc- 
tum  ;  a  rising  inflection  sign,  pes,  or 
podatus  ;  a  falling  inflection,  clinis  or 
Jiexa  ;  various  nuances  of  perform- 
ance and  special  note  values  were  the 
uncus,  bivirga,  cephalicus,  distropha 
epiphonus,  gnomo,  oriscus,  plica 
(turn),  quilisma  (shake),  semivocalis, 
siiiHosa,  strophicus,  tra?nea,  t)  e7nida, 
trivirga,  etc. 

neun  (noin),  G.  Nine.  Neunachtel- 
takt  (akh'-tel-takt),  G.  Nine-eighth 
time.  Neunte  (noin  -te).  A  ninth. 
Neunzehnte  (tsan-te).     Nineteenth. 

neuvieme  (nuv-ydm'),  F.     A  ninth. 

nex  us,  L.     A  binding  together. 

nicht  (nikht),  G.     Not. 

nicolo  (ne'-ko-lo).  A  17th  cent,  bom- 
bardon. 

nieder  (ne'-der),  G.  Down.  N.-schlag. 
Down-beat,  or  accented  part.  N.- 
strich.     The  down  bow. 

niedrig  (ne'-drikh),  G.   Deep,  in  voice. 

nina  (ne'-na),  /.  Lullaby  (or,  ninna- 
nanna).  ninnare  (nln-na-re).  To 
sing  a  lullaby. 

nine-eighth.   Vide  time. 

nineteenth,  i.  An  interval  of  two  oc- 
taves and  a  fifth.  2.  A  stop  tuned  a 
nineteenth     above      the     diapasons. 

Vide  LARIGOT. 

ninth,  i.  An  interval  of  an  octave  and 
a  second.     2.  Vide  chord. 

nobile(no'-bt-le),nobiimente,/.,  noble 
(nobl),  noblement  (no-blu-man),  F. 
Noble  (nobly).  nobilita,(n6-be-lI-ta), 
/.     Nobility. 

noch  (nokh),  G.  Still,  yet  ;  as  noch 
schneller  (shngl'-ler).     vStill  quicker. 

nocturn(e),  E.,  nocturne  (nok-tUrn) 
F.,  notturno  (not-toor'-no),  /.  i. 
Term  first  used  by  John  Field  for  a 
composition  of  dreamy,  night-like 
mood.     2.  Vide  hor.k  canon'ic.^. 

node,  nodalpoint,  no'do,  /.  One  of 
the  axis-like  points  or  lines  in  a  vi- 
brating body,  where  there  is  no  vi- 
bration (cf.  loop),  nodal  figures. 
The  chart  of  vibration  produced  by 
sand  strewn  upon  a  flat  vibrating 
plate  ;  discovered  by  Chladni, 


no  dus,  Z.  "A  knot,"  an  enigmatical 
canon. 

noel  (no-el'),  F.  A  Christmas  carol. 
Vide  NOWELL. 

noeud  (nCi),  F.     i.  A  turn.  2.  A  node. 

no  far.     Vide  nefer. 

noire  (nwar),  F.  "  Black,"  a  quarter 
note. 

noise.  Early  E.  i.  Music,  2.  A 
band. 

no  lae,  Z.     Tintinnabulse. 

nomes  (n5mz),  Gr.  i.  Airs  anciently 
sung  to  Cybele,  Fan,  and  other  divin- 
ities. 2.  Compositions  regulated  by 
inviolable  rules,  as  canon.  3.  A  can- 
on.  Vide  NOMOS. 

nomine,  in  (in  no'-mT-na),  Z.  i.  "  In 
the  name  "  (of  the  Lord).  A  motet.  2. 
Vide  FUGA. 

no  mos,  pi.  nomoi,  Gr.  Law(s).  Greek 
songs  fulfilling  all  the  rules. 

non  (non),  /.     Not,  no. 

nona  (no -na),  Z,  None  (no'-ne),  G.  A 
ninth  (interval).  Nonachord'-O,  Z., 
No  nenaickord,  G.     A  ninth.     Vide 

CHOKD. 

nones.     Vide  hor.'e  canonic*. 

nonet(t)',  E.,  Nonett',  G.,  nonet'to, 
I.     Music  for  9  parts. 

Non'nengeige  (gl-khe).  "  Nun's-fid- 
dle."     Vide  marine  trumpet. 

Nonole  (n5-n5'-le),  G.     Nonuplet. 

nonny  hey  nonny.  An  old  E.  refrain. 

nonuplet.  A  group  of  nine  equal 
notes. 

normal  (in  G.  nor-mal').  Normal, 
standard.  Normalton  (ton),  G.  The 
tone  A.  Normaltonleiter  (ll-tSr), 
G.     The  natural  scale  (of  C). 

nota  (no'-ta),  Z  and  Z.  Note.  n. 
bianca.  "White  "  or  half-note,  etc. 
n.  buO!ia(boo-6'-na).  Accented  note. 
n.  cambiata  (kam-bT-a'-ta),  or  cam'- 
bita,  I.  I.  A  changing  note.  2. 
Resolution  by  skip.  n.  caratteris'- 
tica.  Leading-note.  n.  cattiva 
(kat-te'-va).  Unaccented  note,  nota 
contra  notam.  "  Note  against 
note."  Vide  counterpoint.  n. 
corona'ta.  A  note  marked  with  a 
hold.  n.  d'abbellimen'to.  A  note 
of  embellishment,     n.  di  passaggio  ■ 


DICTIONARY  OF    TERMS       211 

(de  piis-sad -jo).  A  passing  note.  ta).  Staccato,  n.  sensible  (sen-se'- 
n.  di  piacere  (de-pr-a-cha'-re).  An  br-lc),  /.,  sensi'bilis.  L.  The  lead- 
optional  embellishment,  n.  falsa.  A  ing-note.  n.  digna'ta,  L.  A  note 
changing  note.  n.  principale  (pren-  marked  with  a  sign.  n.  sostenuta 
chl-pa-le).  Principal  note.  n.  quad-  (sos-te-noo  -ta).  A  sustained  note. 
rata.  A  plain-song  note.  n.  ro-  nota  tion  (in  F.  n5-tas  -yon),  notazi- 
ma'na,    A  neume.     n.  scolta  (shol'-  one  (n6-ta'-tsi-6  -ne),  /.     Notation. 


IT 


Notation. 

By  the  Editor. 

HE  musical  parallel  of  writing  and  printing  as  the  means  of  express- 
ing in  universal  and  permanent  symbols  the  ideas,  emotions  and 
memories  of  the  mind.  ^jThe  Greeks,  having  only  unharmonised 
melodies  to  record,  made  use  of  the  letters  of  the  alphabet  in  positions  and 
combinations  of  a  most  complex  yet  definitive  variety.  These  letters  had 
reference  to  tetrachords  and  transpositions  of  the  most  subtle  sort  (see 
modes).  The  business-like  Romans  swept  away  a  mass  of  detail  by  giving 
each  letter  a  definite  position  on  the  whole  scale  without  reference  to  tetra- 
chord  relations.  These  letters  were  written  on  a  straight  line  over  the  text 
to  be  sung.  In  the  Eighth  Century  this  alphabetical  notation  had  given  way 
before  a  system  of  symbols  looking  much  like  the  hooks  and  curves  of  modern 
shorthand.  These  were  called  neuma  (q.  v. )  and  were  of  numberless  sorts 
and  names.  Thus  a  short  single  note  was  a  punctum  ,•  two  or  three  of  these  in 
a  group  were  bipunctum  or  tripunctum  ;  the  standard  long  note  was  the  virga 
which  could  be  grouped  as  bivirga  or  trivirga.  Other  terms  were  podatus 
(a  low  note  joined  to  a  higher),  and  its  reverse  called  clivis,  clinis,  or  Jiexa ; 
the  scandicus  (three  ascending  notes)  and  its  reverse,  climacui  ;  the  quilisma 
(a  repeated  note),  the  gnomo,  ancus,  distropha  and  many  others.  These 
neumse  were  written  over  the  text  and  were  set  higher  or  lower  in  a  rough 
form  of  melodic  contour.  They  were  only  an  aid  to  the  memory  and  fre- 
quently defy  decipherment.  In  time,  a  few  letters  were  added  as  abbreviations 
of  speed  or  force.  *l[But  about  the  year  900  a  genius  (who  in  his  way  was 
almost  as  great  as  the  inventor  of  the  wheel)  hit  upon  the  inspiration  of  ruling 
above  the  text  a  thin  red  line  and  calling  it  "  F."  Every  neuma  on  this 
line  stood  positively  for  the  tone  F,  and  those  above  or  below  the  lines  were 
of  higher  or  lower  pitch.  The  genius  was  soon  followed  by  a  man  of 
talent  who  ruled  a  yellow  line  a  little  higher  and  called  it  "  C."  The 
ornamental  letters  set  at  the  head  of  these  lines  soon  took  the  forms  known 
to-day  as  the  clefs.  Not  long  after,  the  monk  Hucbald  erected  a  series  of 
lines  and  used  the  spaces  between  them  to  indicate  definite  pitches,  writing  at 
the  beginning    T  for  a  whole  step  and  S  for  a  semitone.      The  hymn  to  be 


212         THE    MUSICAL    GUIDE 

sung  was  written  in  these  spaces,  each  syllable  being  placed  on  its  proper 
space.  (This  gave  the  verse  a  stepladder  effect  resembling  the  refrains  of  cer- 
tain modern  humorous  poems.)  Spaces  were  added  above  or  below  as  the 
melody  needed  them  and  each  voice  had  its  own  set  of  shelves.  ^This 
awkward  plan  suggested  the  use  of  the  lines  instead  of  the  spaces,  for  notes 
instead  of  syllables.  Each  line  was  given  a  definite  pitch  marked  by  a  letter. 
^Recurrence  was  now  made  to  the  two-line  system  and  somebody  (Guido 
of  Arezzo  was  usually  credited  with  the  scheme)  added  two  black  lines  and 
made  a  4-line  staff  in  which  both  lines  and  spaces  had  fixed  pitch  values.  It 
only  needed  the  later  addition  of  one  more  line  to  give  the  five-lined  staff  we 
still  use  to-day.  ^[The  neums  gradually  exchanged  their  scraggly  outlines 
for  the  square  black  heads  of  the  choral  note  (the  ?iota  quadrat  a  or  quadri- 
quarta').  ^[It  now  being  possible  to  express  the  relative  pitch  of  notes,  an 
effort  was  made  to  express  their  relative  duration,  for  the  old  Plain  Song  with 
its  notes  all  of  the  same  length  could  not  satisfy  many  human  musical  needs. 
The  modern  division  into  measures  of  equal  length  by  means  of  bars  was  a 
long  time  coming.  There  were  two  centuries  of  clumsy  mensurable  (/.  e., 
measurable)  music.  Notes  to  be  sung  to  the  same  syllable  were  grouped 
together  by  ligatures  ;  they  were  either  set  so  close  together  as  to  touch, 
or  were  if  ascending,  placed  one  above  the  other  like  a  chord  ;  if  de- 
scending, they  were  merged  in  a  thick  black  slanting  line  {Jigura  obliqua'). 
When  white  or  open  notes  came  into  use  the  thick  line  became  an  open 
rectangle  sloping  in  the  desired  direction.  When  the  first  note  of  the  liga- 
ture was  a  breve,  it  was  said  to  be  «'  cum  proprietate^\-  if  the  first  note  were 
a  long,  it  was  sine  proprietate  ;  if  a  semibreve,  it  was  cum  opposita  proprie- 
tate  ;  if  the  last  note  were  a  breve  it  was  imperfecta  ;  it  was  a  Ugatura  per- 
fecta  when  the  last  note  was  a  long.  *^The  method  of  expressing  rhythm 
was,  as  said,  very  cumbersome.  Rhythm  was  classified  under  three  ratios  : 
mode  (^modus^,  time-value  (^tempus'),  prolation.  ^[The  Modus  major 
or  "Great  Mode  "  concerned  the  division  of  the  large  into  longs,  being 
perfect(^us^  if  there  were  three  longs  to  a  large,  and  imperfections^  if 
there  were  two.  Modus  minor  or  the  "Lesser  Mode"  concerned  the 
division  of  the  long  into  breves,  with  the  same  classes  perfect  or  imperfect. 
^The  division  of  the  breves  into  semibreves  was  the  tsmpus  and  was  simi- 
larly called  perfe'cti^um')  or  imperfect (^uni),  a  circle  indicating  perfect  time  and 
a  semicircle,  imperfect.  ^[The  reladon  of  semibreve  to  minims  was  called 
prolatio{ji),  being  major  or  minor  (greater  or  lesser)  prolation  as  the  semibreve 
equalled  3  or  2  minims.  The  former  was  indicated  by  a  dot  in  the  time 
signature.  *\T\ie.  position  of  the  notes  also  indicated  their  proportion;  a  long 
or  a  breve  followed  by  a  note  of  its  own  value  was  perfect  by  position ;  a 
note  accompanied  by  another  of  less  value  was  imperfect.     ^Colour  played. 


DICTIONARY    OF    TERMS       213 

a  part  ;  the  red  (^notula  rubra')  or  white  {alba)  or  black  (nigra)  note 
among  others  ot  a  different  colour  marked  a  change  from  perfection  to  imper- 
fection. There  was  later  the  proportio  hcmioI{i)a,  or  2  :  3,  indicated  by 
grouped  black  notes  among  white,  ^j  Speed  was  open  to  slackening  (aug- 
ment at  io)  or  acceleration  (diminutio),  the  latter  being  marked  by  a  bar  through 
the  time-signature,  or  by  the  use  of  numerals  or  fractions,  called  signs  of  pro- 
portion, a  term  referring  to  the  rhythm  of  simultaneous  voices.  ^[The  value 
of  a  note  was  open  to  alteratio(n)  by  position  or  by  use  of  the  dot  (punctum 
augmentatioiiis,  alter atioiiis,  (im)perfectionis  or  divisionis).  ^[Expression 
marks  appeared,  along  with  many  other  symbols,  in  the  Seventeenth  Cen- 
tury ;  the  bar  was  brought  over  from  lute-tablature,  and  mensurable  music 
disappeared  before  the  convenient  complexities  of  our  own  era. 


note.  A  character  representing  a  musi- 
cal tone  ;  by  its  shape  indicating  the 
duration,  by  its  position  on  the  staff, 
the  pitch,  of  the  tone,  connecting 
note.  A  note  common  to  two 
chords. 

note  (not),  F.  Note.  n.  d'agrdment 
(d'a-gra-miin).  Ornamental  note.  n. 
de  passage  (dii  pas-sazh).  Passing 
note.  n.  dies6e  (dl-e-za),  F.  Note 
marked  with  a  sharp,  notes  coulees 
(koo-la).  Slurred  notes,  n.  de  gout 
(dii-goo).  Note  of  embellishment. 
n.  sensible  (san-sebl').  Leading 
note.  n.  surabondantes  (siir-a-bon- 
dant).  Such  incommensurate  groups 
as  triplets,  quintoles,  etc.  n.  liee 
(le-a).  Tied  note,  n,  syncop^es 
(safi-ko-pa).     Syncopated  notes. 

Noten  (no'-ten),  G.,  pi.  Notes.  No- 
tenblatt  (blat).  A  sheet  of  music. 
N.-buch  (bookh).  Music-book.  N.- 
fresser.  "  Note-gobbler,"  one  who 
has  facility  but  no  taste.  N.-schrift 
(shrift).  Musical  manuscript.  N.- 
system  (zes-tam).     The  staff. 

noter  (no-ta),  F.     To  write  out  a  tune. 

no'tograph.     Melograph. 

notturno  (not-toor'-no),  /.  A  noc- 
turne. 

no'tula,  L.     Note  used  in  ligature. 

nourrir  le  son  (noor-rer  lu  son),  F. 
To  attack  a  note  forcibly,  and  sus- 
tain it.  un  son  nourri  (noor-re).  A 
sustained  tone. 


nourrisson  (noor-res-s6n),  F.     Bard. 

nour'singh.  A^straight  Indian  trum- 
pet. 

no  va,  /.     A  small  flute. 

Novelette  (nof-e-let),  G.  From  F.,  a 
short  musical  romance.  Name  first 
given  by  Schumann  to  pieces  con- 
taining considerable  freedom  of  form, 
treatment,  and  idea. 

novemole  (n5-ve-m6  -le),  /.  A  group 
of  nine  equal  notes. 

no  well.  0\d  E.  "Good  news."  i. 
A  refrain  of  Christmas  carols,  hence 
2.     Carol.     Cf.  NOEL. 

nuances  (nii-aiis),  F.,  pi.  i.  Lights 
and  shades  of  expression ;  variety. 
2.  A  notation. 

null.     I.  A  cipher.     Vide  o.     2.    Vide 

T.A.STO    SOLO. 

number,  i.  An  integral  portion  of  an 
opera,  symphony,  or  programme,  etc. 
2.  A  favourite  method  of  designating 
compositions,  as  Chopin's  "5th" 
waltz. 

numer  ical  notation.  A  scheme  in- 
troduced by  Rousseau,  to  substitute 
numerals  as  names  of  tones.  A  simi- 
lar notation  in  Massachusetts  was 
called  Day's  &  Beal's  "One-line  sys- 
tem." 

nu'merus,  Z.   i.  Number.    2.  Rhythm. 

Nunc  dimit'tis,  L.  "Now  dismiss 
(us)."  The  text,  Luke  IL  10-12, 
often  used  as  a  final  number. 

nun's-fiddle.     Marine  trumpet. 


214 


THE    MUSICAL    GUIDE 


nuovo  (noo-6'-v6),  /.    New.    di  nuovo. 

Again. 
nut.  I.  The  small  bridge  at  the  upper 
end  of  the  finger-board  of  violins,  etc. 
2.  The  movable  fastening  of  the  hair 
of  a  bow.  3.  The  "  lowest  nut,"  the 
ridge  between  tail-piece  and  tail-pin. 


0 


OA  small  circle,  or  cipher, 
means  :  i.  An  open  string. 
2.  Harmonic.  3.  Diminished 
fifth  (or  a  chord  containing 
one).  4.  Tasto  solo.  5.  To  be  played 
with  the  thumb.  6.  Tempus  perfec- 
tum.  Vide  notation.  7.  Harmo- 
nium-stops are  marked  with  a  numeral 
in  a  circle.  8.  In  neume-notation, 
the  fourth  church  mode. 

O  (o),  od  (6d),  /.     Or,  as,  either. 

O  (n),  L.  Exclamation.  les  O  de 
A^o'cl  {\i.-zb  du  no-el),  F.  The  Christ- 
mas antiphons  to  the  Magnificat,  all 
beginning  with  "  O  !  " 

oaten-pipe.  A  simple  straw  cut  to 
form  a  reed-pipe. 

ob.     Abbr.  for  oboe(s). 

obbligato  (6b-bll-ga'-t6),  /.,  obligd 
(6b-ll-zha),  F.,  Obligat  (6p-ll-gat'), 
G.  "  Indispensable,"  of  a  part  which 
cannot  be  omitted  without  injury  to 
completeness ;  though  latterly  the 
term  has  come  almost  to  mean  "  op- 
tional," as  in  songs  "with  violin 
obb."  in  which  the  violin  part  is  fre- 
quently omitted. 

ob(b)liquo  (6b-ble'-kwo),  /.  Oblique. 
Vide  MOTION. 

ober  (6'-ber),  G.  Upper,  higher.  O.- 
dominante.  Dominant.  O. -labi- 
um. Upper  lip  (of  a  pipe).  O.- 
manual.  The  upper  manual.  O.- 
stimme.  Upper  part.  O. -taste 
(tas'-te).  Black  key.  O.-theil  (til). 
The  upper  part.  O.-ton.  Harmon- 
ic, phonischer  O.-ton.  The  15th 
partial.  O.-werk.  In  an  organ 
with  2  manuals,  the  choir-organ ; 
with  3,  the  swell ;  with  4,  the  solo. 

oblique,  obli'quus,  L.     Vide  motion. 


oblique  pf.  An  upright  pf.  with  di- 
agonal strings. 

oboe  (6' -bo  ;  in  G.  o-bo'-e),  obofe  (6- 
bo-a'),  /.  Plurals  :  oboes,  E., 
Oboen,  C,  oboi  (6-b6'-e),  /.  i.  A 
double-reed  instr.  with  conical  wooden 
tube,  and  9  to  14  keys  ;  e.xtreme  com- 
pass b\j-{" .  It  is  non-transposing 
(except  in  the  case  of  the  Bb  and  Ely 
oboes  for  military  bands),  and  is 
fingered  somewhat  like  a  flute.  Its 
tone  is  reedy  and  quaint,  almost 
homely ;  it  gives  a  pastoral  atmos- 
phere, or  is  capable  of  great  melan- 
choly, but  rarely  of  much  floridity. 
The  alto  of  the  oboe  is  the  so-called 
cor  anglais  (kor  afi-gle),  F.,  corno 
inglese  (kor-no-en-gla'-ze),  /.,  en- 
glisches  Horn  (eng'-Ush-es  not  eng- 
gllsh-es),  C. ,  or  English  horn.  An 
oboe  with  a  double  long  tube,  and  a 
pitch  a  fifth  lower,  extreme  compass 
g^-b."  This  is  now  written  as  an 
instr.  transposing  a  fifth.  It  is  even 
more  sombre  than  the  treble  oboe — 
indeed  it  is  the  most  mournful  and 
inconsolable  of  instruments.  It  is 
a  development  from  the  old  obo^  da 
caccia  (da  kat'-sha),  in  F.  or  El? 
written  in  the  alto  clef.  The  o.  d'a- 
more  (da-mo'-re),  o.  basso,  and  o. 
lungo  (loon'-go)  were  lower  by  a 
minor  third  than  the  modern  treble 
oboe,  which  was  formerly  called  o. 
piccolo.  2.  A  reed-stop  of  4  and  8 
ft.  pitch,  also  called  orchestral  oboe. 

obois'ta,  /.     Oboist. 

Obw.     Abbr.  for  Oberwerk. 

ocarina  (o-ka-re'-na).  A  terra-cotta 
bird-shaped  instr.  of  fluty  tone. 

occhiali  (6k-kl-a'-le).  i.  White  notes. 
2.   Brillenbasse. 

occhetto  (6k-ket'-t6),  /.,  ochetus,  Z. 
Hocket. 

octachord,  i.  An  8-stringed  instr.  2. 
A  series  of  8  tones. 

oct  aphonic.     Eight-voiced. 

octave  (in  /'.  6k-tav,  in  G.  ok-ta- 
fe).  I.  A  consecutive  series  of  eight 
diatonic  tones  as  from  c'-c" .  2.  The 
interval  of  an  eighth.  3.  A  tone  an 
8th   above     (or   below)    another.     4. 


DICTIONARY    OF    TERMS       215 


large  octave,  once-marked  or  lined 
o..  etc.  Vide  pitch.  5.  The  diapa- 
son of  the  Greek  system.  6.  The 
eight  days  following  a  Church  festival. 
7.  A  stop  sounding  an  octave  higher 
than  the  digital  pressed,  as  octave- 
flute  (also  used  for  the  piccolo  (,q  v.). 
consecutive  covered,  broken,  etc., 
octaves,  vide  the  adjectives,  rule 
of  the  o.  A  17th  century  system  of 
harmonising  the  scale  giving  a  bass 
scale  with  the  normal  chords  and 
inversions  to  accompany  it.  short 
o.  The  lowest  octave  in  an  organ, 
where  the  scale  is  incomplete  or  com- 
pressed, also  called  mi-re-iit.  o.- 
scale.  Vide  modes,  o.-coupler. 
Vide  COUPLER,  o.-staff.  A  notation 
introduced  by  Adams,  of  New  Jersey, 
three  groups  of  lines  combined  in 
three  octaves,  dispensing  with  the 
fiats  and  sharps,  and  giving  each  tone 
its  own  place,  octave  stop.  i.  A 
4-ft.  stop.  2.  The  position  of  fingers 
stopping  an  octave  on  the  finger- 
board. 3.  A  mechanical  stop  in 
reeJ-organs,  coupling  the  octave 
above. 

octaviana  (6k-ta-vT-a'-na),  octavina 
(6k-ta-ve'-na),  /.,  octavin  (6k-ta- 
van),  F.  I.  An  octave-spinet.  2. 
The  piccolo.  3.  A  harpsichord  oc- 
tave-stop.    4.  A  2-ft.  organ-stop. 

Octavin  (ok-ta-fen).  G.  A  single  reed, 
conical  wood-wind  instr.  fingered  like 
the  oboe  ;  compass  c  -c"" ,  keys  Bl?  and 
C.     Inv.  by  O.  Adler. 

octavo  attachment.  Vide  pedal 
(octave). 

octet(t)',  octet'to,  /.  A  composition 
for  eight  parts. 

octipho'nium,  L.     Octet. 

oc'tobass,  A.,  octobasse  (bas),  F.  A 
double-bass  of  huge  size,  about  12-ft. 
high.  Inv.  by  Vuillaume.  The  3 
strings  are  stopped  by  means  of  keys 
and  pedals. 

oc'tochord,  L.     8-stringed  lute. 

Octole  (6k-t6'-le),  G.     Octuplet. 

oc'tuplet.  A  group  of  eight  equal 
notes. 

octuor  (6k-tw6r),  F.    Octet. 


od  (6d),  /.     Or. 

ode  (5d).  An  elaborate  lyric,  almost 
a  cantata,  odische  (o'-dlsh-e)  Mu- 
sik,  G.     Music  for  an  ode. 

Odem  (o'-dam),  G.     Breath. 

Odeon  (6-da'-6n),  Cr.,  ode'um,  L  A 
public  building  for  music. 

Oder  (o'-der),  G.     Or,  or  else. 

ode-symphonie  (od-saii-fo-ne),  /".  A 
symphony  with  chorus. 

ceuvre  (uvr),  F.     Work,  composition. 

off.  I.  A  direction  to  push  in  an  organ- 
stop  or  coupler.     2.  False. 

offen  (of'-fen),  C,  offenbar.  i.  Open. 
2.  Parallel.  Offenfiote  (fla -te).  An 
open  flute-stop. 

offertoire  (6f'-fer-t\var),  F.,  offerto'rio, 
/.  and  Sp.,  offerto  rium,  L.,  offer- 
tory. The  part  of  the  Mass  or  ser- 
vice, the  motet  or  instrumental  piece, 
performed  during  the  taking  of  the 
collection. 

offic'ium,  L.  A  service,  o.  defunc- 
to'rum.  Funeral  service,  o.  diur  - 
num.  Daily  s.  o.  matuti'num 
(nocturn  um)  morning  (evening)  s. 
o.  vesperti  num.     Vespers. 

oficleida  (6-fl-kla'-I-da),  pi.  e.,  /.  Oph- 
icleide. 

ohne  (o'-ne),  G.     Without. 

oioueae.  The  vowels  of  "  World 
without  end.  Amen."     Cf.  evovae. 

Oktave  (6k-ta'-fe),  G.  Octave  (q.  v.). 
oktavi(e)ren  (fe'-ren).  To  produce 
the  octave  by  overblowing.  Oktav- 
chen  (6k-taf'-khen),  Qktavflote  (fla'- 
te),  or  -flotlein  (lln).  Piccolo.  Ok- 
tavengattungen  (gat-toong-en). 
Octave-scales.  Oktav-folgen  (fol- 
khen),  or  -parallelen,  or  Oktaven- 
verdoppelungen  (fer-dop-pel-oong- 
en).  Parallel,  or  consecutive  oc- 
taves. 

Oktavwaldhorn.  A  Waldhorn  inv.  by 
Eichborn  &  Heidrich. 

Oktavin,  G.     Vide  octavin. 

ole,  el  (cl  o'-le),  Sp.  Slow  3-4  dance 
with  castanets. 

ol'iphant.     A  horn  made  of  a  tusk. 

olio.     A  miscellany. 

olivettes  (6-lI-vet),  F.  Proven5al 
dance  after  the  olives  are  gathered. 


2l6 


THE    MUSICAL    GUIDE 


olla  podrida  (ol'-la  p6-dre'-dha).   Med- 
ley. 
om'bi.     An  African  harp. 
om'bra,  L.     Shade  ;  nuance. 
om'nes,  omnia,  Z.    All.     Vide  tut- 

TI. 

om  nitonic,  omnitonique  (om-nt-to- 
nek),  /".  Having  all  the  tones  of  the 
chromatic  scale,  as  a  horn. 

once-accented,  or  once-marked  oc- 
tave.    Vide  PITCH. 

ondeggiamen'to  (6n-ded-ja-men'-t6). 
Undulation.  ondeggian'te,  /. 
ondule  (oh-dli-Ia),  F.  Waving,  un- 
dulating, trembling,  onduliren  (6n- 
doo-le-ren),  G.  To  make  a  tremu- 
lous tone. 

one-lined.     Vide  pitch. 

ongarese  (6n-ga-ra -ze),  ongherese 
(6n-ge-ra'-ze),    /.     Hungarian. 

onzi^me  (6hz-yem),  F.     Eleventh. 

op.     Abbr.  of  Opus. 

open.     1.  Of  pipes,   open  at  the  top. 

2.  Of  chords,  not    in  close   position. 

3.  Of   strings,   not   stopped.      4.  Of 
tone,  (a)  produced  by  an  open  string 


or  by  a  wind-instr.  not  stopped,  (b) 
not  prod,  by  valve  or  key.  5.  Of 
scores,  in  which  a  stave  is  given  to 
each  part  or  instrument. 
Oper  (o'-per),  C,  op'era,  E.  (in  /. 
o'-pe-ra),  /.,  opera  (o-pa-ra),  F. 
Drama  set  to  music.  O.-bouffe  (boof), 
or  buffon  (biif-foh),  A,  o.-buffa 
(boof'-fa),  /.  Farcical,  or  low-comedy 
opera,  what  we  call  comic  opera. 
opera  comique  (ko-mek),  F.  Literal- 
ly "  comic  opera,"  but  generally  used 
only  to  indicate  that  the  dialogue  is 
spoken,  not  sung.  The  plot  may  be 
as  serious  as  grand  opera,  opera 
seria  (sa'-rl-a),  /.,  opera  s^rieux 
(sa-rl-ii),  F.,  in  which  all  dialogue  is 
in  recitative  and  the  ensembles  are 
more  elaborate,  o.  di  camera  (ka- 
me-ra).  Opera  for  a  small  audito- 
rium, o.  lyrique  (le-rek),  ballad- 
opera.  One  in  which  lyricism  has 
the  preference  over  dramatic  action, 
o.-drammat'ica, /.  Romantic  opera. 
O.-haus  (hows).  Opera-house.  O.- 
sanger.     Operatic  singer. 


The  Opera. 

By  Ernest  Newman. 

COMBINATIONS  of  poetry  and  music,  in  a  more  or  less  dramatic 
form,  must  have  been  usual  from  very  ancient  times  ;  and,  as  a 
matter  of  fact,  we  can  trace  this  form  of  art  back  to  1350.  But 
the  opera  proper,  in  the  modern  sense  of  the  word,  sprang  up  in  Italy  about 
the  end  of  the  sixteenth  century.  It  was  the  invention  oi  certain  Florentine 
amateurs,  lovers  of  the  antique,  who  wished  to  give  to  music  something  of 
the  importance  it  was  thought  to  have  had  in  the  Greek  drama  ;  and  the 
Dafne  (1594),  and  Euridice  (1600),  of  Peri  and  Caccini,  mark  the  begin- 
nings of  opera.  These  works  were  mostly  in  a  kind  of  recitative,  with  slight 
orchestral  accompaniment.  The  object  was  to  imitate  in  music  the  inflections 
of  the  speaking  voice,  the  Florentine  scholars  imagining  that  the  music  in  the 
Greek  drama  had  been  simply  an  intensification  of  the  tones  of  ordinary 
speech.  Music  a  parlante,  "  speaking  music,"  was  the  ideal  they  aimed  at. 
As  the  opera  progressed,  it  inevitably  became  less  speaking  and  more  musical. ' 
The  orchestra  became  larger  and  more  capable  of  colour  ;  recitative  devel- 
oped into  the  aria,  the  duet,  and  the  concerted  piece.     As  the  opera  sprea4j 


\ 


DICTIONARY    OF    TERMS       217 

over  Italy,  however,  it  tended  to  degenerate.  It  relied  too  much  on  imita- 
tion of  the  antique  ;  it  had  no  healthy  poetical  drama  with  which  to  compare 
itself,  and  so  became  ever  more  inane  in  sentiment  ;  it  was  corrupted  first  by 
the  fashionable  courts  and  then  by  the  ignorant,  pleasure-loving  Italian  public ; 
undue  prominence  was  given  to  the  mere  scenery  and  spectacle ;  and  the  star 
singers  tried  to  subordinate  everything  to  their  own  vanity.  All  this  while 
there  existed,  among  the  people,  an  ancient  form  of  rural  comedy — the  Corn- 
media  deir  Arte — full  of  healthy  life  and  sincere  sentiment,  and  free  from  the 
affectation  of  the  pseudo-antique.  From  this  there  grew  up,  at  a  later  date,  the 
charming  and  sparkling  opera  buff  a.  ^[France  had  long  had  a  form  of  enter- 
tainment— the  ballet — with  many  points  of  similarity  with  the  opera.  The 
first  real  French  opera  seems  to  have  been  La  pastorale,  by  Perrin  and  Cam- 
bert  (1659)  ;  but  no  great  progress  was  made  till  Lully — an  Italian  by  birth, 
but  French  in  sympathies — became  the  head  of  the  opera  in  Paris  (1671). 
In  France,  the  verbal  element  always  resisted  the  encroachment  of  the  mu- 
sical, this  being  partly  due  to  the  highly  developed,  rather  than  to  that  of  the 
flowing,  aria.  In  the  course  of  time,  Italian  influences  tended  to  cultivate 
the  merely  musical  element  at  the  expense  of  the  dramatic  ;  but  the  balance 
was  restored  by  Rameau,  who,  with  a  greater  musical  gift  than  Lully's,  made 
the  vocal  portion  of  the  opera  free  and  interesting  in  itself,  without  losing 
sight  of  the  dramatic  expression.  When  the  Italian  opera  buffa  was  intro- 
duced into  Paris  (1752),  it  strengthened  the  already  existent  French  comic 
opera,  and  even  taught  the  serious  writers  some  lessons  in  naturalness  and 
directness.  ^In  Germany,  opera  first  found  favour  at  the  Courts.  Singers, 
composers,  librettists,  conductors — all  were  Italian  ;  and,  if,  in  an  isolated 
case,  the  recitatives  were  sung  in  German,  the  airs,  which  were  held  to  be 
the  essential  parts  of  the  opera,  were  generally  given  in  Italian.  It  was  at 
Hamburg  that  the  German  element  had  its  stronghold.  Keiser  (1673  — 
1739)  relied  on  the  German  Z/>^  rather  than  the  Italian  aria,  and  preferred 
a  German  libretto  to  an  Italian  one.  But  on  the  whole  the  German  passion 
was  for  thoroughly  Italian  opera.  ^Neither  in  Italy,  Germany,  nor  France 
did  the  opera  seem,  in  the  middle  o'i  the  eighteenth  century,  to  have  any  real 
life  or  any  chance  of  development.  From  this  miserable  condition  it  was  de- 
livered by  Gluck,  who  added  to  a  musical  gift  greater  than  that  of  the  major- 
ity of  his  predecessors,  a  strong  sense  of  the  value  of  a  dramatic  basis  for  the 
music.  ^[The  history  of  the  opera  in  England  in  the  seventeenth  and  eigh- 
teenth centuries  is  somewhat  curious.  Purcell's  influents  were  mainly  French, 
derived  through  his  master,  Pelham  Humphreys,  who  had  studied  under 
Lully.  Purcell's  striking  individuality,  however,  transformed  this  influence 
into  something  quite  English.  Later  on,  the  English  stage  was  ruled  almost 
1  entirely  for  a  time  by  Handel,  who  made  no  alterations  in  the  general  form 


2i8         THE    MUSICAL    GUIDE 

of  the  opera,  but  fi'led  each  separate  part  with  a  wealth  of  musical  inventive- 
ness previously  unknown.  •|yin  the  early  work  of  Mozart,  Italian  influences 
struggled  with  German.  His  experiences  in  Paris,  where  he  heard  the  best 
operas  of  all  kinds,  in  1778,  deepened  both  his  technical  powers  and  his  dra- 
matic sense.  "The  Marriage  of  Figaro,"  and  "Don  Giovanni,"  show  the 
most  wonderful  art  of  character-drawing,  interpenetrated  with  a  musical  spirit 
of  unfailing  and  surpassing  loveliness.  They  seem  to  combine  Handel's  mel- 
odic beauty  and  power  with  Gluck's  intensity  of  dramatic  expression.  Gluck 
and  Mozart  were  the  two  men  whose  influence  was  most  felt  by  later  operatic 
writers.  ^The  next  great  development  came  with  Weber  and  the  German 
Romantic  movement.  Between  the  true  classical  and  Romantic  epoch,  how- 
ever, came  a  body  of  work,  half  ancient,  half  modern,  both  in  France  and 
Germany.  It  is  typified  by  such  men  as  Herold,  Mehul,  Cherubini,  Boiel- 
dieu,  and  Spontini,  and  by  Beethoven's  solitary  opera  ♦*  Fidelio,"  and  repre- 
sents the  crossing  of  the  old  culture  with  the  new,  the  forms  of  the  eighteenth 
century  with  the  post- Revolution  spirit.  Under  Weber  and  the  Romantics 
the  German  opera  entered  on  a  new  career.  Its  essence  was  a  heartfelt  sin- 
cerity— almost  simplicity — of  musical  feeling,  subtilised  and  enriched  by  the 
warm,  expansive  culture  of  that  day.  Most  of  the  sensations  of  the  eighteenth 
century  opera  are  found  in  the  work  of  Weber  and  his  fellows,  together  with 
some  quite  novel  ones  ;  and  in  every  case  a  deeper  or  subtler  tinge  is  given 
them  by  the  superior  orchestral  resources.  In  the  painting  of  scenes  of  ner- 
vous horror,  for  example,  the  Romantics  added  considerably  to  the  palette  of 
their  predecessors,  ^j While  this  movement  was  going  on  in  Germany,  Ros- 
sini was  galvanising  the  almost  extinct  art  of  Italy.  His  sparkling  melody,  his 
verve,  his  audacity,  his  superficiality,  produced  a  new  type  of  Italian  opera, 
appealing  to  fashionable  and  uncultured  audiences,  who  asked  for  nothing  from 
the  opera  but  amusement,  and  that  in  a  form  not  too  subtle  for  them.  The 
really  dramatic  passages  in  his  operas,  as  in  those  of  Donizetti  and  Bellini,  are 
comparatively  few.  Their  general  style  of  work  was  carried  on  by  a  stronger 
musician,  Meyerbeer,  who  was  weak  enough  to  sacrifice,  for  the  applause  of 
Paris,  the  genuine  musical  gifts  he  had  brought  with  him  from  Germany. 
^Concurrently  with  this  vogue  of  Italian  opera  there  ran  the  career  of  Wag- 
ner, who  reflected  more  upon  his  art  than  any  opera  composer  except  Gluck. 
Dissatisfied  with  both  the  independent  musical  and  poetical  elements  out  of 
which  previous  operas  had  been  built,  he  modified  each  to  suit  the  demands 
of  the  other.  He  aimed  at  a  form  of  expression  in  which  poetry  and  music 
should  combine  in  one  indissoluble  speech.  This  was  to  be  the  '♦  means  " 
of  the  opera;  its  "end  "  was  the  drama  itself  Wagner's  reforms  were  so 
entirely  the  outcome  of  his  own  peculiar  individuality,  and  depended  so  much 
on  his  own  stupendous  gifts,  that  no  one  has  been  able  to  take  up  his  work* 


\- 


DICTIONARY    OF    TERMS       219 

after  him.  He  has  influenced  almost  all  his  countrymen ;  but  their  work,  as 
a  whole,  is  plainly  imitative  and  reminiscent.  ^Similarly  Berlioz,  who  also 
worked  on  his  own  lines,  occasionally  casting  his  eyes  back  to  Gluck  and 
Weber,  left  no  successor.  The  Une  on  which  composers  like  Halevy  and 
Auber  must  be  strung  derives  from  Meyerbeer  and  the  Itahans.  But  the 
more  modern  French  opera- writers  strike  a  more  original,  more  national  note. 
Gounod  and  Bizet,  Reyer,  Saint-Saens,  and  Massenet  are  really  French,  each 
in  his  own  way  ;  while  in  the  very  modern  work  of  Bruneau  we  get  the 
spirit  of  French  realistic  fiction,  and  in  that  of  Vincent  d'Indy  we  have  a 
curious  expression  of  the  subtlety  and  mysticism  of  the  Celtic  revival. 
The  rise  of  serious  French  opera  has  been  accompanied  by  a  consolidation  of 
the  lighter  form — the  opera  bouffe.  ■[jln  Italy,  the  most  remarkable  phe- 
nomenon has  been  the  change  of  Verdi's  style.  Beginning  as  a  common- 
place, though  sometimes  dramatic,  writer  of  Italian  operas,  he  has  developed 
into  a  composer  who,  while  never  losing  his  southern  grace  and  Utheness,  has 
assimilated  some  of  the  best  elements  df  northern  art.  In  the  work  of  the 
younger  men  of  his  school  there  seems  to  be,  at  present,  a  contest  between 
the  old  ideals  and  the  new.  In  many  cases,  unfortunately,  their  musical  gifts 
are  not  on  a  par  with  their  dramatic  intentions.  ^The  first  great  name  in 
Russian  music  is  that  of  Glinka,  who,  about  the  middle  of  the  century,  worked 
out  a  national  form  of  opera.  Though  Wagner's  influence  has  necessarily 
been  felt  here  and  there,  the  Russian  opera  as  a  whole  has  developed  freely 
on  its  own  account  ;  and  the  two  representatives  of  it  best  known  to  the 
West — Rubinstein  and  Tschaikowsky — are  in  no  way  Wagnerian. 

operet  ta,  /.,  Operette  (6p-e-ret'-te).  opus  (o'-poos),  Z.  Work,  composition  ; 

G.     A   small    light    opera,  of.  siNU-  as,  Op.  10,  the   loth  composition,  or, 

SPiELE.  Op'erist.  An  operatic  singer.  more  commonly,  the  loth  publication 

Operndichter  (o'parn-dlkh-ter),  6".   Li-  of  a  composer,     opus'culum.    A  lit- 

bretto  writer.  tie    work,     opus    post  humum.      A 

iophicleide  (6f'-l-klld).     i.  Anobsoles-  work   published   after   the   death    of 

cent  brass  instr.  the  bass  of  the  key-  the  composer. 

bugle  family.   The  bass.  o.  in  C,  B [7  orage  (o-riizh),  /".     ".Storm."     i.    An 

and  A  ^  (compass   A  l^-a'tj)  the  alto  imitative  composition.     2.   A  stop. 

0.   in    F  and   Ei^   (compass    2^   oc-  O'ra  pro  no'bis,  Z.   "  Pray  for  us  !  "  A 

taves)  ;  the  contrabass  o.  same  com-  response   to   a   litany  in    R.    C.  ser- 

pass   as   the   alt.    o.    but  an   octave  vice. 

lower.     The   bass  tuba  (q.  v.)  has  a  oratoire  (6r-a-twar),  F.,  orato'rio,  7. 

j     richer  tone  and  has  displaced  it.     2.  and  E.,    orato'rium,   Z.    (in   G.   6'- 

I     A  powerful  4  or  8  ft.  reed-stop.  ra-to'-rl-oom).     A  sacred   work   con- 

lOpp.     Abbr.  of  oppure.  structed  like  an  opera,  but  performed 

opposite.    Contrary  (of  motion,  q.  v.).  now     without    action,    costume,    or 

oppure  (6p-poo'-rg),  7.     Or,  or  else.  scenery.     See  next  page. 


220  THE    MUSICAL    GUIDE 

The  Oratorio. 

By  H.    E.    Krehbiel. 

AN  oratorio  is  a  musical  composition  for  chorus  and  solo  voices,  with. 
orchestral  accompaniment,  to  a  poem   on  a  religious  or  sacred  sub- 
ject, generally  in  narrative  form,  though  often   with  dramatic  epi- 
sodes, but  without  scenery,  action,  or  costume.      The  origin  of  the  oratorio  is 
to  be  found  in  the  so-called   mysteries  and  miracle-plays  of  the  thirteenth  and 
fourteenth  centuries,  which  enacted  an  important  part  in  the  life  of  the  com- 
mon people.      These  were  sung  and  acted,  and  though,  on  account  of  abuses    ; 
that  crept  into  them  they  were  frowned  upon  by  the  Church,  their  popularity   ,• 
was   never    destroyed.      The  oratorio   was  brought  into  existence  upon  the   ! ! 
model  of  these  religious  plays  by  St.  Philip  of  Neri    (151 5-95),  who  rec-  j  : 
ognised  in  them  a  means  of  opposing  the  influence  of  the   Reformation  upon  /.* 
the  common  people.      In  his  chapel  or  oratory  (whence  the  name  oratorio) 
in    Rome  he  had  spiritual  songs  sung  after  sermons  and  other  devotions,  to 
"allure   young  people  to  pious  offices."      St.  Philip  induced  capable  Italian 
poets  to  write  the  words,  and  the  best  composers  to  furnish   the  music.      By 
degrees   the  spiritual    songs  gave  place   to  musical   settings   of  sacred   stories 
sometimes  in  dialogue  form.      The  invention  of  dramatic  recitative  at  the  end 
of  the  sixteenth  century  had  a  marked  influence  on  oratorio.      The  first  to 
use  it  was   Emilio   Cavaliere,  whose  allegory,  "The  Soul   and  the   Body," 
performed  in  a  Roman   Church,  was  the  first  oratorio  corresponding  to  the 
modern  form.      It  was,  however,  intended   to  be  acted  in  costume,  and  only 
gradually  did  this  feature  fall  into  disuse.      The  later  Italian  composers,  Caris- 
simi,  Stradella,  Cesti  and  Alessandro  Scarlatti,  first  developed   the  new  form 
on  the  lines  in  which  it  has  come  down  to  us.      Carissimi  greatly  improved 
the  recitative,  giving  it   more   character  and  musical  expressiveness  than  his 
predecessors  had  done,  and   ventured    more   boldly   into   the   field  of  broad 
choral   writing.      Cesti   and  Stradella   cultivated  still   further  the  natural  : 
sources  of  the  chorus  at  a  time  when  the  general  tendency  in  Italy  was  to' 
ard  the  more  obvious  and  pleasing  forms  of  solo  song,      Alessandro  Scarlati 
who  was  one  of  the  chief  forces  in  this  direction,  also  contributed  to  the  devel-Uv 
opment  of  the  oratorio  by  the  increased  stress  he  put  upon  the  solo  arias  in  it.  i 
But  on   the  whole,   as  Dr.    Parry  has  remarked,    the  oratorio  had  to  war 
for  representatives  of  more    strenuous    nations  for    its  ultimate  development] 
^That  development  was  destined  to  come  in  Germany.      While  oratorio  ha(| 
thus  been  taking  shape  in  Italy,  there  was  an  important  movement  going  oii 
in   Germany  by  which  the  Passion   was  brought  into  existence.      This  cam^j 
about,  after  a   long   line   of  tentative   and   experimental   efforts,    through   thj 
works  of  Heinrich  Schiitz,  who  had  received  his  training  in  Italy  and  carriei! 


I 


DICTIONARY    OF    TERMS       221 

thence  to  his  native  land  some  of  the  new  ideals  of  music.      His  first  Passion 
was  produced  in  1645.      The  various  attempts  that  followed  this  culminated 
1    in  the  settings  by  J.  S.  Bach.      These  works  were  intended  for  performance 
in  church  in  Passion  Week,  as  a  religious  service  partly  narrative,  partly  dra- 
matic  and   partly    reflective  in  character.      The  narrative  was  put  into  the 
mouth  of  the  Evangelist,  usually  the  principal   tenor,  who  related  the  Passion 
of  Christ  ;   the  personages  in  the   story  spoke  for  themselves.      The  chorus 
was  often  treated   dramatically,  representing  the  emotions  of  the  onlookers, 
while  the  solo  airs  were  of  a  piously  reflective  character.      There  was  a  plen- 
tiful interspersion  of  chorales  in  which  the  congregation  joined.      In  the  mid- 
dle there  was  an  intermission  for  the  sermon.      The   Passion  music  was  also 
j   an  outgrowth  of  the  medieval  miracle-plays,  but  it  soon  fell  into  disuse  and 
displayed  no  vitality  after  the  great  creations  of  Bach,  the  "  Passions  accord- 
ing to  St.  Matthew"  and  "St.  John,"  respectively,  composed  in  the  first 
quarter  of  the  eighteenth  century.      German  art   was  thenceforward  turned 
into  the  channels  of  the  oratorio  as  it  was  developed  in  Italy  ;   and  the  form 
was  brought  to  its  highest  perfection  by  George  Frederick  Handel.      As  thus 
perfected  it  was  not,  like  the   Passions,  a  part  of  religious  exercises,  nor  a 
direct   expression  of  devotional   feeling,  but  epic  or  narrative,   with  certain 
quasi-dramatic  traits  and  sometimes  with  the  use  of  vivid  local  colour  ;  but 
always   with   the  most   impressive   use  of  the  chorus  as  the  most  important 
medium  of  expression.      Handel's  first   oratorio  "  Esther"  was  written  in 
1720  and   performed  first  in   England  in    1732,   oratorio  being   then  quite 
unknown  in  that  country.      The  long  line  of  masterpieces  he  produced  there- 
after gave  the  final  and  definite  character  to  the  oratorio  form  which  has 
remained  to  this  day.      The  greatest  of  them  are  "The  Messiah,"  "Judas 
Maccabaeus,"  "Israel  in  Egypt,"  and  "Samson,"      Handel's  strength  lay 
chiefly  in  broad  choral   writing,  and  it  was  natural  that  the  oratorio  should 
develop  mainly  on  this  line,  as  affording  a  vehicle  for  more  descriptive  and 
'   characteristic  music,  thus  making  up  for  a  lack  of  pantomime,  costume,  and 
scenery.      ^For  a  considerable  period  after  Handel's  death,  little  of  impor- 
tance in  the  field  of  oratorio  was  produced.      Haydn's   "Creation"   and 
"The  Seasons,"  written  in  1795   and    1801    respectively,  still  retain  some 
:   of  their  vitality  and  freshness.      Beethoven's  "  Mount  of  Olives  "  does  not, 
;  Oratorios   by  Spohr  and  Schneider  attained  a  great  but  transient  popularity, 
1  but  the  next  really  important  works  in  this  form  were  Mendelssohn's  "  St, 
Paul,"  performed  first  in  1836,  and  "  Elijah,"  in  1846.      In  both  of  these 
the  dramatic  element  is   foremost,    and   the   musical    characterisation   of  the 
various  persons  presented  is  perhaps  more  vivid  than  any  previous  attempts  in 
•  this  line.      Works  like  Liszt's  "  St.  Elizabeth  "  and  Rubinstein's  "  Moses  " 
:  are  conceived    as  operas   in   which    descriptive  directions   take   the  place  of 
r;  'Scenery,  costume,  and  incident. 


222 


THE    MUSICAL    GUIDE 


orchesographie  (or-ka'-z6-gra-fe),  F. 
The  science  and  explanation  of  danc- 
ing, orchestique  (te!<),  F.  Relat- 
ing to  dancing.  Orchestik  (6r-kes- 
tek),  G.     Art  of  dancing. 

orchestra,  E.  (in  /.  or-kas-tra),  Or- 
chester  (6r-kes -ter),  C,  orchestre 
(6r-kestr),  F.  Literally  "  dancing- 
place,"  that  used  in  front  of  the  stage 
in  Greek  tragedy  for  the  chorus  ;  the 
name  was  given  by  the  first  opera- 
writers  (vide  PERI,  B.  D.)  to  the  place 
occupied  by  the  musicians,  thence  to 
the  musicians  themselves.  The  word 
now  means  the  place  and   its   occu- 


pants, and  the  instrs.  in  general.  The 
modern  o.  may  be  (a)  large,  full, 
grand,  symphony  ;  (b)  small.  Parts 
of  the  orchestra  may  be  designated, 
as  string  ore  lustra,  etc.  Orchester- 
verein  (fer-In).  An  orchestral  so- 
ciety. 0-stimmen.  Orchestral  parts. 
orchestral  flute  or  oboe.  A  stop, 
orchestra  tion.  The  art  or  act  of 
arranging  music  for  orchestra,  or'- 
chestrate,  E.,  orchestrare  (or-k^s- 
trji-re),  /.,  orchestri(e)ren(tre-r6n), 
G.,  orchestrer  (6r-kes-tra),  F.  To 
write  for  orchestra. 


The  Orchestra  and  Orchestration. 

By  W.  J,   Henderson. 

THE  modern  orchestra  dates  from  the  early  part  of  the  seventeenth  ,  a 
century.      Previous  to  that  no  attempts  at  a  systematic  combina-  i  ;, 
tion  ofinstruments  can  be  found.      The  original  use  of  the  orchestra  '  ;• 
was  in  the  accompaniments  of  operas,  and  even  here  the  earliest  combinations 
were  fortuitous  and  without  special  purpose.     The  earliest  writer  who  seemed 
to    have   distinct   ideas   as    to  instrumental  effects  was  Claudio   Monteverde:  \y_^^ 
( I  568-1643).      His  orchestra  was  the  first  in  which  a  considerable  body   1  ^^^^ 
of  strings,  including  two  violins,  figured.      He  invented  some  special  instru-'  !j^ 
mental  effects,  and  led  the  way  toward  the  establishment  of  the  string  quartet;  !  ^.^ 
as  the  foundation  of  the  orchestra.      Alessandro  Scarlatti  (born  1659)  wrote  • 
for  a  string  quartet  similar  to  that  employed  in  the  present  orchestra,  and  used 
oboes  and  flutes  as  his  principal  wind-instruments.      ^[  Handel  (1658-17 59) 
used  all  the  ordinary  instruments  of  the  present  orchestra  except  the  clarinet, 
but  not  in  the  same  combinations  as  those  of  to-day.      The  orchestra  of  hii 
time  contained  a  much  larger  number  of  oboes  and  bassoons  than  ours,  be- 
cause these  instruments  then  were  much  less  powerful.      In  the  early  part  0 
the  eighteenth  century,  when  the  seeds  of  symphonic  music  were  just  begin,    j. .. 
ning  to  sprout,  the  orchestra  consisted  of  the  same  body  of  strings  as  nov     u., 
used,  but   the  violoncello  was  not  yet  appreciated  at  its  true  value,  trumpet 
and  tympani  being  added  when  brilliancy  was  needed.      Clarinets  had  no 
entered  the  orchestra,  but  flutes  were  common.      The  trombone  was  em 
ployed  only  in   the  opera,  where  alone  also  the  harp  was  heard.      •[  Josep! 
Haydn   (1732— 1809)  wrote  his  first  symphony  in    1759  ^°^  first  and  sec 
ond  violins,  violas  and   basses,  two  oboes  and   two  horns.      Mozart  (1756 
91  )  introduced  clarinets  and  Haydn  learned  their  use  from  him,  so  that  his  ]• 
major  symphony,  written  in  1795,  is  scored  for  2  flutes,  2  oboes,  2  clarinet! 


ih 


DICTIONARY    OF    TERMS       223 

2  horns,  2  kettle-drums,  violins,  violas,  'cellos  and  basses,  adding  in  the 
first  movement  2  bassoons  and  2  trumpets.  In  the  •'  Eroica  "  he  introduced 
a  third  horn,  and  in  the  fifth  symphony  a  piccolo,  a  contra-bassoon  and  three 
trombones.  Four  horns  were  used  in  the  Ninth  symphony,  and  this  work 
contains  the  entire  modern  orchestra,  except  such  instruments  as  have  since 
been  introduced  for  special  effects.  The  operatic  writers  in  their  search  after 
dramatic  colouring  led  the  way  in  such  introductions,  and  the  romantic  com- 
posers of  symphonic  music,  building  up  their  great  colour  schemes,  we're  not 
slow  to  accept  every  suggestion.  ^  Nevertheless  the  orchestra  as  now  con- 
stituted is  practically  that  of  Beethoven.  As  ordinarily  distributed  it  is  com- 
posed of  a  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2 
trumpets,  3  trombones,  2  kettle-drums,  first  and  second  violins,  violas,  'cellos, 
and  basses.  The  wood-wind  instruments  are  now  frequently  used  in  triplets 
instead  of  pairs,  and  the  whole  wind  choir  is  extended  at  will  by  the  use  of 
the  English  horn,  the  bass  clarinet,  the  tuba,  the  saxophone  or  other  less 
common  instruments.  The  harp  is  also  employed  at  times.  ^Orchestration, 
the  art  of  writing  for  orchestra,  has  developed  rapidly  in  recent  years,  yet  the 
fundamental  principles  are  those  which  guided  Mozart  and  Beethoven.  The 
modern  efforts  have  been  in  the  direction  of  increased  sonority  and  richness 
of  colour.  These  ends  are  obtained  by  writing  for  a  larger  number  of  instru- 
ments and  by  dividing  the  old  ones  into  a  greater  number  of  parts.  The 
orchestra  naturally  separates  itself  into  three  groups  of  melodic  instruments 
and  one  of  merely  rhythmic  ones.  The  first  three  groups  are  the  wood-wind, 
the  brass,  and  the  strings,  and  the  other  is  the  "battery,"  as  the  group  of 
percussive  instruments  is  called.  In  this  last  group  only  the  kettle-drums 
have  musical  pitch,  except  when  bells  are  employed.  ^jThe  wood-wind  is 
divided  into  flutes,  which  have  no  reed  mouthpieces  ;  oboes  and  bassoons, 
which  have  mouthpieces  with  two  vibrating  reeds  ;  and  clarinets,  which  have 
mouthpieces  with  one  reed.  Flutes  used  in  triplets  are  capable  of  indepen- 
dent harmony,  but  all  of  a  high  pitch.  Bassoons  are  the  basses  of  the  oboe 
family,  and  hence  with  two  oboes  and  two  bassoons,  composers  can  write  in 
fiill  four-part  harmony  for  this  class  of  reed  instruments,  and  let  them  play  by 
themselves  when  their  peculiar  thin,  reedy  quality  is  desired.  The  English 
horn,  the  alto  of  the  oboe,  can  be  used  as  another  part.  Clarinets  have  a 
■  compass  extending  through  the  alto  and  soprano  ranges  of  the  human  voice, 
I  while  the  bass  clarinet  covers  the  tenor  and  the  bass.  Here  again  the  com- 
'  poser  can  get  a  full  harmony  in  one  family  of  wood.  Thus  the  wood  alone 
'  offers  three  distinct  orchestral  tints.  But  the  instruments  of  the  different 
families  combine  to  make  new  tints.  Flutes  go  well  with  clarinets  or  oboes, 
and  clarinets  combine  admirably  with  bassoons.  Furthermore,  the  whole 
'  wood-band  can  be  used  at  once  with  fine  effect.  The  older  composers 
!  had  conventional  methods  of  writing  for  these  instruments,   almost  always 


224         THE    MUSICAL    GUIDE 

allotting    the  same  parts  of  the  harmony   to  the  same  instruments.       The 
moderns  have  learned  to  vary  this  practice  with  excellent  results.      All  the 
wood-wind  instruments  can  be  used  profitably  as  solo  voices.      ^The  brass 
offers  three  groups,  horns,  trumpets  and  trombones,  each  of  which  is  capable 
of  independent  harmony,  while  each   may  be  combined   with  the  other,  or 
with  any  part  of  another  to  make  variety  of  effects.      All  are  useful  for  solo 
effects,  the  horn   being  especially  good  for  this  purpose.      The  brass  can  also 
be  used  in   many  combinations  with  the  wood-wind.      Horns,  clarinets,  and 
bassoons,  for  example,  are  frequently  combined.      The  foundation  of  the  or- 
chestra, however,  is  the  string  quartet,  as  it  is  called,  though  it  is  really  a 
quintet.      Violins  supply  the   soprano  and  alto  parts  of  the  harmony,  violas 
part  of  the  alto  and  all  of  the  tenor  ;   'cellos  run  from  bass  up  to  low  soprano, 
and  basses  give  the  deepest  notes.      The  older  composers  made  but  poor  use 
of  the  viola   and   the  'cello,  but  the  moderns  take  every  advantage  of  their 
compass  and  their  individuality  of  timbre.      Furthermore,  the  moderns  subdi- 
vide the  strings  very  often,  writing  at   times  for  first  and   second  violins  in  aSi 
many  as  six  parts,  for  violas  in  two  parts,  and  'cellos  in  the  same  way.      In] 
this  way   the  harmony   becomes  many-voiced  and  extremely  rich.      ^Tb 
essential  requirements  of  good  orchestration  are  solidity,  balance  of  tone,  coil' 
trast  and  variety.      Solidity  is  obtained  by  a  proper  distribution,  among  the; 
instruments,  of  the  notes  of  each  chord,  so  that  the  proper  sounds  are  mad^ 
the    more   prominent.      The   foundation   of  solidity  is  good  writing  for  thfc 
strings,  the  mainstay  of  the  orchestra.      Balance  of  tone  also  depends  on 
proper  dispersal  of  the  harmony,  so  that  the  instruments  which  are  providinj 
the  harmonic  support  will  not  drown  out  the  voices  of  those  which  are  si 
ing  the  melody.      A  perfect  understanding  of  the  relative  powers  of  the  v; 
ous  instruments  is  necessary  to  success  in  these  two  matters.     Especially  m 
the  middle  voices  be  skilfully  treated  to  obtain  solidity.      If  they  are  too  lo 
the  effect  is  "  muddy  ";  if  they  are  too  weak,  the  orchestra  is  *'  all  top  ah; 
bottom,"  as  the  musicians  say.      ^Contrast  is  obtained  by  transferring  th 
melodic  ideas  frequently  from  one  of  the  three  divisions  of  the  orchestra  ( 
another,  while  variety  is  the  result  of  mixing  the  tints.      A   theme  is  nev<j 
confined  to  the  strings,  but  is  often  handed  over  to  the  brass,  or  the  woocj  ij 
wind.      But  even  this  would  not  be  sufficient.      Consequently  the  varioij  si 
effects  of  mingling  the  voices  of  the  diff^erent  instruments,  flutes  and  horn!  rf 
or  clarinets  and  'cellos,  or  oboes  and  violas,  are  employed.      The  composiaj 
must,  of  course,  know  his  orchestral  colours  thoroughly  before  endeavouring  I'li^ 
mix  them.      Students  of  orchestral  music  will  find  the  simplest  and  most  soli  ;; 
colour  schemes  in  the  scores  of  the  classic  symphonists,  while  in  the  model  ..o 
operas  and  symphonic  works  of  the  romanticists  he  will  hear  all  the  results !    i 
the  most  comolex  treatment  of  orchestral  tinting.  i 


I 


i 


DICTIONARY    OF    TERMS       225 

orchestrina  (tre'-na),  di  ca'mera,  /.  A  ordinario  (6r-dI-na'-ri-6),  /.    Ordinary, 

small  free-reed  key-board  instr.,  imi-  usual,  common,     tempo  0.     i.   The 

tating  some  orchestral  instr.     Inv.  by  usual  time.     2.  4-4  time. 

W.  E.  Evans,  i860.  ordre  (ordr),  F.     A  suite. 

orchestrino  (tre'-no),  /.     A  piano  vio-  orecchio  (6-rek'-kl-6),  /.     Ear.    orec- 

lin,  inv.  by  Pouleau,  1808.  chiante    (o-rek-kt-an'-te).       Singing 

orchestrion.       i.   A  large    automatic  by  ear. 
barrel-organ    with    many    imitative  Oreille  (o-ra'-yii),  /^,      Ear. 
stops.     2.  A  chamber-organ  devised  organ,  E.,  organo  (6r-ga'-no),  /.,  Gr- 
and used  on  his  tours  by  Abbe  Vogler.  gane  (6r-gan),  F.     See  below. 

Organ. 

By  the  Editor. 

THOUGH  many  instruments  are  loosely  called  organs  (such  as  the 
mouth-organ,  hand-organ,  etc.),  the  word  is  generally  given  to 
the  pipe-organ,  a  microcosmic  wind-instrument  which  contains  in 
ts  forest  of  resources  almost  all  the  powers  and  qualities  of  almost  all  other 
nstruments.  In  the  course  of  time  while  its  powers  have  grown  ever 
;reater,  their  control  -has  become  always  easier  and  more  centralised. 
f[The  History  of  the  organ  is,  in  any  completeness,  beyond  the  space  of 
his  work.  Its  prototypes  are  the  primeval  Pan's  pipes  and  the  bagpipe. 
The  zd  century  b.c.  finds  it  with  a  key-board,  and  pipes  supplied  by 
icllows  with  air  compressed  by  water.  Ctesibius  (170  B.C.)  invented 
Kis  zuater-organ  (Organon  hydraulicon)  which  his  pupil  Heron  described 
1  Greek.  There  are  many  accounts  and  representations  of  organs  from  that 
oint  on.  The  mediaeval  monks  used  organs  abundandy,  the  pipes  being 
■  to  1.5  in  number  and  of  no  greater  than  4-ft.  length,  the  range  being 
sually  one  octave  from  middle  c'  downward,  the  key-board  consisting  of 
ntered  plates  to  be  pressed.  In  the  loth  century  there  was  at  Winchester, 
England,  an  organ  with  2  manuals  for  2  performers,  20  digitals  each,  and 
0  pipes  to  each  digital,  400  in  all.  In  the  1 2th  century  the  pipes  began  to 
e  divided  into  registers  or  stops  (q.  v.).  For  two  centuries  the  action 
ecame  so  clumsy  that  keys  were  struck  with  fists  or  elbows.  Pedals  were 
wented  about  1325.  Till  the  15th  century,  reed  pipes  were  unknown, 
ince  that  time  the  resources  have  been  vastly  increased,  the  variety  of  tone 
endered  almost  illimitable,  and  the  introduction  of  water,  steam  or  electric 
id  to  work  the  bellows  has  displaced  the  need  of  a  man  to  serve  as  organ- 
umper  or  bellows-treader.  Electricity  has  also  been  called  into  play  for 
ringing  remote  parts  of  the  organ  into  convenient  control,  till  the  performer 
/ith  his  draw-knobs  has  almost  as  easy  command  as  the  conductor  with  his 
-  aton.  "flThe  Construction  of  the  organ  is  too  complicated  for  detail,  but 
lany  of  the  terms  following  will  be  found  more  fully  explained  under  their 


226  THE    MUSICAL    GUIDE 

separate  heads.      When  looking  at  an  organ,  in  a  church  for  example,  thej 
eye  is  first  caught  by  the  great  array  of  pipes.      These  ornamental  or  display 
pipes  (some  of  which  may  be  only  for  show,   dummy-pipes')  conceal  many 
plain  pipes  of  wood   or  metal,  which  are  of  various  shapes  and  sizes,   ac- 
cording to  the  quality  and  pitch  of  the  tone  of  the  pipe  (q.  v.).      These  pipes  i  I 
are  grouped   together  into  registers  or  stops  (q.  v.),  each  being  of  uniform 
quality  of  tone  and  furnishing  a  complete  or  partially  complete  scale  (or  series; 
of  pipes  of  graduated  lengths).      Though  these  pipes  are  merely  colossal  flutes, 
oboes,   trumpets,  etc.  (each  pipe,  however,  sounding  only  one  tone),  theyj 
are  too  large  to  be  blown  by  human  lungs,  and  an   elaborate  mechanism  is,  , 
used.      This  is  concealed  from  the  eye,  which  sees  only  the  series  of  key-jj) 
boards  for  the  hands  and  feet,  and  the  multitude  of  little  draw-knobs  groupec]  .q 
within  easy  reach.      ^Of  these  key-boards  the  numbers  vary,  those  for  th( 
hands,  the  manuals,  being  from  I  to  5  in  number  and  appearing  in  the  follow 
ing  order  counting  from  below,  and  giving  both  English  and  foreign  names    1 

ENGLISH.                          GERMAN.  FRENCH.  ITALIAN;    i 

Great  (Gt.)  organ  Imanua  Haupt\verk(Manuan.)  Grand-orRue                (ler  clavier)  Principale.     ;   ,-. 

Choir                              "         Unterwerk  (        "     H.)  Positierif                       (2=         "     )  Organo  di  co],  jj 

Swell  (Sw.)                   "         Schwellwerk  (    "IIL)  Clav,  de  r<^cit      "       (36         "     )  •'  d'espre:in6|- 

Solo                                "        Soloklavier  (        "  IV.)  "     des  bombardes  (4e         "     )  "  d'assoloi   i!- 

Echo                              "         Echoklavier  (      "     V  )  "     d'<5cho                 (56         "     )  "  d'eco. 

Each  of  these  key-boards  may  be  said  to   control   a  separate  instrument  c 
partial  organ ;    and  one  often  speaks  of  the  choir-organ,  swell  organ,  etcj  ,j 
^The  pedal-key-board,  Pedalklaviatur  (pa-dal'-kla-fi-a-toor'),  G.,  or  clavit\  3' 
^^//f^^A'j(klav-ya-da-pa-dal')  F/.,  or/>^<2'<2/A'r/j  (pa-dal-la'-ra),  /.,isworkci    i 
by  the  feet  and  is  also  a  separate  instrument  with  stops  of  its  own  (vide  pedal';    j 
^By   means  of  couplers,  any  two  of  these  key-boards  (manuals  or  jtedal;' 
may  be  connected  ;  or  they  may  all   be  combined  into  \.\\q  full-organ.      TJ 
coupling-action    is  worked  by  draw-knobs.      ^The  organ  as  a  whole,  the^ 
is  divided  into  three  chief  parts:  (  i  )  The  action  (key-boards  and  stops).    (:; 
The  pipe-work.      (3)  The  wind-supply.      The   action   we  have  examine;    j 
The  pipes    (vide  pipe  and  stop)  are  set  upright  above  the  wind-chest,  t;    1 
cover  of  wliich  is  called  the  sound-board ,-  the  lower  part  of  the  pipe,  passi; 
through  an  upper-board,  which  grips  its  nose,  sets  'm  foot  in  i\\t  pipe-rac  ■ 
below  this  is  a  slider  (worked  by  a  draw-knob),  a  thin  strip  of  wood  with 
hole  for  each  pipe  of  its  particular  stop.      ^(4)  The  wind  is  collected  frd 
the  outer  air  by  bellozvs  and  led  hy  feeders  into  a  storage-bellows,  where  is    : 
compressed  by  heavy  weights  ;  it  is  next  led  by  a  wooden  channel  or  zf/;i- 
trunk  into  a  wooden   reservoir,   or  wind-chest,  the  top  of  which   (thejca;- 
board)  is  pierced  by  grooves  closed  by  valves   or  pallets,  and  separated  y 
bars.      *iyTo   play    the  organ,  we  first  pull  out  a   draw-knob,   which  dr|s   |v. 
along  a  slider  until  its  holes  are  beneath  the  feet  of  the  pipes  of  its  sti    1 


DICTIONARY    OF    TERMS       227 

This  stop  is  now  said  to  be  on  (before  being  brought  into  play  it  was  off^, 
-laving  also  pulled  out  a  draw-knob  setting  the  wind-supply  to  work  (or 
laving  signalled  the  person  working  the  bellows),  we  next  press  down  one  of 
he  digitals  on  the  key-board  whose  stop  we  have  drawn.  In  pressing  down 
his  digital  lever  we  raise  its  opposite  end,  which  lifts  an  upright  rod  (a 
ticker),  this  in  turn  raising  the  front  end  of  a  horizontal  lever  (or  back-fall) 
vhose  rear  end  is  thus  depressed  and  pulls  down  a  thin  upright  strip  of  wood 
a  tracker')  which  in  turn  pulls  a  wire  (a  pull-dozvn  or  fallet-wire)  fastened 
0  a  valve  (or  pallet)  which  opens  and  lets  the  air  (which  was  waiting  in 
lie  groove  from  the  wind-chest)  rush  up  through  the  slider  into  the  pipe  to 
lake  it  sound  or  speak.  {^Squares  and  roller-boards  sometimes  intervene 
etween  the  stickers  and  trackers,  while  pneumatic  or  electric  actions  give 
till  more  direct  connection  between  digital  and  pallet.)  This  is  the  mech- 
nism  by  which  each  tone  is  secured.  By  means  of  a  multitude  of  stops 
nd  couplers,  what  would  be  a  simple  tone  or  chord  on  another  instrument 
lay  become  a  vast  group  of  tones  of  various  pitches  and  colours.  ^[By 
leans  of  the  szvell  (q.  v.  )  the  volume  of  sound  may  be  gradually  increased 
r  diminished  while  it  is  sustained. 


rgan-bellows.  A  machine  for  sup- 
plying wind,  o.-blower.  One  who 
works  the  bellows,  o.-loft.  The  part 
of  the  church  where  the  organ  is 
placed,  o.  metal,  A  tin  and  lead 
mi.xture  used  in  pipes.  o.  tabla- 
ture.  Vide  tablature.  o.  point. 
Vide  PEDAL  POINT,  o.  tone.  A 
tone  sustained  with  uniform  power. 
buffet  0.  Very  small  organ,  enhar- 
monic, enharmonic  organ.  An 
iVmerican  instr.  giving  three  or  four 
times  the  usual  sounds  within  an  oc- 
tave, furnishing  the  precise  intervals 
for  every  key,  the  scale  of  each  key 
i  being  produced  by  pressing  a  pedal. 
full  organ.  All  the  power  of  the 
organ,  hand-organ  or  barrel-o.  A 
'Cylinder  turned  by  hand  and  acting 
!  on  keys  to  produce  set  tunes,  harmo- 
t  nium  o.  A  reed  instr.  voiced  to  im- 
I  itate  organ-stops,  organet'to,  /.  A 
:  small  organ,  organier  (6r-gan-ya), 
j  F.  Organ-builder,  organique  (or- 
jg^n-ek),  F.  Relating  to  the  organ, 
korganista  (6r-ga-nes'-ta),  /.  and  Sp. 
[i.  An  organ-player.  2.  Formerly  a 
I  composer. 


organic.     Old  term  for  instrumental. 

orga'nicen,  L.     Organ-player. 

organis'trum,  L.  A  hurdygurdy  of 
about  rioo  a.u. 

organo  (or-ga'-no),  /.  Organ  (q.  v.). 
o.  di  campan'a.  Organ  with  bells. 
o.  di  legno  (lan-yo).  Xylophone. 
o.  pieno  (pl-a'-no),  or  pleno  (pla'-no). 
Full  organ,  o.  portatile  (p6r-ta-te'- 
le).  Portable  organ,  organi  voca- 
li  (or-ga'-ne-v6-ka'-le),  /.,  pi.  The 
vocal  organs. 

organo,  in,  L.     Vide  organum. 

orga'nochor'dium.  A  combination 
of  pf.  and  pipe-organ  inv.  by  Abbe 
Vogler. 

organophonic.  Name  adopted  by  a 
band  of  Polish  performers  imitating 
various  instrs.  vocally. 

organographie  (gra-fe),  F.  The  de- 
scription of  an  organ,  organologie 
(zhe).  The  science  of  building  and 
playing  the  organ. 

organum,  Z.,  or  ganon,  Gr.  i.  Any 
instrument,  thence  the  organ.  2. 
The  earliest  polyphonic  music,  a  con- 
tinual progression  of  two  parts  in 
fourths  or  fifths  (also  called  diapho- 


228 


THE   MUSICAL   GUIDE 


ny) ;  later  it  developed  into  3  parts 
{triphd nid),  the  third  part  called  tri- 
plum,  hence  our  term  treble  ;  then 
into  4  parts  {tetraphd nia).  3.  The 
part  added  to  another  in  2  part  orga- 
num.  in  organo.  Old  term  for  m 
more  than  two  parts,  o.  hydraul- 
icuni.  Hydraulic  o.  o.  pneumati- 
cum.  The  ordinary  wind  o.  o.  sim- 
plex, L.  A  mediseval  term  probably 
meaning  the  unisonal  accompaniment 
of  a  single  voice. 

Orgell  (6r'-gel),  G.  An  organ.  O.- 
balge  (belkh-e).  Organ-bellows. 
O.-bank  (bank).  Organist's  seat. 
O.-bauer  (bow-er).  Organ-builder. 
O.-biihne  (bii-ne),  or  -chor  (kor),  or 
-platz  (plats).  Organ-loft.  O.-  ge- 
hause  (ge-hi'-ze).  Organ-case.  O.- 
kasten  (kiis'ten).  i.  Cabinet  organ. 
2.  Organ-case.  O.-klang.  Tone  of 
an  organ.  0,-kunst  (koonst).  The 
art  of  playing,  or  constructing  an 
organ.  O.-metall  (ma-tal  ).  Organ- 
metal.  O.-pfeife  (pfl'-fe).  Organ- 
pipe.  O.-punkt  (poonkt).  Pedal- 
point.  O.-register  (re-ges'-ter). 
Organ  -  stop.  O.  -  schule  (shoo'le). 
Organ-school  or  method.  O.-spiel 
(shpel).  Playing  the  organ  ;  or  the 
piece  played.  O.-spieler  (shpe-ler). 
Organ  -  player.  O.  -  stein  (shtln). 
Pan's  pipes.'  O.  -  stimmen  (shtlm'- 
men).  Row  of  organ-pipes.  O.- 
stiicke  (shtii'-ke).  Organ-pieces.  O.- 
treter  (tra'-ter).  Organ-treader,  bel- 
lows-blower. O. -virtuose  (fer-too- 
o'-ze).  Organ  -  virtuoso.  O.  -  wolf 
(volf).  Ciphering.  O.-zug  (tsookh). 
Organ-stop  or  row  of  pipes. 

orgeln  (6r'-geln).  To  play  on  the  or- 
gan. 

orgue  (org),  F.  Organ,  o.  de  salon 
(du  sa-16h),  orgue  expressif.  (a) 
The  harmonium,  (b)  The  swell  or- 
gan, o.  hydraulique  (e-dro-lek). 
Hydraulic  organ,  o.  a  percussion 
(per-klis'-yoh).  A  reed  o.  made  by 
De  Provins  &  Alexandre,  Paris,  o. 
plein  (plan).  Full  organ,  o.  por- 
tatif  (p6r-ta-tef).  A  portable  organ. 
o.  de  barbarie    (du  bar-ba-re).      A 


barrel-organ,  hurdygurdy.  o.  posi- 
tif  (p6-zl-tef).  I.  The  choir-organ. 
2.  A  small  fixed  organ. 

orguinette  (6r-gl-net),  F.  A  small 
reed-organ  played  with  a  crank,  the 
music  being  perforated  to  admit  air 
to  the  reeds. 

orificcio  (6r-l-fTt'-ch6),  /.  Orifice  (of  a 
pipe). 

oris  cus.     Vide  neume. 

ornament,  E.,  ornamen  to,  /.,  or- 
nement  (orn-mah),  F.  An  embellish- 
ment, as  the  turn,  grace  (q.  v.),  etc. 
ornamental  note.  An  accessory 
note. 

ornato  (or-na'-to),  ornatamen'te,  /. 
Ornate(ly). 

orpha'rion,orph6or(e)on(6r-fa-6-r6ri), 

F.  A  kind  of  cither. 

Orph^on  (6r-fa-6h).  i.  A  piano-violin 
2.  A  popular  male  singing  society  o' 
enormous  proportions  in  France  (ir, 
188 1  it  had  60,000  members).  orph6'! 
oniste  (nest).  A  member  of  sucl 
society. 

Orpheus  (orf'-yus,  or  dr'-fe-iis).  Fa 
bled  Greek  lyre-player  and  singer  0 
supernatural  power.  O.-harmo'nika 

G.  Pan  harmonikon. 
orthography.     Spelling  and  gramma,  . 

are  as  necessary  inmusic  as  in  any  othei    , 
written  language.    Bad  spelling  occuii    1 
in  music  where,  for  instance,  a  chor 
is  written  in   sharps    when   the  ke; 
relationship  shows  it  to  belong  in  tl 
enharmonic    flat    notes.     Sometime 
however,  a  note  is  mis-written  intei;  1 
tionally  for  the  sake  of  easier  reaij    1 
ing-  \ 

oscillation,  E.,  Oszillation  (6s-ts  1 
la-tsl-6n'),  G.     Beating,  vibration. 

osia  (o'-se-a),  ossia  (6s'-sl-a),  /.  C 
otherwise,  or  else.  o.  piu  faci 
(pT-oo'  fa'-chl-le).  Or  else  this  mc 
easy  way. 

osser'vanza  (van'-tsa),  /.  Observatic 
strictness,  osservato  (va -to).  Stri 
exact. 

ostinato  (6s-tl-na'-t6), /.  i.  Obstina, 
continuous.  2.  A  ground-bass,  sor- 
times  basso  o. 

otez  (o-ta),  F.     "  Off !  "  (of  a  stop) 


t 


f 


DICTIONARY    OF    TERMS       229 


sttava  (6t-ta'-va),  /.  Octave,  eighth. 
0.  alta  (al'-ta).  The  octave  above  ; 
an  octave  higher  (abbreviated  8va.)  ; 
0.  bassa  (bas'-sa).  The  octave  be- 
low (abbreviated  8va.  bassa).  o. 
supra  (soo'-pra).  The  octave  above. 
coir  o.  To  be  played  with  the  octave 
added. 

Dttavina  (6t-ta-ve'-na),  /.     Vide  OCTA- 

VIANA. 

attavino  (6t-ta-ve'-n6),  /.  The  pic- 
colo. 

ottemole  (6t-te-m6'-le).  A  group  of 
eight  equal  notes. 

attet'to,  /.     Octet. 

DU  (00),  F.     Or,  or  else. 

DUgab  (oo'-gab),  Heb.  Ancient  reed- 
instrument. 

ouie  (00-e),  F.     Soundhole. 

outer  voices.  The  highest  and  lowest 
voices. 

ouvert      (oo-var'),    F.      Open.      Vide 

LIVRE. 

ouverture  (oo-var-tur),  F.,  Ouverture 
(oo'-fer-tii-re),  G.,  overtura  (5-ver- 
too'-ra),  /.,  overture  (o'-ver-tur,  not 
toor).  An  elaborate  prelude  to  an 
opera,  oratorio  or  play,  often  based 
(in  the  concert  o.)  on  the  sonata 
formula  ;  often  (in  the  opera  o.)  a 
mere  medley  of  airs  ;  sometimes  an 
independent  composition,  o.  di  bal- 
lo  (de  bal'-lo),  /.  An  overture  intro- 
ducing dance  melodies. 

overblow,     i.  To   blow  with  enough 

i    force  to  produce  harmonics  on  a  wind- 

i    instr.    Vide   acoustics    and    horn. 

t    This  feat  is  constantly  necessary  in 

!    playing  many  wind-instrs.     2.  Of  de- 

I    fective  pipes,   to  sound  a  partial  in- 

1    stead  of  the  fundamental. 

[overchord.     Vide  phone. 

overspun.     Used  of  covered  strings. 

overstrung.     Of   a  piano  in  which  the 

1  strings  of  two  or  more  of  the  lowest 
octaves  are  stretched  diagonally  under 

!    other   strings,     the    object    being   to 

I    economise  space. 

;owero  (6v-va'-ro),  /.     Or. 

'0.  W.  ^  Abbr.  for  Oberwerk. 

lOxypyc'ni.  Church  modes  with  a 
pyknon  high  in  the  tetrachord. 


PAbbr.  of  pedale ;  piano  ;  piu, 
2,% piu  forte  (pf.);/^(r^,  asp.  a. 
p. ,  poco  a  poco  ;  parte  (as  colla 
p.)  ;  pointe,  F.  (toe)  ;  and  posi- 
/?/ (choir-organ). 

pad.     Vide  pianoforte. 

padiglione  (pa-del-yo'-ne),  /.  The 
bell  (of  a  wind-instr.). 

Padovano  (pa-do-va'-no),  Padava'ne, 
or,  Paduane  (pa  -  doo  -  a'  -  ne),  /. 
"From  Padua."  An  Italian  dance 
in  ternary  rhythm.  Perhaps  the  same 
as  Pavan. 

paean  (pe'-an),  Gr.  Hymn  of  invoca- 
tion, usually  to  Apollo. 

pair  of  organs.  An  organ  with  a 
complete  set  of  pipes. 

paired  notes.  Thirds,  sixths,  etc.,  in 
pf. -playing. 

paisana  (pa-l-za'-na),  Sp.  A  country, 
dance. 

palalaika.     Vide  balalaika. 

palco  (pal'-ko),  /.  Stage  of  a  theatre  ; 
box. 

Palestrinastil  (shtel),  G.  The  style  of 
Palestrina  (vide  B.  D.),  i.  e.,  a  cap- 
pella. 

palettes  (pal-et'),  F.     The  white  keys. 

pallet,  A  spring  valve  in  the  wind- 
chest  of  an  organ. 

palmadilla  (pal-ma-del'-ya),  Sp.  A 
dance. 

pam  be.     Small  Indian  drum. 

panathe'naea,  Gr.  An  Athenian  festival 
at  which  musical  contests  were  held. 

Pandean  pipes,  Pan's  pipes.  A 
primitive  group  of  reeds  or  tubes  of 
different  lengths,  fastened  together 
and  tuned,  named  for  the  god  Pan. 

pando  ran,  Gr.,  Pandore  (pan-do'-re), 
G.,  pandora,  pandoura,  pandura 
(pan-doo'-ra),  /.,  pandure  (pahdiir), 

F.       Vide  BANDORA. 

Panflote  (pan'-fla-te),  G.  Pandean 
pipes. 

panharmo'nicon.  A  kind  of  orches- 
trion inv.  by  Maelzel. 

panmelo  deon.  A  key-board  instr.  of 
wheels  impinging  on  metal  rods,  inv. 
i8io,  by  Leppich. 


230 


THE    MUSICAL    GUIDE 


panorgue  (org),  F.  A  little  reed-organ 
to  be  attached  to  a  pf.  inv.  by  J. 
Jaulin. 

pan  sympho'nikon.  An  orchestrion 
inv.  by  Peter  Singer,  1S39. 

pantaleone  (pan-ta-le-o -ne),  panta- 
lon.  An  instr.  inv.  by  Pantaleon 
Hebenstreit,  in  the  iSth  century.  It 
was  9  ft.  long,  4  ft.  wide,  and  had  1S6 
gut  strings,  played  on  with  two  small 
sticks.  P.-zug,  G.  A  harpsichord- 
stop. 

pantalon  (pah-ta-16n),  F.  First  move- 
ment of  the  quadrille. 

Papagenoflote  (pa-pa-ga-no-fla'-te), 
G.  Pan's  pipes,  from  Mozart's  Papa 
geiio  (vide  "  Magic  Flute"  in  "  Sto 
ries  of  the  Operas"). 

papillons  (pSp -e-yon),  F.  "Butter 
flies.''  A  frail  and  flitting  composition 

parallel.  Of  intervals,  consecutive  ;  of 
keys,  related.  Of  motion,  the  pro 
gression  of  two  voices  in  the  same 
direction  at  a  fixed  interval.  It  re 
quires  care  in  handling.  Parallelen 
(pa-ral-la'-len),  G.  i.  Sliilcrs.  2. 
Consecutives.  Parallelbewegung 
(be  -  vakh'  -  oongk),  G.  Similar  or 
parallel  motion.  Parallel-tonarten 
(ton-ar-ten),  G.     Related  keys. 

parame'se,  parane  te.     \ide  lyre. 

par  aphrase.  Free  or  florid  transcrip- 
tion. 

parfait  (par-fe),  F.  Perfect  (of  inter- 
vals), etc. 

parlando,  parlante  (par-Ian  -te),  /. 
"Speaking,"  in  a  recitative  manner. 

parhy  pate.     Vide  lyre. 

Parnassus.  A  mountain  in  Greece, 
sacred  to  Apollo,  the  Muses,  and  in- 
spiration generally.  Gradus  ad  Par- 
7!as'sum.     Vide  method. 

parole(s)  (pa-rol'),  F.     Word(s). 

part,  E.  and  G.  i.  The  music  of  an 
individual  voice  or  instr.  2.  A  divi- 
sion. 

part-book.  i.  The  music  of  any  one 
voice  or  instr.  2.  In  the  I5th-i6th 
cent,  a  book  with  separate  parts  on 
facing  pages. 

part-song.     A  song  for  three  or  more 


part-writing.     Counterpoint. 

parte  (par -te),  pi.  i, /.  Part(s).  colla 
p.  With  the  part,  i.  e.,  adopting  the 
tempo  of  the  singer  or  soloist,  p. 
cantan  te.  The  vocal  part,  the  lead- 
ing voice,  parti  di  ripieno  (re-pl- 
a  -  no).  Supplementary  parts,  a  p. 
equale.  With  more  than  one  voice 
of  leading  importance. 

partial,  i.  An  harmonic.  Vide  acous- 
tics.    2.   Vide  STOP.     3.  Vide  ilrn. 

participating.  Accessory.  partici- 
pa  turn  syste  ma,  L.  Equal  tem- 
perament. 

Partie  (par-te),  G.  i.  Variations.  2.i 
Vide  SUITE. 

partie(s)  (par-te),  F.  Parts,  p.  de  rem-j   5^- 
plissage  (dii  ran-pll-sazh),  F.     Ac-' 
cessory  parts.  ,' 

partimen  to,  /.  i.  An  exercise.  2.. 
Figured  bass.  ! 

partita  (par-te'-ta),  /.  i.  Variations.! 
2.   Vide  SUITE.  ' 

partitino  (te-no).  A  small  supple-; 
nientary  score. 

partition,  E.  (in  /-".  par-tes-yon).  Par-' 
titur  (par  -  tl  -  toor),  G. , '  partiturcj 
(par-tl-too-ra),  partizione  (par-te 
tsI-6'-ne),  /.  A  full  score  for  voice: 
or  instrs.  p.  cancella  ta.  A  set  0 
staves  with  vertical  lines  for  the  bass 
Partiturspiel  (toor'-shpel),  6^.  Play. 
ing  from  the  score. 

partito  (par-te'-to),  /.  Scored,  di 
vided. 

pas  (pa),  F.  I.  Step,  dance,  p.  ordij 
naire  (pii-zor-dl-nar).  March  timej 
p.  de  charge  (dCi  sharzh).  Doublj  ,. 
time.  p.  seul  (sul).  A  dance  fc; 
one  performer  ;  p.  de  deux  (dii  du."  ■' 
For  two,  etc.  p.  redouble  (pa-ri;  ;), 
doo-bla).  A  quick-step.  2.  Not,  u 
pas  trop  vite  (pa  tro  vet).  Not  tcji 
fast.  ! 

paspie  (pas'-pl-a),  Sp.  A  kind  <J 
dance. 

pas'py.    Vide  passepied.  ' 

passacaglio   (pas-sa-kal'-yo),  /..   pa| 
sacaille  (pas-sa-ki-yu).  ■^•.    pass.  ^, 
col  le,     Sp.,     passagallo,     /. 
chaconne   with  a  ground-bass  in  3IJ 
time,  always  in  minor. 


.*' 


DICTIONARY    OF    TERMS       231 


passage  (in  F.  pas-siizh).  i.  A  phrase 
or  section.  2.  A  figure.  3.  A  run. 
notes  de  p.  Grace  notes,  passage- 
boards.  Boards  on  which  an  organ- 
tuner  may  walk. 

passaggio'(pas-sad'-j6),  /.  i.  A  pas- 
sage.    2.   Modulation. 

passamezzo  (pas-sa-med'-z6).  A  slow 
Italian  dance,  in  2-4  time,  resembling 
the  Pavan. 

passant    (pas-san),    F.      Slide    (of    a 

i    bow). 

•lassepied  (pas-p!-a),  F.  A  lively  old 
French  dance  in  3-4,  3-8,  or  6-8  time  ; 
a  quick  minuet  with  three  or  more  re- 
prises, the  first  of  eight  bars. 

oasse-rue  (pas-rU).     Passacaglio. 

)assing.  Unessential,  as  a  passing 
modulation.  A  transient  modulation. 
passing  tone,  or  note,  a  brief  dis- 
sonance on  the  weak  beat,  leading 
from  one  consonant  tone  to  another  ; 
it  does  not  need  to  be  prepared. 

'assion,  Passion-music.  Oratorio,  or 
play.  A  dramatic  or  musical  setting 
of  the  "Passion  "  (suffering)  of  Christ. 
It  differs  from  the  oratorio  (q.  v.)  in 
history  and  form  only  in  the  facts  of 
its  being  always  concerned  with  the 
one  subject,  and  in  the  introduction 
usually  of  spiritual  reflections. 

assionata  or  -o  (pas-sl-6-na -ta),  pas- 
sionatamen'te,     /.     Passionate(ly). 

assione  (pas-sl-6'-ne).  i.  Passion, 
feeling.     2.  Vide  passion. 

'assionsmusik  (pas-sl-ons-moo-zek), 
G.     Vide  P.A.SSION. 

as'so,  /.     Step. 

as  sy-measure.    Old  E.  Passamezzo. 

'astete  (pas-ta'-te),  G.    Pasticcio. 

asticcio  (pas-te'-cho),  /.,  pastiche 
(pas-tesh),  F.  i.  An  opera,  or  other 
work  in  which  old  airs  are  used  to 
new  words.     2.   A  medley. 

as'toral,  pastorale  (pas-to-ra'-le  in 
/.  ,•  in  F.  pas-to-ral).  An  opera,  can- 
tata, song  or  instrumental  composi- 
■  ■  tion  of  rustic  nature  or  subject,  p. 
f.  I  flute.  Shepherd's  pipe.  p.  organ- 
point.  Vide  PED.VL-FOiNT.  pasto- 
rella,  /.,  pastorelle  (rel),  F.  A 
iittle  pastoral. 


pastorita(e'-ta).  i.  A  shepherd's  pipe. 
2.   A  stop,  the  Nachthorn. 

pastourelle  (pas-too-rel),  F.  i.  A  6-8 
movement  of  a  quadrille.  2.  A  trou- 
badour lyric. 

patetica  or  -o  (pa-ta -tl-ka),  /.,  path6- 
tique  (pa-ta-tek),  7^. ,  pathetisch  (pa- 
ta'-tlsh),  G.  Pathetic  ;  a  piano  sonata 
in  C  minor  by  Beethoven  is  so-called  ; 
and  a  symphony  by  Tchaikovski. 
pateticamen'te,  /.     Pathetically. 

patimen  to,  /.     Grief,  suffering. 

patouille  (pat-oo-e'-yii),  F.  Xylo- 
phone. 

patte  (pat),  F.  I.  A  special  clarinet 
key.     2.  A  music-pen. 

Pauke(n)  (pow'-ke(n)),  G.  Kettle- 
drum(s). 

pause,  E.,  pausa  (pa'-oo-za),  /.,  pause 
(p6z),  F.  I.  A  rest  of  variable  length  ; 
if  very  protracted  called  lunga  (or 
long)  pausa.  2.  A  fermate.  3.  F. 
and  G.  A  whole  rest,  demi-pause 
(de-me'-poz),  F.     A  half-rest. 

pavan',  ^.,  pavana  (pa-va'-na),  /.,  pa- 
vane  (pa-van'),  F.  A  grave  stately 
dance  in  3-4  time,  generally  in  three 
strains,  each  repeated  ;  once  supposed 
to  be  derived  from  pavo,  peacock, 
now  from  Paduna  (q.  v.). 

paventato  (pa-ven-ta'-t6),  pavento'so, 
/.     Fearful,  timid. 

pavilion  (pa-ve-yoh),  F.  The  bell  of  a 
wind-instr.  p.  en  Fair  (ah  ISr).  "The 
bell  upwards "  (direction  to  horn- 
players),  flute  a  p.  A  stop  with 
flaring  pipes,  p,  chinois  (shen-wa). 
Chinese  hat,  crescent. 

peal.  I.  A  chime.  2.  A  change,  of 
bells. 

pean.     A  paean. 

pearly  (of  runs,  etc.).  Bright,  dis- 
tinct. 

ped.     Abbr.  of  Pedal. 

ped  al,  E.  (in  G.  pa-dal),  p6dale  (pa- 
dal),  F.,  pedale  (pa-da'-le),  /.  i. 
Abbr.  of  Pedal-point  (q.  v.).  2.  A 
foot  lever  of  various  musical  uses. 
The  piano  has  usually  two  pedals  : 
(a)  The  damper  (open,  loud,  or  ex- 
tension) pedal,  which  raises  all  the 
dampers    from   the   strings,  allowing 


23^ 


THE    MUSICAL    GUIDE 


the  tones  struck  to  be  sustained  and 
broadened  by  sympathetic  (q.  v.)  vi- 
bration.     The  use   of   the   damper- 
pedal   is  indicated  by  Ped^nd   its 
cessation  by  the  mark  *  or@.  Wm. 
H.  Sherwood  (vide   B.  D.)  has  intro- 
duced a  more  accurate  system  of  con- 
tinuous lines  r-^  to  indicate  just  when 
this  pedal  is  to  be  pressed,  how  long 
held   and   when   released,      (b)    ine 
soft  pedal  (petite  (pa-tet),  pedale) 
in  some  cases  merely  lets  a  cloth  fall 
over  the    strings,   but  usually   shifts 
the  action  so  that  the  hammers  strike 
only  one  of  the  two,  or  three  strings 
allotted  each  tone.     Hence  its  use  is 
indicated  by  una  corda  (oo-na  kor- 
da,  one    string),    or   Verschiebung 
(fer-she'-boongk),  and  its  discontinu- 
ance by  "  tre  corde  "  (tra  kor -da,     3 
strings  ").  In  the  upright  pf .  this  pedal 
simply   moves    the    hammers   nearer 
the  strings.     Some  pianos  are  htted 
with  a  (c)  sustaining,  or  prolonga- 
tion pedal.    A  damper-pedal  holding 
the  dampers  from  only  those  strings 
struck  at  the  moment,  until  the  pedal 
is  released,  thus  permitting  the  sus- 
tention of  a  chord  or  tone  while  the 
hands  are  busy  elsewhere,  (d)  A    H. 
Chase  has  inv.  an  octave-pedal,  or 
octavo-attachment,   sounding  also 
the  higher   octave.     Both  pedals   (a 
and  b)  mav  be  pressed  together;  this 
is   indicated   by  pedale  doppio,  or 

Th?^hl*rp(q.  V.)  has  8  pedals,  one 
opening  or  closing  a  panel  in  the 
sounding-case  with  loud  or  soft  effec  . 
Reed-or|ans,  etc.,  have  double  pedals 
or  treadles  for  working  the  bellows. 
In  the  pipe-organ  (and  in  the  ped- 
alier,  q.  v.)  the  pedals  are  of  great 
varies  There  is  a  pedal  key-board, 
Peda'lklaviatur  (pa-dal  -kla-ii-a- 
toor),  or  Pedalklavier,  G  clavier 
des  pedales  (da pa-dal),  ^•,  peda- 
liera,  /.,  with  a  compass  of  C-t,  or, 
counring  stops,  from  C„  up.  i  his  is 
played  by  the  feet  (V  over  a  note  indi- 
cating the  right  toe  ;  under  it  the  left : 
O  similarly  marking  the  heel).  To  this 


part  of  the  organ,  called  the  pedal- 
organ,  many  stops  are  often  allotted  ; 
hence  pedal  -  pipe,  stop  -  sound- 
board, etc.  ;  it  is  locked  from  sound- 
ing by  a  pedal-check  (worked  by  a 
stop-knob),  a  bar  running  beneath  it. 
The  pedal-stops  may  be  made  to  sound 
with  any  of  the  manuals  by  means  of 
mechanism,  called  pedal-couplers, 
coupler  -  pedals,  or  reversible- 
pedal. 

The  word  pedal  is  also  given  to  the 
oro-an,  to  such  foot-levers  as  the  COtn- 
bination,  or  composition  pedals 
(p6dales  de  combinaison),  which  if 
single-acting  draw  out  certain  new, 
or  push  in  certain  old,  stops ;  if 
double-acting  produce  certain  com- 
binations regardless  of  the  previous 
registration.  The  forte-pedal  draws 
out  all  the  stops  of  its  key-board  ;  the 
mezzo -p.  the  chief  4-8  ft-  stops; 
the  piano-pedal  leaving  only  the 
softest  on  ;  the  crescendo-p.  draws 
out  the  full  power  gradually,  the  di- 
minuendo withdraws  it ;  the  stor- 
zando  produces  a  sudden  fulness. 
Vide  also  celeste. 
The  swell-pedal  works  the  shutters 
of  the  swell-box  ;  if  it  remains  at  rest! 
where  left,  it  is  called  a  balance 
swell-pedal.  ' 

Pedalflugel  (flli'-ghel),  G.    Pedalier 
Pedalharfe   (pe-dal'-harfe),  G.,  pedal- 
harp.     A  double-action  harp. 
pedalier  (ped-a-ler),  £.,  pedalier  (pa-; 
dal-ya),    F.,  pedal'ion.      A   pedal- 
key-board  attachable  to  a  piano  and. 
playing  the  bass-strings. 
pedal-note,   or  tone.       A  tone   sus- 
tained  by  the  pedal  or  some  voice.; 
usually  the  bass,  while  the  other  part! 
move   independently.     As   the   wore, 
"point"    originally   meant    "  note,  • 
pedal-point  (abbr.'  to  pedal)  is  syn 
onvmous  with  pedal-note,  but  is  nov 
used  rather  of  the  phrase    in  whicl 
the  pedal-note  occurs.     It  is  displac 
ing  the  word  organ-point,   derive, 
not  from  organ,  but  from  organui 
(q.  V.)  and  referring  to  the  long  note 
of  the  cantiis  firmus  against  whic 


i 


DICTIONARY    OF    TERMS       233 


the  other  voices  moved,  these  notes 
being  called  organici  piiitcti,  or  or- 
ganuDi  notes.  Pedal-point  is  then  a 
phrase  in  which  one  tone  is  sus- 
tained through  independent  harmo- 
nies. The  tonic  or  the  dominant  is 
usually  the  tone  sustained.  If  both 
are  used  at  once  it  is  called  pastoral. 
If  the  pedal-pt.  occurs  in  other  voices 
than  the  bass  it  is  inverted.  It  is 
sometimes  exterior,  or  interior.  It 
may  be  figurated,  trilled,  or  florid. 

peg.  A  tuning-pin  ;  in  the  violin,  etc., 
it  is  set  in  the  head,  in  a  space  called 
the  peg-box. 

pegli  (pal-ye),  /.  For  the  (from  per 
gli). 

pektis,  Gr.     A  Greek  lute. 

pel,    pel'lo,  /.      For  the  (from  per  il, 

penil  lion.  A  Welsh  improvisation  of 
verses. 

pennant.     Hook. 

pennata  (pen-na-ta),  /.  Quilled  (of 
the  spinet,  etc.). 

penor§on  (pii-nor'-son),  F.,  from  pe- 
nor'kon,  Gr.     An  ancient  guitar. 

pensieroso  (pen-se-a-ro' -so),  pen- 
soso,  /.     Pensive,  thoughtful. 

pentachium,  Gr.  A  composition  in  5 
parts. 

pentachord,  i.  A  series  of  5  diatonic 
tones.     2.   An  instr.  with  5  strings. 

pen'tatone,  £".,  pen  taton,  Gr.  i. 
An  interval  of  5  whole  tones,  an  aug- 
mented sixth,  pentaton'ic.  Having 
five  whole  tones,  pentatonic  scale. 
A  five-toned  scale,  the  same  as  the 
usual  major  scale,  with  the  fourth  and 
seventh  tones  skipped  ;  called  also 
the  Scotch  scale.  The  black  keys  of 
the  piano  represent  a  pentatonic 
scale. 

per,  L.  and  /.     For, -by,  through,   in, 
-.  ,      from. 

,|j  percussion,  E.,  percussione  (per- 
il '  koos  -  se  -  6'  -  nS),  /.  i.  The  actual 
sounding  of  a  tone  or  chord  (as  op- 
posed to  its  preparation  or  resolution). 
2.  Instrs.  of  percussion  are  those  in 
which  the  tone  is  secured  by  striking, 
particularly  the  drums,  cymbals,  and 


triangle,  also  the  piano,  and  so  forth. 
percussion-stop.  One  in  which  the 
reed  is  struck  just  as  it  is  blown,  to 
emphasise  its  tone,  percussive.  An 
instr.  of  percussion. 

perden'do,  perden'dosi,  /.  Dying 
away  in  both  speed  and  power. 

perdu'na.     Bourdon. 

perfect,  E.,  perfet  to,  /.  i.  Vide  in- 
terval, CADENCE,  CHORD.  2.  An 
obsolete  name  for  triple  time,  per- 
fection. Vide  NOTATION  and  liga- 
ture. 

P6rigourdine  (pa-rt-goor-den),  F. 
Cheerful  old  French  dance,  in  triple 
time,  so  called  from  the  province  of 
Perigord. 

period,  p6riode  (pa-ri-6d),  F.,  periodo 
(pa-rl-o'-do),  /.  A  passage  contain- 
ing two  or  more  sections  and  some 
form  of  cadence.  Vide  form.  Perio- 
denbau  (pa'-rY-6d-en-bow),  G.  The 
building  of  periods,  or  composition. 

perpetual,  perpetuo  (per-pa'-too-6),  /. 
I.  Vide  CANON.  2.  Perpetual  mo- 
tion, or  perpet'uum  mobile,  L.  A 
piece  of  great  rapidity  and  no  pause 
till  the  end. 

pes,  Z.  Foot.  A  ground-bass  to  a 
round. 

pesante  (pa-san'-te),  pesantemen'te, 
/.   Heavy(ly),  impressive(ly),  forcibly. 

peso,  di  (de  pa'-s6),  /.     At  once. 

petit  (pu-te'),  petite  (pu-tet),  F.  Small. 
choeur  p.  A  three-part  chorus,  p. 
fiute.  Piccolo,  p.  mesure  a  deux 
temps.  2-4  time,  petits  notes  (pu- 
te'  not).  Grace  notes,  p.  pedale. 
Soft  pedal. 

petto,  /.  The  chest,  voce  de  p. 
Chest  voice,     di  p.    From  the  chest. 

peu  (pu),  F.  Little,  un  p.  A  little. 
p.  a  p.     Little  by  little. 

pezzo  (ped'-zo),  pi.  i,  /.  A  piece  or 
number,  pezzi  concertanti.  Con- 
certed numbers. 

pf.  Abbr.  of,  I.  Pianoforte.  2.  Poco 
forte. 

Pfeife  (pfl'-fe),  6".  i.  A  fife.  2.  A  pipe, 
as  of  an  organ.  Pfeifendeckel. 
The  covering  of  a  pipe.  P.-werk, 
The  pipe-work.    Pfei'fer.    A  fifer. 


234 


THE    MUSICAL    GUIDE 


Phantasie  (fan-ta-ze'),  G.  Fantasy, 
or  fantasia.  P.-bilder,  P.-stucke. 
Fanciful  pieces  of  no  strict  form. 
phantasieren  (ze'-ren).  To  impro- 
vise. Phantasier -maschine.  A 
melograph.  phantasi(e)rte  (zer'-te). 
Improvised. 

phirharmon'ic.     Music-loving. 

philomile  (fe-15-mel).     Vide  zither. 

phonas'cus,  Z.,  from  Gr.  Singing- 
teacher. 

phisharmon'ica.  An  octagonal  ac- 
cordeon. 

phonaut  ogfraph.  i.  A  name  given  first 
to  a  melograph,  inv.  by  Abbe  Moig- 
no,  a  pencil  fitted  to  a  vibrating  mem- 
brane. 2.  An  electric  melograph  for 
key-board  instrs.  inv.  by  Fenby. 

phone,  Gr.  i.  Voice  or  tone.  2. 
Sound,  a  term  appropriated  by  Dr. 
Th.  Baker,  to  represent  Riemann's 
term  "  clang"  (q.  v.),  hence  homo- 
phone, und'er  phone,  contro-phone, 
and  phonic. 

phonetics,  phonics.  The  science  of 
sounds. 

pho'nikon.  A  metal  wind-instr.  with 
globular  bell  inv.  by  Czerveny,  1848. 

phonom'eter,  E.,  phonom^tre  (fon- 
6-metr),  F.  A  device  for  measuring 
vibration. 

phor'minx,  Gr.  An  ancient  lyre-like 
instrument. 

pho'tinx,  Gr.  An  ancient  crooked  flute. 

phrase,  E.  (in  F.  fraz,  in  G.  fra'-ze). 
1.  A  musical  clause.  Vide  form.  2. 
A  short  passage  or  figure,  phrase- 
mark.  A  long  curve  covering  a 
phrase  ;  or  any  musical  punctuation- 
mark.  phrasi(t-)ren  (ze'-ren),  G.  To 
phrase.  phras6  (fra-za),  F.,  phras- 
ing, £■.,  Phrasierung(ze'-roongk),G^. 
(a)  The  act  or  art  of  delivering  music 
with  due  regard  to  its  melodic  and 
rhythmic  punctuation,  relation  and 
contrast,  (b)  Signs  for  such  phrasing. 

Phrygian  (frl'-jan),  E.,  from  Gr.  phry- 
gische  (fre'-jlsh-e),  G.     Vide  modes. 

physharmo'nica.  r.  A  small  reed 
and  bellows  attachment  to  a  piano 
key-board  for  sustaining  and  colour- 
ing tones  ;  inv.  by    Hackel,  Vienna, 


1818  ;  the  forerunner  of  the  harmo- 
nium.    2.  A  free-reed-stop. 

piacere,  a  (a  pT-a-cha'-re),  a  piaci- 
men'to,  /.  At  pleasure,  piacevole 
(pl-a-cha'-v6-le),  piacevolmen'te. 
Pleasant(ly).  piacevolezza  (led'-za). 
Suavity. 

piagendo  (pt-a-jen'-do),  J.     Plaintive. 

piagnevole  (pK-an-ya-vo-le),  /.  Sad, 
mournful. 

pianar  tist,  G.  A  mechanical  attach- 
ment for  playing  the  piano. 

pianente  (pl-a-nen'-te),  /.  Gently, 
softly,     pianet'to.     Very  soft. 

pianette  (net').     A  small  piano. 

piangevole  (pl-an-ja'-v6-le),  piange- 
volmen'te,  /.     Doleful(ly). 

pianino  (ne'-no),  /.    An  upright  piano, 

pianis  simo,  /.  Very  soft,  pianis-! 
sis'simo.     Extremely  soft. 

pianist  (pI-an'-Tst,  not  pe -an-Kst),  .£,' 
A  piano-player.  1 

pianista  (ne'-sta),  /.  1.  A  pianist.  2.i 
A  mechanical  piano. 

pianiste  (pT-an-est'),  F.  Pianist  of 
either  sex.  ; 

piano   (pT-a'no),    /.      i.    Soft,    softly,;! 
abbr.    (/).    hence   piano-pedal.     2' 
The  common  form  of  the  word  piano  < 
forte  (q.  v.)  ;  this  shorter  form  is  alto, 
gether  used  in  France,  and  commonl; 
elsewhere.     Many  terms  are  used  ti 
indicate  sizes  and  forms  of  the  piano 
as  the  concert  grand  and  par'lou 
grand   or  piano   a    queue    (a-kiV; 
the  semi-grand  or  boudoir  or  p. . 
queue     ^court^e      (a-koor-ta),     c 
baby-grand.     Smaller   form.      Th 
square  or   carr6  (car-ra) ;  p,  JL  \i 
volins  ;  the  upright  or  cabinet,  ( 
p,  a  secretaire  (sa-kru-tar),  or  dro 
(drwii),  oblique,   or  a  pilastres,  < 
vertical,  and  still  smaller  sizes  suo 
as   the    cottage,     or   the    piccol, 
inv.  by   Wornum,   of  London,    182 
For  practice  there  are  the  dumb  p,, 
p.  muet  (mli),  and  the  Virgil  pra 
tice-clavier,  etc.    electric  p.     0 
employing    electro-magnets   in   pla 
of    hammers,    p-quatuor,    or  p. 
archet  (a  Sr-sha).     Vide  piano-vi 
LIN.      p.     Pollen.      Vide    amen 


W 

bi'i 


I 


DICTIONARY    OF    TERMS  235 

CHORD.  The  p.  harmon'icorde.  A  (ma-ka-nek).  A  mechanical  or  auto- 
combination  with  an  harmonium,  inv.  matic  piano,  p,  organise  (6r-ga- 
by  Uebain.  the  p.  a  claviers  ren-  nl-za).  One  with  phys-harmonica  at- 
vers6s  (a-kliv-ya   ran-ver-sa).     One  tached. 

with  2  key-boards,    one    above    the       pianoforte  (pl-a'-no-for-te,  or  conimon- 

other,  the  scale  of  the  upper  ascend-  ly   pl-a'-no-fort),  E.  and  /.     piano- 

ing  from  right  to  left.  p.  m^chanique  fort6  (for-ta),  F. 


Pianoforte. 

By  THE   Editor. 

PIANOFORTE  (in  G.  usually  restricted  to  the  square  piano).  The 
most  used  and  most  abused  of  instruments — a  combination  of  the 
strings  of  the  harp  with  a  key-board  system  derived  from  the  organ 
(in  the  14th  cent,  there  is  mention  of  a  "  stringed  instrument  of  the  organ 
family  :  the  Exaquir,  Sp.,  Eschiquier  d' Jngleterre''  i.e.,  "English  chess- 
board," F.  or  Esquakiel,  G. ).  ^^ts  History  is  obscure  and  owes  much 
possibly  to  the  m'onochord  and  elaborations  from  it.  In  the  monochord, 
the  hurdygurdy,  or  organistrum,  etc.,  a  single  ^string  produced  various 
tones  by  means  of  a  movable  bridge.  So  the  early  forms  of  the  piano 
show  a  few  strings  serving  for  many  digitals.  The  word  monochord  was 
kept  even  after  the  strings  were  increased  in  number,  but  was  finally 
changed  to  clavichord  (c/avis=^\ieY)  or  clavier ;  the  movable  bridge  was 
displaced  by  tangents  which  served  both  to  divide  the  strings  as  with 
frets  and  to  sound  them.  ^Simultaneously  with  the  fretted  clavichord,  in 
which  each  string  served  for  several  tones  (as  a  guitar-string  does)  prospered 
a  development  from  the  dulcimer,  a  key-board  dulcimer,  or  clavicymbal  {^xom. 
cymbal  meaning  dulcimer),  called  in  France,  clavecin  ;  mVA/ ,  clavi-cembalo 
or  arpicordo ;  in  England,  harpsichord;  in  Germany,  Fliigel,  Kielfiiigel, 
Steer tstiick  or  Schweinskopf.  Small  forms  of  this  were  the  Firginal^s),  the 
couched  harp  or  spinet  (from  spina  =  c[\i\\\^,  etc.  In  this  variety  there  was  a 
string  for  each  tone,  and  the  string  was  sharply  plucked  with  a  quill  carried 
at  the  end  of  a  ■wood&n  jack.  In  time  the  clavichord  was  also  given  a  string 
:o  each  tone  and  was  now  said  to  be  "fret-free"  (^bundfrei)  instead  of 
."fretted"  {gebunden).  The  tone  was  capable  of  a  beautiful  trembling 
jfFect  {Bebung)  and  considerable  virtuosity,  but  there  was  little  possibility  of 
shading  from  loud  to  soft.  The  appearance  of  the  elaborate  dulcimer  the 
'Pantaleon  seems  to  have  set  the  clavichordists  to  thinking,  and  Cristofori, 
n  171  I,  invented  the  hammer-mechanism,  which  he  called,  from  its  power 
0  sound  loudly  or  %oi\\.y,  piano  forte,  literally  "  loud-and-soft,"  (this  name 
lad  been  used  as  early  as  1598).  In  Germany,  Silbermann,  the  organ- 
[Juilder,  won    Bach's  approval  for  a    Hammer-klavier  of  the  same  general 


236 


THE    MUSICAL    GUIDE 


idea.  This  idea,  with  many  improvements  in  detail,  but  little  fundamental 
change,  persists  to-day  in  the  magnificent  instrument  on  which  great  gym- 
nasts combine  brute-force  with  legerdemain,  ^The  Construction  of  the 
piano  of  our  time  shows  the  triumph  of  ingenuity  over  a  total  string-tension 
of  twelve  to  twenty  tons.  A  powerful  cast-iron /r/z»zi?,  usually  cast  in  one  piece 
and  braced  with  trusses  and  cross-bars,  braces  the  wooden  soufid-board  below, 
on  which  is  a  raised  bridge  of  hard  wood,  over  which  are  stretched  the 
strings.  The  strings  are  of  steel  wire,  the  bass  strings  being  covered  with  a 
finely-wound  copper  wire.  The  lowest  octave  of  the  bass  has  one  string  to 
each  tone,  the  next  octave  or  more  has  two  strings  to  each  tone,  the  rest  of 
the  instrument  has  three  strings  tuned  exactly  alike  as  u?iisons  for  each  note. 
Some  of  the  strings  are  generally  carried  back  across  the  others  to  save  space  ; 
this  is  called  overstringing.  The  hammer  of  each  tone  strikes  all  three 
strings  at  once,  except  when  the  soft  pedal  by  shifting  lets  it  strike  only  one 
string  (hence  "  tre  corde  "  and  "  una  corda  "),  ^The  action  of  the  piano 
consists  of  a  key-board  of  finger-levers  or  digitals  (loosely  called  keys),  the 
white  digitals  forming  the  scale  of  C  major,  the  black  digitals  fiirnishing  the 
necessary  semitones  to  give  the  piano  (by  means  of  temperament,  q,  v.)  a 
command  of  all  the  major  and  minor  keys — the  fingering  differing  for  each 
key  except  with  the  Janko  (q.  v.)  key-board.  The  pressure  of  a  digital  does 
not,  as  in  the  old  clavichord  or  harpsichord,  immediately  affect  the  string, 
but  reaches  it  by  a  complicated  series  of  levers  which  bring  the  hammer  into 
position  for  a  new  stroke  instantly,  so  that  a  tone  can,  in  a  proper  action,  be 
repeated  as  rapidly  as  the  fingers  can  strike  the  digital.  (This  is  called  the 
repetition  or  double  escapement — the  double  echappement  of  Erard  being  the ; 
origin  of  the  many  forms  of  escapement.)  The  digital  carries  at  the  inner 
end  a  vertical  pilot  which  supports  a  nearly  horizontal  carrier,  at  about  a 
right  angle  to  which  is  the  rod  called  the  hopper,  which  fits  against  the  ham- 
mer by  a  notch  or  projection.  As  soon  as  the  hopper  has  forced  the  hammer 
against  the  string,  it  slips  loose  from  the  hammer  and  is  brought  instantly, 
back  (by  devices  hard  to  describe  briefly)  into  position  so  that  the  hammer 
on  rebounding  from  the  strings  finds  the  hopper  ready  for  an  immediate  new 
stroke.  The  hammer  is  hinged  at  the  butt ;  at  the  other  end  of  its  shatik  is 
the  hammer-shaped  head  with  z  pad  oifelt  (or  leather).  The  action  whicb; 
throws  the  hammer  against  the  strings,  and  makes  it  rebound  instantly,  liftft 
away  from  the  strings  the  little  damper,  which  muffles  the  strings  when  not  ir: 
use  ;  this  damper  remains  off  the  strings  as  long  as  the  digital  is  held  down.; 
^By  means  of  the  damper-pedal  (commoViXy  cz\\c6i  the  "-loud  pedal")  all  thtj 
dampers  may  be  lifted  from  all  the  strings,  thus  permitting  sustained  tone 
and  sympathetic  vibrations  while  the  hands  play  other  chords.  Some  piano! 
have    also  a  sustaining  as  well  as  a    piano,   or    soft    pedal    (vide  Pedal)! 


I 


DICTIONARY    OF    TERMS       237 

^The  piano  has  a  complete  chromatic  scale  with  a  compass  of  about 
seven  octaves  A^—i"".  It  is  capable  of  a  rapidity  and  clarity  of  utterance 
of  which  the  organ  is  incapable  ;  and  no  other  instrument  but  the  organ  ap- 
proaches its  resources  in  chords,  range,  and  brilliance.  Except  the  organ, 
it  is  the  only  self-supporting  instrument  ;  it  can  furnish  absorbing  employ- 
ment for  the  four  hands  of  two  performers.  The  chief  lack  is  the  inability 
to  swell  a  sustained  tone,  and  some  method  of  adding  this  final  touch  of 
human  interest  will  doubtless  be  devised  in  time  by  some  ot  the  many  minds 
engaged  upon  the  problem. 

Piano  Studies. 

By  James  Huneker. 

A  CENTURY  of  experience  in  piano  pedagogy  has  not  been  fruit- 
less ;  skilled  masters  of  the  instrument  no  longer  burden  their 
pupils  with  futile  finger  exercises,  and  the  precious  morning  hours 
instead  of  being  devoted  to  mere  digital  tortures  are  now  utilised  for  the 
memorising  of  a  repertoire  and  the  study  of  especial  difficulties  in  a  composi- 
tion. Since  Karl  Tausig,  the  vast  and  useless  etude  literature  has  been  sent 
to  Limbo  ;  for  in  the  music  itself  may  be  studied  the  precise  technical  difficulty 
to  be  overcome.  Ij After  the  independence  of  the  fingers,  the  scales  in  single 
and  double  notes,  arpeggios  and  octaves  have  been  thoroughly  mastered,  the 
following  studies  are  generally  employed  for  style,  for  endurance  and  the  musi- 
cal development  of  the  scholar  :  Cramer — edited  by  Von  Bulow  ;  Clemsnti 
— edited  by  Tausig  ;  Kessler — a  judicious  selection  ;  Kullak's  octave  school  ; 
and  the  Chopin  Etudes,  opus  10  and  opus  25.  After  these  latter  the  studies 
of  Liszt  and  Rubinstein,  and  Schumann's  Symphonic  Etudes  maybe  essayed. 
Of  special  studies,  the  Toccata  of  Czerny,  the  Schumann  Toccata,  the  Ru- 
bmstein  Staccato  study  in  C,  and  Thalberg's  study  in  A  minor,  opus  45, 
repeated  notes,  are  recommended.  For  beginners.  Heller's  studies  in  phrasing 
and  later  Czerny's  finishing  studies  may  be  tried.  But  the  Czerny  school — 
with  the  exception  of  his  excellent  special  studies  for  the  left  hand — is  obso- 
lete. ^jAU  the  latter  day  writers  of  piano  studies,  Scharwenka,  Moszkowski, 
Scriabine,  Godowsky,  and  Joseffy,  build  on  the  Chopin-Liszt  technics.  For 
the  quick  grasp  of  the  Brahms  technique,  study  his  fifty-one  exercises.  Isi- 
dor  Philipp,  taking  his  cue  from  Tausig,  has  given  us  the  marrow  of  Chopin's 
technique  in  a  volume  of  Daily  Exercises.  For  pure  polyphony,  nothing  is 
better  than  Bach.  For  daily  gymnastics,  use  Tausig' s  studies,  but  in  frugal 
manner.     ^For  the  rest,  read  all  piano  music  from  Alkan  to  Zaremski. 


238 


THE   MUSICAL   GUIDE 


piano  score.  An  arrangement  of  vo- 
cal or  orchestral  music  for  piano. 

pian'ograph.  A  melograph,  inv.  by 
Guerin. 

pianoharp.     Vide  klavier  harkk. 

piano  la.  A  detachable  pneumatic  at- 
tachment by  which  a  piano  may  be 
played  mechanically,  the  performer 
controlling  the  speed,  the  force,  and, 
in  a  remarkable  degree,  also  the  ex- 
pression ;  inv.  by  E.  S.  Votey  of  New 
York,  in  1897.  It  has  65  felt-cov- 
ered fingers  brought  into  play  by 
air-power  forced  through  perforated 
music  by  treadle  action. 

piano-organ.  Vide  uarrel- organ 
.(2).     _ 

piano'tist.  A  mechanical  attachment 
for  playing  the  piano. 

piano  quatuor  (kat-ii-or),  F.  Piano- 
violin. 

piano-violin.  A  numerous  group  of 
instrs.  endeavouring  to  combine  the 
fulness  and  range  of  the  piano  with 
the  violin's  expression  and  power  of 
increasing  the  volume  of  a  sustained 
tone.  In  1610  Hans  Heydn  of  Nl'irn- 
berg  inv.  the  Gambenwerk,  in  which 
catgut  strings  were  pressed  by  resined 
parchment  rollers  actuated  by  a 
wheel  (other  authorities  say  that 
Heydn's  instr.  was  called  Geigen- 
werk,  and  had  wire  strings ;  and 
that  the  Gambenwerk,  or  Klavier- 
gamba,  was  inv.  by  Reich  or  Gleich- 
mann  of  Ilmenau,  about  1750,  and 
had  gut  strings).  In  1754  Hohlfeld 
inv.  the  Bogenflugel  or  Bogen- 
klavier,  with  a  horse-hair  bow  ;  von 
Meyer  in  1794  provided  each  string 
with  a  bow.  In  1800  Hl'ibner  devised 
the  clavecin  harmonique,  which 
Pouleau  developed  into  the  orcheS' 
trin.  Other  instrs.  of  the  same  gene- 
ral idea  were  the  gambe-clavier,  inv 
by  I-e  Voirs,  Paris,  1741  ;  the  Bo- 
genklavier  of  Garbrecht,  Konig' 
berg,  1710;  the  Xanorphika  t 
Rollig,  Vienna,  1797  ;  the  Bogen- 
hammer-klavier,  of  Karl  Greiner, 
1779  ;  the  harmonichord  of  Kauf 
man,  1785  ;  the  piano-violino,  1837 


The  most  successful  is  the  piano- 
quatuor  or  piano-violin,  inv.  1 865  by 
H.  C.  Baudin,  of  Paris,  consisting  of 
thick  single  strings  to  each  of  which 
is  attached  at  a  nodal  point  a  pro- 
jecting piece  of  stiff  catgut,  which  on 
the  pressure  of  the  key,  is  brought 
in  contact  with  a  linen  roller  turned 
by  pedals,  the  communicated  vibra- 
tion causing  the  string  to  sound  ;  the 
general  principle  of  these  instrs.  re- 
sembles that  of  the  hurdygurdy. 

pian  piano  (pl-iin'  pl-a -no),  /.  Very 
softly. 

piatti  (pl-at'-te),  /.,  pi.     Cymbals. 

pib  (peb),  pibcorn.     A  Welsh  pipe. 

pibroch  (pe'-br6kh),  Scotch.  A  war- 
like composition  for  the  bagpipes, 
consisting  of  three  or  four  variations 
on  a  theme  called  the  urlar  ;  they  are 
of  increasing  speed  and  close  with  a 
quick  movement  called  the  crean- 
luidh. 

piccanteria  (pTk-kan-ter-e'-a),  /.  Pi- 
quancy. 

picchetta'to,  or  picchiettato  (plk-kt- 
et-ta'-to),  /.  Staccato,  in  violin  play- 
ing made  with  a  bounding  bow,  and 
indicated  by  slur  over  dots. 

picciolo  (plt-cho'-lo),  /.     Small. 

piccolo  (pTk'-k5-lo),  /.  I.  Small.  Vide 
PIANO.  2.  The  octave  flute  (q.  v.). 
3.  A  2-ft.  stop,  piccolino  (le'-no). 
Very  small. 

pic  CO,  picco  pipe.  A  small  whistle 
with  3  holes  ;  it  was  named  after  a 
blind  Sardinian  peasant  who  played 
it  in  London  (1S56)  with  great  brill- 
iancy, securing  a  compass  of  3  oc- 
taves. 

pick.  I.  A  plectrum.  2.  To  pluck 
(of  strings). 

Pic'kelflote,  G.     The  octave  flute. 

piece.  I.  A  composition.  2.  An  in- 
strument (generally  used  in  pi.). 

piece  (pl-^s'j,  F.  i.  A  piece  ;  a  compo- 
sition. 2.  An  opera,  or  dramatic 
work,  suite  de  pieces  (swet  du  pi- 
cs).    A  set  of  pieces. 

pieno  (pl-a'-n6),  /.  Full.  p.  coro,  or 
p.  organo.  Full  chorus,  or  full  or- 
gan,    pienamen'te.     Fully. 


V 


itr.it. 

ICKU 


I 


DICTIONARY    OF    TERMS       239 


pied  (pl-a),  F.  Foot,  avec  les 
pieds  (la  pl-a).  With  the  feet  (on  an 
organ). 

pieta  (pl-a-ta),  /.  Pity.  pietoso, 
pietosamen  te.     Tender(ly). 

pierced  gamba.     Keraulophon. 

pifara  (pi-fa' -ra),  /.     A  fife. 

pifferare  (ra  -re),  /.  To  play  the  fife. 
piffero.  I.  A  fife.  2.  A  primitive 
oboe.  3.  A  stop,  the  bifara.  pif- 
fera'ro,     A  player  on  the  fife. 

pikieren  (pl-ke'-ren),  G.    Vide  piquer. 

pilea'ta,  L.  "  Capped  "  (of  a  covered 
pipe). 

pinc6  (pin-sa),  or  pincement  (pifis- 
mdih),  F.  "Pinched."  i.  Plucked  (as 
strings).  2.  Pizzicato.  3.  A  mordent. 
p.  6touff6.  Acciaccatura.  p.  ren- 
vers6.  Inverted  mordent,  instru- 
ments a  cordes  pinches.  Instrs.  to 
be  plucked,  as  guitar,  etc.,  hence  pin- 
cer  (pih-sa).  To  play  such  an  in- 
strument. pinc6  bemolis^  (or  dife- 
s6).  Trill  with  a  flattened  (or  sharp- 
ened) note. 

pipe.  A  tone-producing  tube  of  reed, 
wood  or  metal,  i.  One  of  the  ear- 
liest musical-instrs.,  a  simple  straw.  2. 
The  tone-producing  tubes  of  an  or- 
gan, (a)  flue-pipe,  or  lip-pipe.  One 
in  which  the  column  of  air  produces 
tone  by  being  forced  through  a  small 
opening  with  a  sharp  edge.  The 
lip-pipe  may  be  compared  to  a  great 
flute  standing  on  end  (the  flute  is  in 
fact  a  lip-pipe).  The  foot  rests  on 
the  pipe-rack  ;  the  lower  part  of  the 
body  is  the  throat ;  just  above  it  is 
an  opening  called  the  mouth,  with 
an  upper  and  lower  lip ;  the  upper 
lip  is  bevelled  to  an  edge  called  the 
leaf.  An  ear  projects  on  each  side 
of  the  mouth  ;  inside  the  mouth  is  a 
projection  called  the  block  (if  it  is 
very  thin  it  is  called  the  language). 
The  passage  between  lower  lip  and 
block  is  the  windway  ;  through  this 
the  air  is  driven  againt  the  leaf,  which, 
vibrating,  produces  a  tone  from  the 
air  column  that  fills  the  upper  part  or 
body  of  the  pipe,  flue-pipes  may  be 
open  at  the  top,  or  covered  (stopped 


or  plugged),  the  stopped-p.  sound- 
ing an  octave  lower  than  the  same 
pipe  open,  flue-pipes  are  tuned,  or 
voiced,  if  metal,  by  flaps  at  the  top 
called  tuners  ;  if  wood,  by  small  ad- 
justable boards,  (b)  reed-pipe.  One 
depending  upon  a  reed  for  its  tone, 
the  body  governing  the  quality  of  the 
tone  only.  The  lowest  part  of  the 
reed-p.  is  the  boot  ;  it  contains  a 
sheet  of  metal  called  the  block,  which 
contains  two  apertures,  one  holding 
an  adjustable  tuning-wire,  the  other 
a  reed,  or  conical  tube  (called  a 
shallot)  with  an  opening  giving  play 
to  a  vibrating  tongue.  3.  bent- 
pipe.  A  rectangular  bent  tube  con- 
necting the  bellows  with  the  wind- 
trunk  ;  also  a  secondary  channel 
from  the  wind-chest  to  the  wind- 
trunk.  Speaking  pipes  may  be  bent 
without  altering  their  tone,  to  fit  them 
into  smaller  space.  pipe-metal. 
That  of  which  organ-pipes  are  made, 
usually  an  alloy  of  lead  and  tin. 

pipe-organ.     Vide  organ. 

pique  (pek),  F.     Peg  of  a  'cello. 

piqu6  (pe-ka  ),  F.  Same  as  picchie- 
tato.  piquer  (pe-ka),  A,  piquiren 
(pe-ke'-ren),  G.  To  play  in  such  a 
manner. 

pirolino  (pe-ro-le'-no),  /.     Button. 

piston(s).  Vide  valve  and  cornet-a- 
pistons,  piston-solo,  G.  Solo  for 
cornet-a-pistons. 

pitch.  The  height  or  depth  of  a  tone 
relatively  to  others,  or  its  absolute  po- 
sition on  the  complete  scale  adopted  as 
the  standard  and  divided  into  octaves 
definitely  named  (see  the  chart  ok 
pitch).  The  vibration-number  of  a 
tone  also  gives  it  an  absolute  pitch 
according  to  the  particular  pitch  ac- 
cepted as  the  standard.  The  opinion 
of  the  civilised  races,  with  the  chief 
exception  of  England,  has  settled 
on  the  International  (low  or 
French)  pitch  adopted  in  France 
in  1859,'  and  at  the  Vienna  Con- 
gress in  1887.  This  gives  the  tone 
a  435  vibrations  a  second  and  c"  522 
vibrations.     An  older  pitch  was  the 


240 


THE    MUSICAL    GUIDE 


classical  or  mean  pitch,  in  which 
a  lay  between  415  and  429  vibrations 
(apparently  about  the  same  as  the 
most  ancient  standards).  The  desire  to 
secure  a  more  and  more  brilliant  tone 
led  instrument-makers  to  raise  the 
pitch  to  outrageous  heights.  A  con- 
gress of  physicists  adopted  in  1834 
the  Stuttgart  Pitch  with  a  at  440. 
The  high  or  concert  or  English 
pitch  gives  a  about  450,  which  is  a  se- 
vere and  needless  strain  and  distortion. 
For  convenience  of  calculation  a  the- 
oretical middle  c  has  been  given  256 
vibrations,  the  number  being  a  high 
power  of  2  ;  this  so-called  philosoph- 
ical pitch  gives  a  about  427  vibra- 
tions. 

The  subject  of  Pitch-relationships 
is  too  abstruse  for  explanation  here — 
though  important  in  the  tuning  and 
temperament  of  instruments.  The 
old  Pythagorean  theorists  did  not 
consider  the  third  (as  c  to  e)  to  be  a 
legitimate  interval ;  they  reached  it  by 
four  steps  of  a  fifth  (ignoring  octaves) 
thus,  c-g,  g-d,  d-a,  a-e.  This  gives 
it  the  ratio  of  64:81.  But  we  now 
accept  both  the  third  and  the  fifth  as 
intervals,  and  the  ratio  of  a  third  is 
4  :  5,  or  in  larger  terms  64  :  So.  The 
note  e  may  then  be  considered  a  quint- 
tone  if  reached  by  steps  of  a  fifth  ;  or  a 
tierce-tone  if  reached  by  a  step  of 
a  third.  But  64  :  So  differs  from 
64  :  81  by  the  ratio  of  So  :  81,  which 
is  called  the  comma  syntonum.  Start- 
ing from  c  any  tone  may  be  reached 
by  quint  or  tierce  steps  up  or  down. 
Every  tierce  step  up  is  |^  less  than  a 
quint  step  and  the  letter  name  of  a 
tone  reached  by  a  tierce  step  may  be 
marked  with  a  line  under  it  for  ever)- 
tierce  step  upward,  or  a  line  over  it 
for  every  tierce  step  downward,  re- 
quired to  reach  it.  These  lines  there- 
fore indicate  the  number  of  commas 
by  which  it  is  lower  or  higher  than^ 
the  same  tone  reached  by  quint 
steps. 

Relative    pitches   may    also    be   e.K- 
pressed   in  (a)  fractions  showing  the 


relative  string  lengths  required  to 
produce  them  ;  (b)  in  decimals  show- 
ing relative  vibrations ;  and  (c)  in 
logarithms  showing  comparatively 
the  interval-ratios. 
pitch-fork.  A  tuning-fork. 
pitch-pipe.     Small  reed-pipe  of   fixed 

pitch. 
piil   (pe-00'),  /.     More  ;   as  p.  mosso. 
More  speed  ;  piu  tosto.  Rather,  as 
p.  t.  allegro.     Rather  faster. 
piva  (pe-va),  /.     i.  A  bag-pipe.    2.  A 

composition  in  bag-pipe  manner. 
pizzican  do,  pizzicato  (pld-zl-ka-to), 
/.     "  Pinched,"   indicating  that   the 
strings    are    not   to    be    bowed,    but 
plucked  with  the  fingers. 
placido  (pla'-che-do),  placidamen'te, 

/.     Placid(ly). 
placito  (pla -che-to),  /.     Pleasure.     A 
bene  p.     At  pleasure,  same  as  ad  li- 
bitum. 
pla'gal,  E.,  pla'galis,  Z.,  plagalisch 
(pla-ga'-lish),      G.       Used    of    those 
modes  accessor)-  to  the  authentic  (vide 
modes),  and   formed  from  them  by 
taking  the  fourth  below  as  the  new 
tonic.     Vide  also  cadence. 
plagiau'los,  Gr.     Cross-flute. 
plain-chant    (in    French    pron.    pl5n- 
shafi),    plain-song.     The    old    Gre- 
gorian Church-music,  so-called  from 
its  smooth  progress  in  notes  of  equal 
length.      It  employs  8  modes  (q.  v.), 
and  is  written  on  four-line  staves,  em- 
ploying 3   notes,  the  long,  the  breve 
and  semibreve,  and  two  clefs.     It  is 
still    employed   in    the   R.   C.  cantil- 
lation  of  priests  at  the  altar,  and  is 
the   basis  of   the   Episcopal   Church 
ser\-ice. 
plainte  (plant),  F.    A  lament,     plain- 

tif  (plaii-tef).     Plaintive, 
plaisant  (plez-ah),  F.     Pleasant. 
plaisanterie  (plez-an-tii-re),  i^.,pleas'- 
anterie.      A     cheerful     harpsichord 
piece. 
plana  (pla'-na),  L.  and  /.  Plain,  musiea 

p.  plain  =  chant. 
planchette(plah-shet),/^.  i.  A  mechan- 
ical piano.     2.  A  part  of  its  mechan- 
ism, a  board  fitted  with  pegs. 


I 

I 


DICTIONARY    OF    TERMS       241 


plantation.  The  manner  in  which 
the  pipes  of  a  stop  are  arranged  on 
the  sound-board. 

planx'ty.  Literally,  "lament,"  though 
sometimes  applied  to  lively  melodies 
used  by  Welsh  harpers. 

plaqu6  (pla-ka),  F.  Played  simulta- 
neously (as  a  chord)  ;  opposed  to 
"  broken." 

plec'toral,  plec'tron,  plectrum.  A 
small  bit  of  ivory,  metal  or  shell  for 
plucking  the  strings  of  mandolins, 
etc. 

plec'traphone.  A  piano  attachment 
imitating  the  mandolin. 

play-house  tune.  Old  name  for 
entr'act  music. 

plein-jeu  (plaii-zhii),  F.  i.  Full-organ. 
2.   A  mixture-stop. 

ple'no  orga'no,  L.     Full-organ. 

plet'tro,  /.     I.  Bow.     2.   Plectrum. 

pli'ca,  Z.  "  Fold."  A  neume,  used 
as  a  concluding  ornament,  indicated 
by  a  stroke  up  or  down  on  the  last 
note  of  a  ligature. 

plu'res  ex  una,  L.  "Many  from 
one."     Old  name  for  canon. 

plus  (plu),  F.     More. 

pneuma  (nii'-ma),  Gr.  "  Breath."  i. 
Neume.  2.  The  exhausting  vocali- 
sation of  the  closing  syllable  of  the 
early  Christian  Alleluia.  3.  A  jubi- 
lation. 

pneumatic.  i.  Used  of  all  wind- 
instrs.  2.  p.  action,  or  lever.  A 
bellows  attachment  for  lightening  the 
touch  of  an  organ,  inv.  1832,  by  Bar- 
ker. 3.  p.  organ.  The  modern  wind- 
organ,  so  called  originally  in  distinc- 
tion to  the  hydraulic. 

pocetta  (p6-chet'-ta),  /.,  poche  (posh), 
pochette  (p6-shet),  F.  Pocket- 
fiddle. 

pochessimo  (p6-kes'-sT-m6),  /.  As 
little  as  possible,  pochettino  (p6- 
ket-te'-no),  pochet  to,  pochino  (po- 
ke'-no),  /.     Just  a  little. 

poco  (p6'-k6),  /.  A  little ;  rather ; 
somewhat.  poco  a  poco.  Little 
by  little. 

poggiato  (p6d-ja-t6),  /.  "Leant" 
on,  dwelt  upon. 


poi  (p6'-e),  /.  Then,  afterwards,  as 
piano  poi  forte.  Soft  then  loud. 
poi  segue,  then  follows  ;  poi  a  poi. 
By  degrees. 

point.  I.  Old  name  for  note.  Vide 
NOTATION.  2.  A  dot.  3.  Staccato- 
mark.  4.  Head  of  a  bow.  5.  The 
entrance  of  an  important  theme.  6. 
To  divide  words  for  chanting,  hence 
pointing.      7.    organ-point.     Vide 

PEDAL-POINT.  8.  Vide  SIGNS.  (In* 
French  pronounced  pwafi.)  A  dot. 
p.  d^tache  (da-ta-sha).  Staccato- 
mark,  sur  tete(sUr-tet).  Dot  above  or 
below  a  note.  p.  d 'arret  (dar-re'), 
or  p.  de  repos  (du  rii-po).  A  hold. 
p.  d'augmentation  (dog-mah-tis- 
yoh).  A  dot  of  augmentation,  p. 
final  (fl-nal).  Final  pause.  p. 
d'orgue  (dorg).  i.  A  hold,  hence 
also  a  cadenza  or  flourish.  2.  Pedal- 
point. 

pointe  (pwaht),  F.  i.  Toe,  in  organ- 
playing.  Abbr.  p.  or  tp.  Talon 
pointe. 

pointe  (pwah-ta),  F.  Dotted,  from 
pointer  (pwah-ta).  To  dot,  or  play 
staccato. 

poitrine  (pwa-tren),  F.     Chest. 

polacca  (po-lak'-ka),  /.  Polonaise. 
alia  p.     In  the  style  of  a  polonaise. 

polichinelle  (p6l  - 1  -  shI  -  nSl'),  F. 
"  Punch."     A  clown-dance. 

pol'ka.  A  round  dance  in  lively  2-4 
time,  originated  in  Bohemia  about 
1830.  p.  mazurka.  A  slower  dance 
in  triple  time  with  accent  on  the  last 
beat.  p.  redowa.  Is  faster  than 
the  p.  m.,  with  accent  on  first  beat. 

pollice  (p61'-ll-che),  /.     Thumb. 

polonaise  (pol-o-nez),  /■".,  Polonase 
(p61-6-na'-ze),  G.  A  Polish  dance  in 
moderate  3-4  time  ;  strictly  a  march- 
past.  Its  rhythm  resembles  that  of 
the  bolero  ;  it  begins  with  a  sharply 
accented  8th  note  followed  by  two 
i6th  notes,  and  four  8th  notes  ;  its 

•  closing  measure  is  an  8th  and  two 
l6th  notes  ;  a  sharply  accented  quar- 
ter note,  an  8th  note,  and  an  8th  rest. 
Also   spelt   polonoise   (p61-6n-waz). 

Vide  CHART  OF  DANCE  RHYTHMS. 


242 


THE    MUSICAL    GUIDE 


polska  (p61s'-ka),  S-uedish.  A  dance 
in  3-4  time,  usually  in  the  minor. 

poly-.  A  Greek  prefix,  meaning  "many." 
polychord.  An  instr.  inv.  by  Fr. 
Hillmer,  of  Berlin,  resembling  a 
double-bass  with  10  gut-strings  and 
movable  finger-board.  polymor- 
phous. Used  of  counterpoint,  with 
a  widely  varied  theme,  polyphon'- 
r  ic,  or  polyph  onous.  i.  Used  of 
compositions  in  which  more  than  one 
theme  at  a  time  is  given  individuality  ; 
loosely  used  of  compositions  of  many 
parts,  but  to  be  sharply  distinguished 
from  a  mere  melody  with  an  accom- 
panying harmony.  2.  Used  of  instrs. 
that  can  produce  more  than  one  tone 
at  a  time  (compare  homophonic, 
andhomophonous),  hence  polyphony 
(p51-T-f5 -nl  or  p6-llf'-6-n!).  The 
treatment  of  simultaneous  parts  each 
independently,  i.  e.,  counterpoint. 

Pommer  (pom'-mer),  G.  Vide  bom- 
bard. 

pompos  (pom'-pas),  G.,  pompo'so, 
pomposamen'te,  /.  Pompous(ly). 
Maiestic(ally). 

ponctuation('p6hkt-u-as-y6h),  F.  Phras- 
ing, from  ponctuer  (p6nk-tu-a).  To 
phrase. 

ponderoso,  /.  Ponderous,  heavily 
marked. 

ponticello(p6n-tI-cher-lo),/.  i.  Bridge. 
sul.  p.  A  direction  for  bow  instrs., 
"play  near  the  bridge."  (Abbr.  s. 
pont.)     2.  The  break  in  the  voice. 

pont-neuf  (p6h-nuf),  F.  A  bridge  in 
Paris,  hence  a  street  ballad. 

poo  gye.     Hindoo  nose-flute. 

popolare  (p6-po-la'-re),  /.     Popular. 

porrec'tus.     Gnomo.     Vide  neume. 

port  (por),  F.    i.    Portamento.    2.  Vide 

CHUTE.      . 

portamento.  The  passage  across  an 
interval  by  means  of  gliding  with  im- 
perceptible gradations  through  all  the 
intermediate  tones  in  one  continuous 
sound  (such  an  effect  as  is  gained  by 
sHding  the  finger  along  a  string  while 
the  bow  presses  it).  Hence  a  legato 
style  ;  so  a  singer  is  said  to  have  a 
true  portamento. 


portan'do,  /.  Carrying  across,  i.  e., 
producing  iht portamento  eUtci ;  from 
portare  (p6r-ta'-re).     To  carrv. 

portar  (p6r-tar),  /.  Carry  I  p.  la  bat- 
tuta.  Follow  the  beat.  p.  la  voce. 
Sustain  the  tone.      PI.  portate. 

portata  (p6r-ta'-ta),  /.     Staff. 

portatif,  F.,  portativ,  G.  (p6r-ta-tef), 
por  tative.     A  portable  organ. 

portato  (p6r-ta'-t6),  /.   Sustained. 

port^e  (p6r-ta'),  /".     Staff. 

porter  (p6r-ta),  F.  To  carry,  p.  la 
voix.     Produce  the  portamento. 

portunal  flute.  A  flue-stop  with 
wide-top  pipes. 

Portunen  (p6r-too'-nen),  G.    Bourdon. 

Pos.     Abbr.  for  Posaune. 

posato  (p6-za'-t6),  /.     Sedate. 

Posaune  (p6-zow'-ne),  pi.  -en,  G.  i. 
Trombone.  2.  A  trumpet.  Hence, 
Posauner.  A  trombonist.  3.  A  reed- 
stop.  Posaunzug  (tsookh).  Sack- 
but. 

Poschette  (p5-shet'-te),  G.  Pocket- 
violin. 

pose'ment  (p6-za-man),  F.      Sedately. 

poser  (po-za),  F.  To  poise,  p.  la 
voix.     To  attack  a  tone  exactly. 

positif,  F.,  positiv.  G.  (po-ze-tef), 
positive.  Stationary  organ ;  in 
French  choir-organ. 

position,  E.  (pron.  in  F.  p6-zes'-y6n), 
posizione  (p6-ze-tsI-o'-ne),  /.  i. 
Vide  CHORD.  2.  Vide  CLOSE.  3.  The 
place  of  the  first  finger  of  the  left 
i;and  on  the  finger-board  of  violins, 
etc.  The  first  position  is  that  in 
which  i.he  fore-finger  presses  the  first 
semi-tone  or  tone  of  the  open  string  ; 
the  half  position  that  in  which  the 
second  finger  presses  the  first  semi- 
tone of  the  opeO  string.  By  making 
a  shift,  the  hand-feaches  the  second 
position,  that  iti'  which  the  first 
finger  presses  at  th "  place  occupied 
by  the  second  finder  '  in  the  first  posi- 
tion ;  in  the  third  pi^sition  the  first 
finger  occupies  the  place  held  by  the 
third  finger  in  the  first  ^"^osition  ;  and 
so  on. 

possibile  (p6s-se'-M-le),  /•  Possible, 
3iS  presto  p.,  as  fast  as  poi'Sible. 


DICTIONARY    OF    TERMS       243 


posthorn.  i.  A  straight  valveless 
bugle.  2.  A  piece  or  passage  imi- 
tating a  postman's  call. 

posta,  di  (de  p6s'-ta),  /.     At  once. 

posthume  (p6s-tum),  F.  Posthumous, 
pub.  after  the  composer's  death. 

postlu'deum,  L.  A  concluding  phrase, 
composition,  or  church  voluntary. 

potenza  (po-ten'-tsa),  /.  i.  Old  name 
for  musical  note  or  sign.  2.  The 
sound  any  instr.  produces. 

pot-pourri  (p6-poor'-re),  F.     Medley. 

pouce  (poos),  F.  Thumb.  In  guitar 
music  a  direction  to  sweep  the  strings 
with  the  thumb. 

poule,  la  (la  pool),  F.  "  The  hen."  A 
quadrille  figure  ;    the  third. 

pour  (poor),  F.  For,  in  order  to,  as/. 
finir,  in  order  to  close. 

pouss6  (poos-sa),  F.  "  Pushed." 
The  up-bow. 

pp.     Abbr.  of  pianissimo. 

prachtig  (prekh  -tlkh),  G.  Pompous. 
Prachtvoll  (prakht'-fol),  C.  Full  of 
grandeur. 

pracis  (pra-tses'),  G.     Precise. 

praecen'tor,  L.     Choir-leader. 

praeam'bulutn,  L.     Prelude. 

praefa'tio,  L.  The  prayers  said  or  sung 
in  the  Mass  before  the  Transubstan- 
tiation. 

praefec'tus  cho'ri,  L.     Chorus-leader. 

PraU'triller,  G.  Inverted  mordent. 
Vide  GRACE. 

praludiren  (pra-loo-de'-ren),  G.  To 
preludise. 

Prastant  (pra'-shtant),  G.  Principal 
4-ft.  stop. 

precent'or.  Choir-director  in  the  An- 
glican Church. 

prichantre  (pra-shahtr),  F.  Choir-di- 
rector. 

precipitare    (pra-che-pl-ta'-re),  /.     To 
hurry   precipitately,    hence    precipi- 
tate (ta-to).    precipitan'do,  preci- 
pito'so.     Hurried,     precipitamen- 
te.        Hurriedly.        precipitazione 
(ta-tsI-6'-ng).     Haste. 
precisione   (pra-che-zI-6'-ne),  /.     Pre- 
cision,   precise  (pra-che'-so).   E.\act. 
preghiera  (pra-gl-a'-ra),  /.     Prayer. 
prelude  (pre'-lud  or  prel'-ud),  E.,  pre- 


lude (pra-liid),  F.,  preludio  (pra- 
loo'-dl-6),  /.  I.  An  introductory 
phrase,  section,  or  composition. 
Hence,  a  composition  of  an  impro- 
vised manner,  and  brief  length.  2. 
As  a  verb,  to  improvise  such  an 
introductory  piece. 

premier  (prum-ya),  premiere  (priim- 
yar),  F.  First,  as  premier  dessus 
(des-sli).  First  treble  or  soprano. 
premiere  fois  (fwa).  First  time. 
a  premiere  vue  (vu).  At  first  sight. 
As  a  noun,  premiere  is  used  of  a  first 
production. 

preparation,  preparation  (pra-pa- 
ris-yon),  F.,  preparazione  (pra-pa- 
ra-tsI-6'-ne),  /.  A  musical  device  for 
softening  a  discord  by  preparing  the 
mind  for  it  through  the  introduction 
of  the  dissonant  note  in  a  previous 
chord  in  which  it  is  consonant.  Vide 
HARMONY.  Custom  has  greatly 
changed  from  the  early  period  in 
which  no  unprepared  dissonance  was 
permitted,  for  now  in  free  writing 
almost  any  dissonance  can  appear 
without  warning. 

preparative   note.     Appoggiatura. 

prepared,  i.  Used  of  a  note  which 
had  preparation  (q.  v.).  2.  Used  of 
a  shake  or  trill  which  had  two  or 
more  introductory  notes. 

pr^s  de  (pre  dii),  F.     Near. 

presa  (pra'-sa),  /.     Vide  lead  (2). 

pressant  (pres-sah),  /'.,  pressante 
(pres-sant),  /".,  pressan'do,  /.,  pres- 
sirend  (pres-se'-rent),  G.  "Pressing," 
accelerating. 

pressez  (pres-sa),  F.     Accelerate. 

pressure  note  or  tone.     One  marked 

thus  {^,  and  to  be  attacked  softly  and 

suddenly  increased  in  volume. 

prestamen'te,  /.     Very  rapidly. 

prestant  (pru-stafi),  F.  Principal,  4- 
foot  open  stop. 

prestezza  (pres-ted'-za),  /.     Rapidity. 

presto  (pras'-t6), /.  i.  Fast,  faster  than 
allegro,  the  fastest  rate  in  music  ex- 
cept its  own  superlatives  as  prestis'- 
simo  and  prestis'samente.  2.  A 
movement  in  very  rapid  time. 


244 


THE    MUSICAL    GUIDE 


prick.  I.  As  a  noun,  the  head  of  a 
note,  hence  2.  as  a  verb,  to  write  mu- 
sic, prick-song.  The  first  written 
music,  in  contrast  with  improvised 
music.  3.  The  counterpoint  written 
to  a  cantus  firmus. 

pri^re  (prl-ar),  F.     Prayer. 

prima  (pre-ma),  /.  First,  principal. 
da  p.  From  the  beginning,  p.  buffa. 
Leading  woman  in  comic  opera. 
prima  donna.  "Leading  lady"  in 
opera,  chief  soprano,  p.  vista.  First 
sight,  p.  volta.  The  first  time  (abbr. 
ima.  Volta),  and  used  to  mark 
measures  to  be  played  before  a  repe- 
tition, and  to  be  skipped  after  that 
repetition  for  the  measures  marked 
seconda  volta  (2da.  volta). 

pri'mary.  i.  Used  of  an  accent  be- 
ginning a  measure.  2.  Of  a  triad  or 
chord  which  constitutes  one  of  the 
three  fundamental  triads  of  a  key, 
viz.,  those  on  the  tonic,  dominant, 
and  the  subdominant. 

prime   (prim),  E.  (in  G.  and  F.  prem). 

1.  The  first  tone  of  a  scale,  the  tonic. 

2.  Used  of  that  interval  which  is  indi- 
cated by  two  notes  on  the  same  line 
or  space,  but  separated  by  a  chro- 
matic distinction.  Used  also  of  two 
notes  in  unison.  Vide  interval.  3. 
Vide  HOKA. 

Primgeiger  (prem'-gi-ger),  G.  First 
violin,  leader. 

primo  (pre'-mo),  /.  First,  principal. 
tempo  p.  At  the  original  tempo,  p. 
buffo.  Leading  man  in  a  comic  opera. 
p.  uomo  (oo-6'-m6).  Old  term  for 
first  %iale  soprano  or  tenor,  primo 
as  a  noun,  is  used  of  the  leading  part 
of  a  duet. 

Primtone  (prem'-ta-ne),  G.  Funda- 
mental tones.  Primzither.  Treble 
zither. 

primice'rio  (pre'-mI-cha'-rI-6),  /., 
primicerius,  L.     Cantor. 

prin'cipal,  E.  (pron.  in  G.  pren-tsT- 
pal',  in  F.  pran-sl-pal).  i.  In  France 
and  Germany  used  of  the  open  diapa- 
son ;  in  England  used  of  an  open 
flue-stop  of  4-ft.  pitch,  on  the  manual 
(8  ft.  on  the  pedal)  an  octave  higher 


than  the  open  diapason.  2.  Old  name 
for  fugue  subject.  3.  Old  name  for 
trumpet. 

As  an  adjective.  I.  Vide  PRIMARY.  2. 
principal  key.  The  predominant 
key  of  the  composition.  3.  The  p. 
voices  are  the  soprano  and  bass.  4. 
p.  close  or  cadence.  One  in  the 
principal  key.  5.  p.  subject  or 
theme,  one  to  which  others  are  sub- 
ordinate, principal-bass.  An  open 
diapason  stop  on  the  pedals,  princi- 
pal-work. The  flue-pipes  of  diapa- 
son quality.     Vide  stop. 

principale  (pren-chT-pa'-le),  /.  i.  Dia- 
pason-stop. 2.  Principal  or  leading, 
as  an  adjective.  3.  Old  name  for  the 
trumpet,     principalino.      8-ft.  stop. 

principio  (prIn-che'-pI-6),  /.  Begin- 
ning. 

prise,  or  p.  du  sujet  (prez  dii  sii-zha), 
F.     Entry  of  the  subject. 

Probe  (pro  -be),  G.  Rehearsal.  Gen- 
eralprobe.     Final  rehearsal. 

proc6der  (pro-sa-da),  F.    To  progress. 

procella  (prd-chel'-la),  /.     Storm. 

proem.  Ancient  heroic  song  with  cith- 
ara  accompaniment. 

programme,  F.,  program  (pro'-grSm' 
not  pro-griim),  E.,  program'ma,  /., 
Programm  (pro-gram),  6'.  A  list  of 
compositions  to  be  performed,  pro- 
gram -  music,  Programm  -  musik 
(pro-gram'  moo-zek'),  G.  Music  with 
a  programme,  i.  e.,  with  a  more  or  less 
definite  description  of  events  or 
moods.  It  usually  aims  to  present  a 
suggestion  (rarely  in  decent  music  an 
imitation)  of  some  music  of  nature  as 
a  brook,  bird-improvisations,  forest- 
sounds,  or  of  some  narrative,  though 
its  main  effort  is  to  deploy  the  emo- 
tions arising  from  such  scenes  and 
thoughts.  Beethoven's  ideal  is  ex- 
pressed in  his  famous  characterisation 
of  his  Pastoral  Symphony  as  inehr 
Aiisdruck  a  Is  iMalerei,  "  more  an  ex- 
pression than  a  painting."  So  long  as 
the  "  descriptive"  element  is  a  mere 
suggestion,  music  is  capable  of  most 
felicitous  hints,  and  programme-mu- 
sic has  most  ancient  and  venerablfc 


I 


DICTIONARY    OF    TERMS       245 


authority,  traceable  farther  back  even 
than  Bach  (who  wrote  a  musical  sug- 
gestion of  a  postilion),  to  Jannequin, 
and  others.  When  programme-music 
stoops  to  imitation  direct  it  either 
grows  ludicrously  incompetent  or 
ceases  to  be  music  and  becomes  noise. 
programmist.  A  devotee  of  pro- 
gramme-music. 

progrfes  (pr5-gre),  F.     Progression. 

progression,  E.,  progressione  (sT- 
6'-ne),  /.  I.  melodic  progression. 
The  advance  of  the  melody  from  one 
tone  to  another.  2.  harmonic  p. 
The  advance  of  the  harmony  from  one 
chord  to  another.  These  two  pro- 
cesses, particularly  the  latter,  are 
hedged  round  with  continual  difficul- 
ties and  restrictions,  some  of  them 
based  on  human  nature  and  acous- 
tics, others  deriving  no  sustenance 
from  either,  but  depending  for  their 
existence  in  the  text-books  entirely  on 
tradition,'history,  conservatism,  fash- 
ion, or  a  sense  of  hearing  rendered 
artificial  by  long  pedantry.  The  sci- 
ence of  progressions  constitutes  the 
greater  part  of  the  Theory  of  Music, 
and  of  harmony  and  counterpoint 
(q.  v.). 

progres'sio  harmo'nica,  /.  A  mixture- 
stop. 

Progressions-schweller  (pr5-gres-st- 
ons'-shvel-ler),  G.  A  device  inv.  by 
Abbe  Vogler,  for  gradually  calling  in 
play,  then  gradually  closing  off,  the 

'  stops  of  an  organ,  to  produce  a  cres- 
cendo, then  a  diminuendo. 

progressive,  i.  Of*  stop  in  which  the 
number  of  ranks  increases  with  the 
pitch.     2.  Through-composed. 

prola'tion,  E.,  prola'tio,  Z.,  prolazi- 
one  (pro-lii-tsl-o'-ne),  /.  I.  The  clas- 
sification of  the  relative  value  of 
the  notes  in  mensurable  (q.  v.)  mu- 
sic, almost  corresponding  in  its  four 
classes  to  our  musical  metre.  2.  The 
measurement  of  the  semibreve,  pro- 
latio  major,  indicating  that  it  is  to 
be  divided  into  three  minims ;  p. 
minor,  indicating  two  minims.     Vide 

NOTATION. 


prolongement(pr6-l6hzh-mah),/'.  i.  A 
pedal,  inv.  by  Debain,  for  holding 
down  harmonium  keys.  2.  That  part 
of  the  piano  action  which  holds  the 
hammer  from  its  place  of  rest ;  a  sus- 
taining pedal. 

promptement  (pront-man),  F.,  pron- 
tamente,  /.  Promptly,  quickly. 
pron  to,  /.     Prompt,  quick. 

pronunziato  (pro-noon-tsl-a -to),  /, 
Enunciated,  marked. 

proper-chant.  Old  name  for  the  key 
of  C  major. 

proper  tio,  Z.,  propor'tion,  E.  i. 
The  determination  of  time  in  mensur- 
able music  by  means  of  fractions. 
Vide  NOTATION.  2.  The  second  part 
of  i6th  cent,  dance-tunes.  Vide  sal- 

TARELLA. 

propos'ta,  /.     Subject  of  a  fugue. 

prosa'rium,  Z.  A  book  of  prosae,  the 
prosa  being  the  Sequence  (q.  v.), 
sung  between  the  gradual  and  the 
Gospel  in  the  R.  C.  Service. 

propri'etas,  Z.  A  ligature  whose  first 
note  is  a  breve,  opposita  p.  One  in 
which  the  first  two  notes  are  semi- 
breves,  sine  proprietate.  Impro- 
prietas.     Vide  notation. 

proslambanom'enos.     Vide  modes. 

Prospekt',  G.  Organ  front,  hence  P.- 
pfeife(n).     Display  pipe(s). 

pro'teus.  A  key-board  stringed  inst. 
inv.  1650  by  Nigetti. 

pro'tus.  Middle-age  term  for  the  first 
church  mode. 

pro'va,  I.  Proof,  rehearsal,  p.  gen- 
erale  (jan-a-ra -le),  or  p.  grande. 
Final  rehearsal. 

Provenijales  (proo-van-sSl').  Trouba- 
dours from  Provence. 

pryc.ke.  In  Merbecke's  notation  of 
1550  a  minim.     Vide  prick. 

psallette  (sal-let),  F.     A  maitrise.  ^ 

psalm  (in  E.  sam,  in  G.  psal-'m), 
psaume  (psom),  F.  From  a  Greek 
word  meaning  to  pluck  a  string, hence 
a  harp-song,  taken  from  Jewish  re- 
ligion by  the  Christian  and  highly  de- 
veloped, in  various  manners.  Psalm- 
buch,  G.  A  Psalter.  Psalm- 
gesang,  G.  Psalmody.  P.-Iied  (let). 


246 


THE    MUSICAL    GUIDE 


Psalm.  P.-sanger,  G.  Psalm- 
singer,  psalmody,  E.,  psalmo- 
die(psal-m(")-de),  F.  The  art  or  prac- 
tice of  psalm-singing.  psalm'ista. 
An  order  of  clergy. 

psalm-melo  dicon.  An  instr.  inv.  by 
Weinrich,  in  1S28,  with  eight  finger- 
holes  and  25  keys,  giving  it  a  com- 
pass of  4  octaves,  and  the  power  of 
producing  chords  of  6  tones. 

psalter  (sal  t^r,  in  G.  psal  -ter),  psau- 
tier  (ps6t-ya),  F.    A  book  of  psalms. 

Psalter  (psal'-ter),  G.,  psalt6rion 
(psal-ta-rl-oii),  F.,  psalte'rium,  L., 
psaltery  (sal'-t^-rT),  E.  An  ancient 
stringed  instr.  with  a  sound-board, 
the  strings  being  plucked  with  the 
fingers  or  a  plectrum. 

psalte'riae,  L.  Women  who  played 
and  sang  during  a  feast. 

psaiune.     Vide  isalm. 

pulcha  (pool'-cha),  Rus.,  pul'ka,  Bo- 
hemian.     Polka. 

pulpit  ium.     I.  A  stage.     2.  Motet. 

pulsatile.  Used  of  instrs.  of  percus- 
sion. 

pulsator  organo  rum,  Z.  Organ- 
player. 

punct'us,  Z.  I.  A  note,  hence  punc- 
tus  contra punctum.  "Noteagainst 
note,"  i.  e.,  counterpoint.     2.  A  dot. 

Punkt  (poonkt).  C,  punto  (poon'-to), 
/.  Dot.  punktiert  (tert),  6".,  pun- 
tato  (ta'-to),  /.  Dotted,  stacca- 
to. 

punta  (poon'-ta),  /.  Point  (of  a  bow). 
p.  d'organo  (dor-ga'-no).  Pedal- 
point,  p.  per  p.  Note  for  note.  p. 
coronato.     Fermate. 

pupitre  (pii-petr),  F.  Music-desk,  p.- 
improvisateur  (pu-pet'-r&h-pr5-ve'- 
za-tiir).  A  melograph  inv.  by  F.  A. 
E.  Keller,  1835. 

purf'ling.  The  ornamental  border  of 
violins,  etc. 

put'ti  (poot'-te),  Z     Choir-boys. 

pyk'na,  Or.  1.  Half  and  quarter  tone 
progressions,  in  Greek  music.  2. 
Close  notes  (q.  v.).  3.  A  semi- 
tone. 

pyratn'idon.  A  16  or  32  ft.  stop,  with 
top  4  times  as  wide  as  the  mouth. 


py'rophon,  Gr.  "Organ  of  flames." 
An  instr.  inv.  by  Fr.  Kastner,  1875. 
A  key-board  with  electric  attachment, 
producing  gas  flames  in  tubes  tuned  to 
the  compass  C-c  '. 

Pyrrhic,  Pyrrich'ius.  A  Greek 
dance. 

Pythian.  Games  in  honour  of  Apollo, 
including  musical  contests. 

Pythagore  an.  i.  Used  of  the  math- 
ematical investigations  in  music  made 
by  Pythagoras.  2.  Used  of  a  lyre, 
said  to  have  been  inv.  by  him. 


^ 


OThis  letter  inverted  in  'cello 
music  indicates  that  the  thumb 
is  to  be  laid  across  the  strings 
as  a  nut. 

Quadrat  (kva-drat),  G.,  quad'rate, 
E.,  quadra'tum,  Z.  "A  square." 
I.  A  natural  sign  (fl),  in  Z.  B.  quad- 
ratum.  2.  In  mensurable  music  a 
breve,  hence  Quadramusik  (moo- 
zek),  G.      Old  music  in  square  notes, 

quad'rible.     Quatrible. 

quadricin  ium,  Z.  A  4-voiced  compo- 
sition. 

quadriglio  (kwa-drel'-yo),  Z,  quadrille 
(in  E.  kwa-drTl',  in  F.  kSd-re'-yu).  A 
square  dance  in  6-8  and  2-4  time,  in 
five  different  figures  :  le  pantalon. 
"Pantaloon."  1*616  (la-ta).  "Sum- 
mer." la  poule.  "The  hen."  lapas- 
tourelle,  or  la  trenise ;  and  la 
finale. 

quadripar  tite.  "h  four-voices  compo- 
sition. 

quad  ro,  Z,  quadrum,  Z.   i.  A  natural 

sign  (C).  2.  Tableau. 
quad'ruple.  Four-fold.  i.  Vide 
COUNTERPOINT.  2.  Used  of  a  quaver 
with  four  tails,  a  64th  note.  3.  Of 
rhythm,  that  with  four  beats  to  the 
measure. 

quadruplet.  A  group  of  four  equal 
notes. 

quad'riplum,  Z.     Vide  triplum. 

quan  tity.  The  duration  of  a  note  or 
syllable. 


DICTIONARY    OF    TERMS 


H7 


quart  (in  E.  kwart,  in  F.  kSr),  quar'- 
ta,  L.  and  /.  i.  Tlie  interval  of 
a  fourth.  2.  A  fourth,  quart  de 
mesure.  A  quarter  rest,  quart  de 
soupir  (soo-per).  A  sixteenth  rest. 
quart  de  son,  or  ton.  A  quarter 
tone,  quarta  modi,  or  toni.  The 
subdominant. 

quart-  (kvart),  G.  A  prefix  indicat- 
ing that  an  inst.  is  a  fourth  higher 
(as  Quart-fiote,  -geige,  etc.),  or 
a  fourth  lower  (as  Q.-fagott,  or 
-posaune,  etc.),  than  the  normal 
instr. 

Quartsext'akkord,  G.  A  6-4  chord. 
Vide  CHORD. 

Quarte  (in  F.  kart,  in  G.  kvar'- 
\.€).  The  interval  of  a  fourth,  q.  de 
nazard  (du  na-zar'),  F.  A  15th,  also 
a  2-ft.  organ-stop.  q.  de  ton,  F. 
The  subdominant.  Quartenfolgen, 
or  parallelen,  G.  Consecutive 
fourths. 

quarter,  or  quarter  note.  A  crotchet, 
half  of  a  half-note,  quarter  rest. 
A  rest  of  a  quarter  note's  duration. 

quarter  tone.  An  interval  less  than  a 
semi-tone,  the  difference  for  example 
between  D  sharp  and  E  flat  on  the 
violin. 

quartet',  Quartett',  C,  quartet'to,  /. 
I.  A  composition  for  4  voices  or 
instrs.  2.  A  4-part  composition  in 
sonata  form,  as  a  string-quartet. 

quarto,  /.  Fourth,  q.  d'aspet'to. 
A  i6th  rest.  q.  dituono  (too-5-no). 
Quarter  tone. 

quasi  (kwa'-se),  L.  and  /.  As  if ;  al- 
most ;  somewhat  like,  andante  q. 
lento  =  andante,  nearly  lento.  q. 
sonata.  Almost  (but  not  strictly) 
in  sonata  form. 

quatre  (katr),  F.  Four. 

quatorzi^me  (ki-torz'-yem),  F.  A 
fourteenth. 

quat'rible.  In  old  music  a  progression 
in  parallel  fourths,  a  quinible,  being 
in  parallel  fifths. 

quatricin'ium.  Four-part  composi- 
tion. 

quattricro'ma,  /.  64th  note. 

quat'tro,  /.     Four. 


quatuor  (kat-ii-or),  F.     Quartet. 

quaver.     An  8th  note. 

quer-  (kvar),  G.  Prefix  meaning  cross, 
or  transverse,  as  Q.-flote.  The  trans- 
verse flute.  Q.-pfeife.  Swiss  fife, 
with  6  holes  and  with  a  compass  of 
two  octaves.  Q. -stand  (shtant). 
Cross  or  false  relation.  Q.-strich. 
I.  Ledger  line.  2.  The  single  thick 
tail  for  a  group  of  notes. 

questo  or  -a  (kwas'-to),  /.  This  ;  or 
that. 

queue  (ku),  F.  Tail.  i.  Of  notes.  2. 
Tail-piece  of  vlns.,  and  so  forth. 
piano  a  q.     Grand  piano. 

quick-step.     A  rapid  march. 

quieto  (kwe-a'-to),  quietamen'te,  /. 
Calm(ly),  serene(,ly). 

quilis  ma.     Vide  neume. 

quindecima  (kwen-da'-che-ma),  /.  A 
15th.  I.  Interval.  2.  Organ-stop. 
a  la  q.,  or  isma.  =  2  octaves  higher 
or  lower. 

Quindezime  (kven-da'-tse-m^),  G.  A 
15th. 

quin'ible.     Vide  quatrible. 

quin'quegrade.     Pentatonic. 

quint  (in  E.  kwint ;  in  G.  kvent).  i.  A 
5th.  2.  A  si-ft.  stop,  sounding  a 
fifth  higher  than  the  normal.  3.  The 
e  string  of  the  violin.  q.  stride. 
Progression  of  a  fifth.  Q.-absatz,  or 
abschluss,  G.  Imperfect  cadence. 
Q.-fagott,  G.  A  bassoon  pitched  a 
fifth  higher  than  the  normal.  Q.- 
gedackt  or  Q.-stimme,  G.  Same 
as  2.  Q.-bass,  G.  A  stop  on  the 
pedal  sounding  a  fifth  above  the 
double  diapason.  Q.-fuge  (foo-ge). 
A  fugue  with  the  answer  a  fifth 
above  the  subject.  Q.-saite.  A 
treble  string.  Q.-tone.  Quint  tone. 
Vide  PITCH.  Q. -viola.  i.  Quin- 
ton.  2.  A  stop  a  fifth  above  the 
gamba. 

quin'ta,  L.  and  /.  A  fifth  ;  vide  also 
QUINTUS.  q.  decima.  Quindecima.  q. 
ed  una  or  quintadena.  Vide  qiun- 
TATON.  q.  falsa.  The  diminished 
fifth  formerly  prohibited,  q.  modi  or 
toni.  The  dominant,  alia  q.  At 
the  fifth. 


248 


THE    MUSICAL    GUIDE 


Quintaton  (kven'-ta-t5n),  G.  A  cov- 
ered S-,  16-,  or  32-ft.  flue-stop  sound- 
ing the  I2th  as  well  as  the  funda- 
mental. 

quinte  (in  F.  kant,  in  G.  kven'-te). 
Vide  QUINT  I,  2,  3.  q.  octaviante 
(6k-tav-!-ant),  F.  The  12th.  Quint- 
en-folgen,  or  -parallelen,  G.  Par- 
allel fifths.  Quinten-zirkel  (tser'- 
kel),  6^.  Circle  of  fifths.  Vide  tem- 
perament, quinten-rein  (rin),  G. 
"  Pure  in  fifths,"  used  of  bow 
instrs. 

quinter  (kSn-ta),  F.  To  sing  in  qui- 
nible. 

quinter'na,  /.,  quin'terne,  E.  Old 
Italian  lute  with  3  or  5  pairs  of  gut- 
strings,  sometimes  also  2  single 
strings  covered  with  wire. 

quinti(e)ren  (kven-te'-ren),  G.  To 
overblow  and  sound  the  twelfth. 

quintoier,  or  quintoyer  (kwen-twa-ya), 
/•".  I.  To  sing  in  quinible.  2.  To 
overblow  and  sound  the  I2th. 

quintet',  E.,  Quintett',  6".,  quin- 
tette (kwen-tet),  F.,  quinta'to,  /,  A 
five-part  composition. 

Quintole  (in  E.  quin'-tol ;  in  G.  kven- 
to'-le).     Quintuplet. 

quinton  (kwen-toh),  F:  i.  The  5- 
stringed  treble  viol.   2.  The  tenor  viol. 

quintuor  (kwen-tu-or),  F.     Quintet. 

quintu'plum,  Z.     Vide  triplum. 

quintuple.     Five-fold. 

quintuplet.  A  group  of  five  equal 
notes. 

quin'tus,  Z.,  or  quin'ta.  A  fifth  part 
in  compositions ;  as  it  occasionally 
wandered  from  one  voice  to  another 
it  was  called  q.  vagans. 

quinzi^me  (kahz-yem),  F.     Fifteenth, 

quire.  Choir.  qui'rister.  Choris- 
ter. 

quodlibet,  or  quotlibet,  Z.  "What 
(or  "  as  many  as  ")  you  please."  i. 
A  comic  medley,  without  connecting 
links.     2.  A  charivari. 

Qui  tollis,  Z.  "  Who  takest  away  (the 
sins  of  the  world)."     Vide  GLORIA.' 

quitter  (kit-ta),  F.     To  leave. 

Quo'niam  tu  solus,  Z.  "  For  Thou 
only  (art  Holy)."    Part  of  the  Gloria. 


RAbbr.  for  i.  Right,  as  r.  h., 
right  hand.  2.  Responsorium 
{r.g.  =  r.  Graduak)  in  Catho- 
lic music.  3.  Ripieno.  4. 
Clavier  de  r^cit  (swell-manual).  In 
organ  music. 

raban',  raban'na,    Hindu  tambourine. 

rabbia  (rab-be'-a).     Mad  rage,  fury. 

rab^  (ra-ba'),  rabel',  Sp.     Rebec. 

raccontan  do,  I.  As  if  relating  or  de- 
scribing. 

Rackett ,  Rankett',  G.  i.  An  obsolete 
bombard  with  many  curves  in  its 
tube,  and  a  weak  voice.  Made  in  five 
sizes,  it  was  simplified  as  the  R.  fa- 
gott  by  Denner.  2.  A  reed-stop, 
obsolete. 

raccourcir  (rak-koor-ser),  /".  To 
abridge. 

racier  (ra-kla),  F.  To  saw,  and 
scratch,  hence  racleur  (rS-klur).  A 
bad  fiddler. 

raddolcen  do,  raddolcente  (rad-dol- 
chen'-te).  Growing  softer  and  sweet- 
er,     raddolcito  (che-to).     Pacified. 

raddoppiamen'to,  I.  i.  Doubling,  as 
the  notes  of  a  chord.  2.  Multiplying 
copies.  raddoppiato  (pT-a'-to). 
Doubled. 

Radel  (ra -del),  G.  A  solo  with  chorus. 

radiating.  Used  of  a  fan-shaped 
pedal  key-board. 

radical.  Fundamental.  Vide  ca- 
dence. 

Radleier   (rat'-ll-er),  G.    Hurdygurdy. 

Radlmaschine  (ratl-ma-she'-ne).  Valve 
mechanism. 

rag.  The  clog  dance  of  the  American 
negro,  perhaps  related  to  the  Spanish 
verb  raer,  to  scrape.  The  music 
has  some  resemblance  to  the  Aba- 
nera  in  spirit  and  syncopation,  but  is 
in  4-4  time  and  of  an  hilarious  char-  i  I 
acter,  hence  the  verb  to  rag,  and  5 
rag-time  music  in  this  style. 

raggione  (rad-jo'-ne),  L     Proportion.     )i 

rago'ke.     Small  Russian  horn. 

rake.  A  5-pointed  device  for  ruling; 
off  staves.  \ 

rail.    Abbr.  of  rallentando. 


DICTIONARY    OF    TERMS       249 


rallentare  (ta'-re).  To  become  slower, 
hence  rallentan'do  (abbr.;-;?//).  With 
gradually  reduced  speed,  rallenta- 
men'to.  Retardation.  rallentato 
(ta-to).  Retarded,  rallenta'te.  Re- 
tard ! 

rang  (rah),  F.     Rank. 

range.     Compass,  as  of  a  voice. 

rank.  A  row  of  pipes  belonging  to  one 
stop. 

rant.     An  old  country-dance  ;  a  reel. 

ranz  des  vaches  (rah-da-vash),  F. 
"  Calling  of  the  cows."  A  Swiss  tune 
sung  or  played  on  long  horns  by 
herdsmen. 

rapido  (ra'-pe-do),  rapidamen'te,  /. 
Rapid(ly).  rapidita  (ra-pe-dl-ta). 
Rapidity. 

rapsodie  (rap-s6-de),  F.     Rhapsody. 

rappel',  F.     A  military  call. 

rasch  (rash),  G.  Fast,  rascher.  Faster. 

rasend  (ra'-zent),  G.  Raging,  hence 
Rasegesang,  and  Raselied  (ra'-ze- 
let).     Dithyramb. 

rasgado  (ras-ga-dho),  Sp.  "Scrap- 
ing," hence  in  guitar  playing,  sweep- 
ing the  strings  with  the  thumb  to 
produce  an  arpeggio. 

rast'ral,  ras'trum.     Vide  rake.. 

Rathselkanon  (rat'-zel-ka-non),  G. 
Vide  CANON. 

ra'tio.  Used  of  the  relative  value  of 
vibration-numbers. 

rattenen'do,  rattenuto  (noo'-to),  /. 
Restraining,  or  restrained,  i.  e.,  re- 
tarded. 

rattezza  (rat-t^d'-za),  /.     Speed. 

rauco  (ra-oo-ko),  /.,  rauh  (row),  6*., 
rauque  (rok),  F.  Harsh,  hoarse, 
rough,  raucedine  (ra-oo-che-de'-ne), 
/.     Harshness. 

Rauscher  (row'-sher),  G.  The  rapid 
repetition  of  a  note. 

rausch-  (rowsh),  G.  Prefix  denoting  a 
stop  of  2  ranks  sounding  the  twelfth 
and  fifteenth,  or  fifteenth  and  oc- 
tave twelfth ;  hence  Rauschflote, 
-pfeife,  -quinte,  -werk ;  and  also 
Ruszpipe  (roos'-pe-pe). 

ravanas'tron.  A  primitive  violin  with 
one  or  two  strings,  claimed  by  the 
Ceylonese  as  the  invention  of  a  king 


who  reigned  about  5000  B.C.  It  is  still 
used  by  the  Buddhists. 

rav(v)ivare  (va'-re),  /.  To  accelerate, 
hence,  ravivan'do.  Accelerating. 
ravivato  (va'-t6).     Accelerated. 

ray.    Name  for  re,  in  the  Tonic-Sol-fa. 

re(ra), /..  r6  (ra),  v^.  i.  Vide  solmi- 
SATiON.  2.  In  France  and  Italy,  the 
note  D. 

rebab,  Arab.     Rebec. 

re'bec(k),  rebec' ca,  re'bet,  rebed,  re- 
bibe,  re'bible.  Old  .£'.  An  early  vio- 
lin with  3  gut-strings.  Its  origin  has 
been  credited  to  the  Moors,  who  are 
said  to  have  brought  it  into  Spain  ; 
it  has  been  claimed  that  the  Spanish 
gave  it  to  the  Moors ;  it  has  been 
also  derived  from  the  British  Chrotta, 
or  crwth. 

re'al.    Vide  fugue. 

recension  (ra-sahs-yoh),  F.  An  ana- 
lytical editing. 

rechange  (rii-shahzh).  "Change." 
Hence,  corps  (kor)  or  tons  (ton)  de 
r.     Crooks. 

recheat'.     A  hunting  recall. 

recht(e)  (rekht(e)),  G.  Right,  as  r. 
Hand. 

r^cit  (ra-se),  i^.  r.. Recitative.  2.  A 
solo  part.  3.  The  chief  of  several 
parts,  clavier  de  r.  (klav-ya  du). 
Swell  manual  on  the  organ. 

recitado  (ra-the-ta -dho),  Sp.  Recita- 
tive. 

recital.  A  musical  performance  given 
entirely  by  one  performer,  or  from 
one  composer's  works.  Said  to  have 
been  initiated  by  Liszt  in  1840. 

recitan  do,  recitan'te,  recitato  (ra- 
che-ta'-to).      In  recitative  style. 

r^citant  (ra-se-tah),  Recitante  (ra- 
tse-tant),  F.  A  man  (or  woman)  soloist. 

recitative  (res-I-ta-tev),  E.,  recitatif 
(ra-se-ta-tef),  /^,  Recitativ  (ra-tse- 
ta-tef),  G.,  recitativo  (ra-che-ta- 
te'-v5),  /.  Musical  declamation  or 
recitation,  as  opposed  to  strict  melo- 
dy. It  usually  aims  to  be  a  sort  of 
musical  colloquialism.  In  modern 
form  it  began  in  the  first  operatic 
works  of  Peri  (vide  B.D.),  and  the 
others  ;  it  was   more  or  less  a  sing- 


250 


THE    MUSICAL    GUIDE 


song  declamation  with  an  accompa- 
niment consisting  of  occasional  chords 
to  keep  the  singer  on  the  key  ;  it  was 
well-called  "  dry,"  or  recitative  sec- 
co,  or  parlante,  and  the  accompani- 
ment was  indicated  merely  by  figured 
bass.  This  accompaniment  was  grad- 
ually elaborated  into  the  recitative 
stromentato.  "  Instrumented,"  or 
accompagnato,  or  con  accotnpa- 
gnamento  or  obbligato  (in  F.  ac- 
compagn^,  or  oblig6).  In  later 
opera,  particularly  Wagner's,  the 
whole  musical  structure  is  inclined  to 
be  in  recitative  with  a  descriptive  and 
complicated  orchestral  background. 
Recitative  is  usually  delivered  at  the 
singer's  pleasure  except  when  spe- 
cially marked  a  tempo. 

reciter  (ra-se-ta),  F.  To  perform  a 
recit,  or  solo. 

reel  ting  note.  That  tone  of  a  church- 
mode  on  which  most  of  the  chanting 
is  done,  usually  the  dominant. 

rec  ord.  Old  E.  To  play  the  rec- 
ord'er.  An  obsolete  flageolet  with  g 
holes,  one  of  them  covered  with  gold 
beater's  skin,  compass  2  octaves 
f'-f". 

recreation,  r^cr^ation  (ra-kra-as- 
yoh),  F.     A  light  composition. 

rec'te  et  retro,  L.  Forward  and 
backward.     Vide  canon. 

rec  tus,  L.     Similar  (of  motion). 

reddi  ta,  redita  (ra-de'-ta),  /.,  redite 
(ru-det),  F.     A  repeat. 

redondilla  (ra-don-del'-ya),  Sp.  Roun- 
delay. 

redoubled.  Compound  (of  an  inter- 
val). 

redoublement  (rii-doob-lu-mah),  F. 
Doubling. 

red  owa,  redowak  ,  redowazka  (ra- 
do-vats'-kii),  Bohemian.  A  dance, in 
lively  3-4  time  ;  in  the  Bohemian 
form  2-4  time  is  also  employed. 

redublicato  (ra'-doob-U-ka'-to),  /.  Re- 
doubled. 

reduciren,  reduziren  (ra-doo-tse'-ren), 
C. ,  reduire  (ra-dwer),  F.  To  ar- 
range or  transcribe  a  composition  in 
a  smaller  form.     Hence,   such   con- 


densation is  called  reduction,  E., 
reduction  (ra-duks-yoh),  F.,  Re- 
duktion  (re-dook'-tsT-on),  G.,  ridu- 
zione  (re-doo-tsI-6-ne),  /. 

reduc  tio,  L.  Reduction  (of  a  mode 
to  its  original  key). 

red-note.     Vide  notation. 

reed.  Originally  a  thin  and  elastic  strip 
of  cane,  now  made  of  other  fibres  and 
of  metal.  It  is  fi.xed  in  an  opening 
by  one  end  ;  its  free  end  is  set  in 
motion  by  the  breath  or  by  a  current 
of  air,  and  transmits  this  vibration 
with  musical  effect  to  the  column  of 
air  in  the  main  tube,  to  which  it  serves 
as  a  sort  of  quivering  valve.  The 
human  larynx  has  a  membranous 
reed,  and  the  lips  of  horn-players 
serve  the  same  purpose,  the  tone 
being  determined  by  the  tension  of 
the  lips  and  the  length  of  the  instru- 
ment. Vide  EMBOUCHURE,  free- 
reeds  vibrate  without  striking  the 
edges  of  their  sockets.  Those  which 
strike  the  edges  are  called  beating 
(impinging,  percussion,  or  strik- 
ing) reeds.  They  are  used  in  the 
organ  for  brass  effects.  Some  instrs., 
as  the  oboe  and  bassoon,  have  2  reeds 
which  strike  each  other,  and  are  called 
double.  Reeds  are  usually  tuned  by 
a  sliding  wire  by  which  the  vibrating 
portion  is  shortened  or  lengthened. 

reed-instruments.  A  general  name 
for  those  employing  the  reed  mechan- 
ism, particularly  the  oboe  and  clarinet 
groups  of  the  orchestra. 

reed-pipe,  r.  stop,  r.  work.  Refer  to 
the  pipes  and  stops  of  an  organ  which 
employ  reeds. 

reed-organ.  Originally,  a  small  port- 
able organ  called  the  regal,  or  a  pair 
of  regals  (if  it  had  2  pipes  for  each 
digital).  This  small  instr.  which 
could  sometimes  be  folded  up  like  a 
book  or  Bible  [hence  Bibel-regall 
(be'-bel-ra'-gal)],  employed  beating 
reeds,  in  the  pipes.  In  18 10  Grenie 
inv.  what  he  called  the  orgue  ex- 
pressif,  because  he  could  swell  and 
diminish  the  tone.  In  1843,  Debain 
developed    the    Harmonium,    which 


DICTIONARY    OF    TERMS 


possessed  several  stops.  The  air 
pressure  is  usually  applied  by  pedals 
.  worked  by  treadles ;  with  levers, 
worked  by  the  knees,  to  produce  a 
swell.  The  American  Organ  (q.  v.) 
employed  a  suction  mechanism.  The 
Vocalion  returns  to  the  harmonium 
style  with  elaborate  improvements. 
There  are  many  other  instrs.  which 
differ  chiefly  in  name  from  the  typical 
reed-organ. 

reel.  A  lively  dance  usually  in  4-4 
(sometimes  6-8)  time,  perhaps  of 
Scandinavian  origin,  but  chiefly  pop- 
ular in  Scotland.  It  is  danced  by  2 
couples.  The  Virginia  reel  of 
America  is  danced  by  2  long  facing 
lines,  the  men  on  one  side,  and  the 
women  on  the  other. 

refrain'.  A  burden,  or  stanza,  repeated 
at  the  end  of  each  new  stanza  of  a 
song. 

Re'gal  (in  G.  ra'-gal),  rdgale  (ra-gal), 

F.         I.    Vide      REED-ORGAN.         2.    An 

old  sufiix  indicating  a  reed-stop.  3. 
An  obsolete  xylophone. 

Kegel  (ra'-gel),  G.     Rule. 

re'genschori,  Z.      Choirmaster. 

Regi  na  coe  li,  Z.  "  Queen  of  Heav- 
en."    A  hymn  to  the  Virgin. 

Register  (rej'-ls-ter  in  E.;  in  G.  ra- 
jes'-ter).  i.  The  handle  or  draw- 
knob  which  bears  the  name  of  a  stop. 
Hence,  2.  A  complete  stop,  or  the 
set  of  pipes  controlled  by  a  single 
draw-knob.  Accordingly'  register- 
ing and  registration  are  the  act  or 
art  of  bringing  into  play  and  com- 
bination the  different  stops  of  an 
organ.  Register-knopf (knopf),  G. 
Draw-knob.  R.-stange  (shtang-e). 
Stop-lever.  R.-zug  (tsookh).  The 
mechanism  of  the  draw-stop.  Speak- 
ing stops  (R.-stimmen,  or  tonende 
R.)  are  distinguished  from  mechanical 
stops,  stumme  (shtoom-me)  R.  3. 
A  frame  through  which  trackers  run. 
4.  A  distinct  section  of  the  tone-qual- 
ity of  a  voice  or  instr.     Vide  voice. 

registre  (ru-zhest'r),  F.,  registro  (ra- 
jes'-tro),  /.  I.  A  stop-knob.  2.  Vide 
REGISTER  (4). 


registri(e)ren  (ra-jes-tre'-ren),  G. 
To  register.  Registri(e)ung  (tre'- 
roongk).      Registration. 

r^gle  (r^gl),  F.,  regola  (ra'-go-la),  /. 
Rule. 

reg'ula,  L.      i.   Register.     2.    Rule. 

regular,  i.  Strict  (of  fugue).  2.  Sim- 
ilar (of  motion). 

regula  tion.     Adjustment  of  touch. 

Reigen  (rl'-gen),  or  Reihen  (rl'-en), 
G.     A  circular  dance. 

rein  (rln),  G.  Pure,  perfect  (of  inter- 
vals), exact,  hence  reingreifen  (grl- 
fen).     To  play  accurately. 

Reiselied  (rl -ze-let),  G.  Traveller's 
or  pilgrim's  song. 

Reitertrompete  (ri'-ter-trom-pa'-te), 
G.  A  clarion,  obsolete  straight  trum- 
pet 30  inches  long. 

related.     Vide  relation. 

rela'tion  (in  F.  ru-las-yoh),  rela'tio, 
Z.,  relazione  (ra-lats-I-6-ne),  /.  The 
aftrnity  of  keys  based  upon  the  sim- 
ilarity or  identity  of  certain  chords. 
Upon  key-relationship  the  whole  sub- 
ject of  harmony  and  modern  counter- 
point is  largely  based,  and  upon  this 
split  hair  more  great  theorists  jostle 
than  there  were  angels  dancing  upon 
the  needle-point  of  the  old  monkish 
dogmatists.  In  a  liberal  sense  all 
keys  are  closely  related.  For  pur- 
poses of  distinction  those  keys  are 
said  to  be  related(atlendant,  accessory, 
or  auxiliary)  which  have  one  or  more 
chords  in  common.  The  most  nearlv 
related  (or  least  remote)  keys  to  any 
key  are  those  founded  on  its  dom- 
inant and  subdominant  (as  the  keys  of 
G  and  V  are  most  nearly  related  to 
the  key  of  C),  also  the  absolute  and 
relative  major  and  minor  (as  c  minor 
is  the  absolute  minor  of  C  major 
v.'hile  the  relative  minor  to  C  major  is 
a  minor,  which  has  the  same  signa- 
ture) false-relation,  or  rela'tio  non 
harmonica.    Vide  false. 

relative  key,  E  ,  mode-relatif  (mod- 
riil-a-tef),  Z".,  tono  relativo  (te'-v6), 
Z  I.  The  relative  key  to  a  major  is 
the  minor  key  whose  tonic  is  a  minor 
third  below.     The  relative  major  of  a 


252 


THE    MUSICAL    GUIDE 


minor  key  has  its  tonic  a  minor  third 
above.     Vide  relation. 

religio'so  (ra-le-jI-6'-s6),  /.,  religi- 
osamen'te.    Solemn(ly),  devout(ly). 

relish.     An  old  grace  (q.  v.). 

remote'.     Unrelated.    Vide  relation. 

remo'tus,-a,  L.  Remote ;  open  (as 
harmony). 

remplissage  (rah-plts-sazh),  F.  i. 
"  Fining,"  as  the  inner  parts  of  a  har- 
mony. 2.  Padding.  3.  Cadenzas,  and 
bravura  passages. 

rentr6e  (rah-tra),  F.  Re-entrance  (of 
a  part). 

renverser  (ran-ver-sa),  F.  To  invert, 
hence  renvers6  (ran-ver-sa).  In- 
verted, renversement  (vers-mah). 
Inversion. 

renvoi  (ran-vwa),  F.  A  repeat  ;  a 
sign  of  repetition. 

repeat.  A  sign  indicating  the  repeti- 
tion of  certain  measures — marked  by 
two  or  more  dots  in  the  spaces  be- 
tween the  lines,  before  (or  after)  the 
double  bar,  which  indicates  the  end 
(or  beginning)  of  the  portion  to  be 
repeated. 

repeating,  i.  Of  action  in  which  the 
hammer  rebounds  quickly  enough  to 
permit  a  rapid  reiteration  of  the  tone. 
2.  Of  mixed  stops  whose  overtones  do 
not  keep  always  the  same  height 
above  the  pitch,  but  sound  an  octave 
lower,  as  the  pitch  rises. 

repercus'sa  {vox),  L.  A  "repeated 
tone."  I.  In  neumes  the  notes  called 
bi-,di-,ox  tri.  2.  In  Gregorian  music, 
the  principal  note  of  a  mode. 

repercus'sion,  repercus'sio,  L.  i. 
Repetition,  of  a  chord  or  note.  2. 
The  reappearance  of  the  subject  of 
the  fugue  after  the  exposition.  3. 
The  dominant  of  a  church-mode. 

repeti(e)ren(ra-pa-te'-ren),  G.  i.  Vide 
to  BREAK  (3).  Hence  repeti(e)ren- 
de  Stimme.  A  mixture-stop  with  a 
break.     2.   To  repeat. 

Repeti'tion  (in  G.  ra-pa-te'-tsl-6n).  i. 
The  rapid  repeating  of  a  note  or 
chord.  2.  (In  G.  Repetions'me- 
cha'nik).  Vide  repeating  (i).  3. 
Vide  BREAK  (3). 


r6p6tition  (ra-pa-tes-yon),  F.  i.  Re- 
hearsal.    2.    Repetition. 

r6p6titeur  (ra'-pa'-te-tur'),  F.,  repet- 
itore  (ra-pa-te-to'-re),  /.  Trainer  of 
an  opera  chorus  ;  the  rehearser. 

repetizione  (ra-pa-te-tsI-6'-nc),  re- 
petimen'to,  /.     Repetition. 

replica  (ra'-ple-ka),  /.  A  repeat  ;  rep- 
etition, hence  replicato  (ka'-to).  Re- 
peated ;  doubled. 

rep  licate.     The  octave  of  a  tone. 

Replik  (ra-plek').  Complementary  in- 
terval. 

r^plique  (ra-plek),  F.  i.  The  octave 
of  a  tone.  2.  The  answer  of  a 
fugue.  3.  Complementary  interval. 
4.  Cue. 

reply.     Answer  (of  a  fugue). 

ripens  (ra-p6h),  F.     Response  (i). 

r6ponse  (ra-pohs),  F.     Answer. 

report.     Answer. 

repos  (ru-po),  F.  Point  of  repose,  fol- 
lowing a  cadence. 

reprise  (re-priz'),  E.  The  reappear- 
ance of  the  first  theme  of  a  sonata  or 
symphony  after  the  development. 

reprise  (ru-prez),  F.  i.  Repetition.  2. 
Vide  REPRISE.  3.  Reappearance  of 
a  theme.  4.  Vide  break  (3).  5. 
Revival  of  a  work. 

reprendre  (ru-prandr),  F.  To  re- 
sume. 

Requiem  (ra'-kw!-em),  L.  The  first 
word  and  title  of  the  Mass  for  the 
Dead  {missa  pro  defunctis).  Begin- 
ning ''Requiem  ceternatn  dona  eis, 
domine"  "rest  eternal,  grant  them, 
Lord."  The  requiem  is  divided  into 
the  introit,  kyrie,  gradual  (with  tract- 
us,  "Absolve"  and  sequence  "  dies 
ircr").  Offertory,  "  Domine  Jesu 
Christe  " j  Sanctus,  and  Benedictus  ; 
Agnus  Dei;  and  Communion  ^'  Lux 
(Eterna." 

research'.  An  improvisation  used 
as  a  prelude  to  a  composition  and 
made  up  of  its  chief  theme. 

reservoir.     The  portion  of  a  bellows    ,  ^ 
in  which  wind  is  stored. 

resin  (rez'-Kn).     A  refined  gum  applied    ,^ 
to  the  hair"  of  the  bow  to  improve  its 
grip  on  the  strings. 


' 


\ 


DICTIONARY    OF    TERMS       253 


resolution, resolution  (ra-zo-Itis-yoh), 
F.,  resolu'tio,  Z. ,  resoluzione  (ra- 
z6-loo-tsI-6'-ne),  7.  i.  Firmness,  de- 
termination. 2.  The  dissolving  of 
dissonance  into  concord  ;  the  satis- 
faction of  the  mental  demand  for  that 
partial  repose  found  only  in  conso- 
nance. Dissonant  tones  are  generally 
resolved  by  progressing  half  a  tone  or 
a  whole  tone  down  or  up. 

resonance,  E.,  Resonanz  (ra-z6- 
nants),  G.  The  sympathetic  response 
of  a  vibrating  body  to  its  own  partic- 
ular tone  or  tones,  under  the  impul- 
sion of  vibrations  received  from 
another  vibrating  body  sounding  the 
same  tone  or  tones.  Thus  if  one 
sounds  the  note  a'  on  a  violin,  a  tun- 
ing fork  of  the  same  pitch  will  give 
forth  the  same  tone  spontaneously,  as 
also  will  a  piano  with  the  damper 
pedal  down  ;  a  pane  of  glass  or  a 
loose  plate  of  metal  of  the  proper  nat- 
ure will  also  reply  ;  furthermore  each 
partial  tone  will  be  afTected  similarly. 
This  acoustic  fact  is  used  for  the  re- 
inforcing of  tones  ;  as  cavities  of  air 
and  sheets  of  wood  have  this  same 
property  of  resonance  to  all  the  tones 
and  partials  which  they  themselves 
contain.  The  violin,  etc.,  employ 
a  hollow  space  called  the  resonance 
box,  or  Resonanzkasten,  G.  Cer- 
tain old  instrs.  used  a  sympathetic 
string  or  Resonanzsaite,  G.  The 
piano,  etc.,  use  a  resonance  board, 
OT sound-board,  Resonanz'boden,  G. 

respiro  (ra-spe'-ro),  7.  "A  breath"; 
a  sixteenth  rest. 

respond'.  A  psalm  (or  part  of  one) 
sung  between  lessons  at  canonical 
hours. 

response,  iT.  ,respon'sum,  L. ,  respon- 
sio'ne,  responso,7.  r.  The  reply  of 
choir  or  congregation  to  a  phrase  read 
or  chanted  by  a  priest  or  officiant,  in 
R.  C.  and  Episcopal  churches.  2. 
Responsory.     3.  The  answer  in  fugue. 

respon'sory,  E.,  responso'rium,  L.  i. 
The  psalm  or  portion  of  one  sung  be- 
tween Missal  lessons.  2.  The  gradu- 
ale.     3.  A  respond. 


responsivo  (ra-sp6n-se'-v6),  7.  Re- 
sponsive(ly). 

resserreme'nt  (rus-ser-man),  F.  Stret- 
to. 

ressort  (rus-sor'),  F.     Bass-bar. 

rest.  I.  A  period  of  rhythmic  silence, 
the  tempo  continuing  to  be  counted 
passively.  2.  A  symbol  indicating 
such  rest.  The  rests  are  usually 
named  according  to  the  portion  of  a 
measure  they  occupy,  as  ibth  rest ; 
sometimes  being  called  after  the  note 
which  has  the  same  duration,  as 
quarter-note  rest,  breve  rest.  They 
may  be  augmented  by  dots  and  may 
extend  beyond  the  limits  of  one  meas- 
ure, as  the  four-measure  rest.  Vide 
SIGNS  AND  SYMBOLS,  large-rest, 
long-rest.     Vide  notation. 

restric'tio,  L.     Stretto. 

resultant.  Used  of  secondary  tones 
formed  by  the  combined  vibration 
of  two  independent  tones.  Vide 
ACOUSTICS.  When  sounded  together 
they  produce  a  difference  tone  or  dif- 
ferential tofte  whose  vibration  equals 
the  difference  between  theirs  ;  also  a 
summational  tone  whose  vibration  is 
the  sum  of  theirs. 

Resurrex'it,  7.  "And  rose  again." 
Part  of  the  Credo.     Vide  mass. 

retard',  i.  To  diminish  the  velocity. 
2.  To  suspend  and  then  resolve  up- 
wards, hence  retarded  progression, 
or  retarda  tion,  retarda'tio,  7.  i. 
A  suspension  resolving  upwards.  2. 
A  decrease  in  velocity. 

retraite  (rii-tret'),  F.     Retreat,  tattoo. 

ret'ro,  7.     Backwards.     Vide  canon. 

retrograde,  retrogra'dus,  7.,  retro- 
grado  (ra-tro-gra'-do),  /.  Vide  imi- 
tation. 

ret'to,  7.  Direct,  similar.  Vide  mo- 
tion. 

r^veil  (ra-ve'),  F.,  reveille  (ru-va'-yu, 
in  E.  re-vel'-ye.  In  the  American 
army  rev-e-le',  in  G.  ra-fil'-le). 
"  Awakening,"  the  first  morning  mili- 
tary signal.  In  old  E.  reveil',  or 
revel'ly.. 

rev'erie.     A    contemplative    composi- 


254 


THE    MUSICAL    GUIDE 


reversed.  Contrary  (of  motion),  re- 
ver'sion.     Retrograde  imitation. 

revoice.   To  tune  an  organ-pipe. 

rf.,  rfz.     Abbr.  for  Rinforzando. 

r.  h.     Abbr.  for  right  hand. 

rhapsodie  (rap-so-de),  F.  and  C, 
rhap  sody,  E.  "  A  song  of  patches." 
In  ancient  music  a  fragment  of  an 
epic  poem,  sung  by  a  minstrel  or 
rhapsode,  or  rhapsodist.  In  modern 
music  a  brilliant  composition  which 
combines  the  idea  of  a  medley  with 
the  acquired  idea  of  great  joy  or  ec- 
stasy. 

rhythm,  E.,  rhyth'mus,  Z.  (in  G. 
ret -moos),  rhythme  (redhm), /■.  The 
"  flow  "  and  undulation  of  progres- 
sion, marked  by  the  rise  and  fall  of 
stress  and  duration.  The  arrange- 
ment of  accented  and  unaccented, 
and  of  long  and  short  sounds. 
Rhythm  usually  follows  some  pattern 
which  is  repeated  with  more  or  less 
variation  through  an  entire  movement 
or  composition.  Rhythm  might  be 
called  the  melody  of  monotone.  It  is 
distinct  from  melodic  or  harmonic 
progression,  and  can  be  vividly  shown 
on  such  an  instr.  as  the  drum,  and  it 
can  be  written  on  a  single  line  with- 
out reference  to  pitch.  The  rhythm 
sometimes  is  so  complicated  that  it  is 
not  completed  in  less  than  a  musical 
period,  vide  form  ;  but  it  is  usually 
based  upon  a  fundamental  series  of 
pulsations  that  can  be  expressed  with- 
in the  limits  of  three  or  four  or  nine 
beats.  These  are  accordingly  taken 
as  a  unit  and  grouped  within  the 
limits  of  a  measure,  and  cut  off 
by  two  bars ;  the  first  bar  being 
placed  before  the  strongest  accent  of 
the  group,  the  second  after  the  weak- 
est. Time  may  be  expressed  by  the 
regular  swing  of  a  baton  ;  rhythm  em- 
bellishes this  baton  pulsation,  and 
usually  coincides  with  it  in  accentua- 
tion, e.xcept  in  a  syncopated  rhythm. 

rhythmiqua  (redh-mek),  F.,  rhyth- 
misch  (ret'-mlsh),  G.     Rhythmical. 

ribattuta  (re-bat-too'-ta),  7.  '"  Restrik- 
ing."      The  slow  beginning  of  a  trill. 


ribe  ba,  ribeca  (re-ba  -ka),  /.  Rebeck, 
ribbechino  (ke  -no).     Small  Rebeck. 

ribs.  The  sides  connecting  back  and 
belly  of  violins,  etc. 

ricerca're,  ricercata  (re-cher-ka-ta), 
/.,  ricercar  (re-tser-kar),  G. 
"Searched  out,"  cf.  recherche.  Used 
of  compositions  or  passages,  usually 
of  fugal  form,  and  employing  all  the 
resources  and  learning  of  the  com- 
poser.    Vide  FUGUE. 

richiamare  (re-kT-a-ma'-re),  /.  To 
imitate  the  Richia'mo  or  bird-call. 

ricordanza  (re-kor-dan'-tsa),  /.  Rec- 
ollection. 

riddo  ne,  /.     A  roundelay. 

ridevolmente  (re-da'-v5l-men'-te),  /. 
Laughingly. 

ridicolosamen'te,  /.     Ridiculously. 

rid  die-canon.     Vide  c.\nox. 

ridot  to, /.  I.  Reduced  (cf.  reduciren). 
2.   .V  reduction. 

riduzione  (re-doo-tst-o'-ne),  7.  Ar- 
rangement, reduction. 

Riesenharfe  (re'-zen-har-fe),  G.  yEo- 
lian  harp. 

rifiormento  (re-fl-or-men'-to),  /.  Or- 
nament. 

riga  (re  -ga),  1.     Staff. 

rigabello,  /.,  rigabel  lum,  L.    Regal. 

rigadoon',  E.,  rigaudon,  rigodon  (re- 
go-don),  F.  A  lively  and  humorous 
dance  of  Provencal  origin,  and  con- 
sisting of  three  or  four  reprises,  the 
third  in  a  lower  position.  The  time 
is  usually  4-4,  with  an  uptake  of  a 
quarter  note. 

rigals,  rigol(e)s.     Regals. 

rigore  (re-go -re),  /.  Rigour,  exact- 
nes?  of  tempo,     rigoro'so.     Exact. 

rilasciando  (re-la-shan'-do),  7.  Re- 
laxing the  speed.  riiascian'te. 
With  reduced  speed. 

rikk.     EgN-ptian  tambourine. 

rilch  (rllsh),  ril'ka.     Russian  lute. 

rimett.  Abbr.  for  riraettendo,  7.  Re- 
tarding. 

rinforzare  (rin-for-tsa'-re),  7.  To  re- 
inforce, emphasise,  rinforzamen'to, 
rinforzo  (for'-tso).  Reinforcement. 
rinforzando,  -a'to.  Suddenly  em- 
phasised and  accented. 


DICTIONARY    OF    TERMS 


55 


Ringelpauke  (ring'-el-pow-ke),  G.  A 
rattle  with  rings  on  bars. 

Ringeltanz  (ring -el-tants),  G.  Circu- 
lar dance. 

ripercussio'ne,  /.     Repercussion. 

ripetizione  (re-pa-te-tsI-6'-ne),  ripet- 
itura  (too'-ra),  /.  i.  Repetition.  2. 
Refrain. 

ripieno,  pi.  -i  (re-pe-a'-n6[e]),  /. 
"  Filling."  I.  Used  of  a  part  or  an 
instr.  which  merely  strengthens  and 
rounds  out  the  harmony,  as  opposed 
to  solo  or  concertante.  2.  Used  in 
scores  to  indicate  the  entrance  of  the 
full  band.  One  who  plays  a  ripieno 
(in  G.  Ripienstimme,  re-pl-an- 
shtlm-me)  is  called  Ripienist,  or  ri- 
pienis'ta.  3.  A  mixture-stop  called 
ripieno  di  due,  tre,  quattro  or  cinque, 
according  as  it  has  2,  3,  4,  or  5  ranks. 

ripienino  (ne-no).     4-ft.  stop. 

ripigiiare  (re-pel-ya-re),  ripren'dere 
(pren'-de-re),  /.  To  resume,  hence, 
ripiglan'do,  riprenden'do.  Resum- 
ing,    ripiglio  (re-pel'-yo).     Reprise. 

ripo'so,  /.  Repose,  hence  riposa'to 
(za-to),  reposatamen'te.  Repose- 
ful(ly). 

ripresa  (re-pra'-za),  /.  i.  Reprise. 
2.  Repeat.     3.   The  repeat  mark. 

risentito  (re-sen-te'-to),  /.  With  en- 
ergetic expression. 

risoiuzione  (re-z6-loo-tst-6'-ne),  /. 
Resolution,  i  and  2.  risoluto  (loo'- 
to),  risolutamen'te.  Decided(ly), 
energetic(ally). 

risonanza,  risuonanza  (re-soo-o-nan'- 
tsa),  /.     Resonance. 

risposta  (res-sp6'-sta),  /.  i.  Conse- 
quent.    2.  Answer  in  fugue. 

Riss,  G.     "Gap,"  between  registers. 

ristret'to,  /.     Stretto. 

risvegliato  (res-val-ya'-to),  /,  Ani- 
mated. 

rit,  ritard.  Abbr.  for  ritardando  (re- 
tar-dan'-do).  Retarding  gradually. 
ritardato  (da'-to).  Retarded,  ri- 
^  tar'do,  -azio'ne.     Retardation. 

riten.  Abbr.  for  ritenuto  (re-ta-noo'- 
to),  /.  Immediately  slower,  to  be 
distinguished  from  ritardando  and 
rallentando  as  well  as  from  ritenen- 


do,  and  ritenen'te,  which  refer  to 
gradual  retardation. 

ritmo  (ret'-mo),  /.  Rhythm.  r.  di 
due  (tre)  battute  (de  doo-a-bat-too'- 
tJi).  Rhythm  in  2  (or  3)  measures  to 
the  beat,  not  in  duple  or  triple  time, 
which  means  2  (or  3)  beats  to  the 
measure,     ritmico.     Rhythmic. 

ritornare(re-t6r-na -re),  /.  To  return. 
ritornan  do.  Returning,  ritorna- 
to  (a'-to).     Reverted. 

ritornel,  ritornello,  /.,  ritour- 
nelle  (re-toor-nel),  ritornelle,  F. 
I.  A  burden  or  repeated  portion,  such 
as  the  instrumental  prelude,  inter-  and 
post-lude  of  a  song,  sometimes  called 
the  symphony.  2.  The  tutti  parts  in 
a  concerto.  3.  A  repeat.  4.  A 
burden,  or  refrain. 

river'so,  riverscio  (re-ver'-sho),  /. 
I     Reversed.     2.    Retrograde. 

rivoglimento  (re-vol-yl-men'-to),  /. 
Inversion  or  transposition,  in  coun- 
terpoint, rivoltato  (re-vol-ta-to), 
rivolto  (re-vol'-to).      Inversion. 

robusto  (ro-boos'-to),  /.  Robust.  Vide 
TENOR,     robustamen'te.     Firmly. 

roccoco,  rococo  (ro-ko'-ko),  /.  Old- 
fashioned,  eccentric. 

rock-harmon  icon.  A  graduated  series 
of  rock  crystals  played  with  ham- 
mers. 

Roger  de  Coverley.  Vide  Sir  R.  de 
C. 

Rohr  (ror),  pi.  Rohre  (ra -re),  G.  i. 
Tube.  2.  Reed,  usually  R.-blatt. 
reed  of  oboe,  bassoon  and  clarinet. 
R.-flote.  "Reed-flute"  a  half-cov- 
ered 4,  8  or  16  ft.  flue-stop.  R.- 
SChelle  (shel-le).  The  same  stop  in 
I  or  2  ft.  pitch.  Doppelrohrflote. 
One  with  double  mouth.  R. -quint. 
One  sounding  a  fifth  above.  Rohr- 
werk.     The  reed-stops. 

roll(r5l),  i?.,  rollo(r61'-l6), /.  i.  The 
trill  on  drum  or  tambourine,  produced 
on  the  kettle-drum  by  rapid  taps  with 
the  two  sticks  ;  on  the  side-drum  with 
two  taps  with  the  left  stick,  then  two 
with  the  right  ;  on  the  tambourine 
with  the  knuckles.  2.  long  r.  (a) 
Battle  or  rally  signal  for  troops,     (b) 


256 


THE    MUSICAL    GUIDE 


Swift  arpeggio  on  the  organ,  rollan'- 
do.     Rolling. 

Rolle  (rol'-le),  G.  Rapid  up-and-down 
passages  of  one  figure. 

roller,  i.  A  2-armed  wooden  bar  on 
gudgeons  connecting  two  trackers, 
one  to  a  draw-stop,  one  to  a  valve, 
usually  roller-board.  2.  Cylinder  of 
music-box  or  carillon. 

Roman,  i.  Used  of  the  school  of 
Rome  from  Goudimel  and  Palestrina 
to  the  19th  century.  2.  Of  strings 
made  in  Italy. 

romance  (in  F.  ro-maiis),  romanza 
(ro-man'-tsa), /.,  Romanze  (ro-man - 
tse),  G.,  romaunt,  Old  E.  i.  A 
composition  of  romantic  character,  as 
r.  sans  paroles,  a  story  without  words. 
2.   In  F.  a  love-song! 

romanesca  (ro-mji-nis'-ka),  /.,  roman- 
esque  (ro-man-esk').     The  galliard. 

romantic,  romantique  (ro-maii-tek), 
romanzesco  (tsas'-ko).  A  term  much 
fought  for  and  much  evaded.  In 
general,  it  means  the  striving  after 
individuality,  novelty,  and  personality 
of  musical  expression  as  opposed  to 
the  repetition  of  classic  forms — the 
reaction  of  the  molten  against  the 
mold.  As  ever>'  generation  tries  to 
modify,  assimilate  and  re-spin  the  art 
of  the  preceding,  and  always  meets  an 
opposition  from  the  schoolmen  and 
conservatives,  the  word  really  means 
little  more  than  "  modern." 

Rome.prix  de  (pre  dii  rom),  F.  i.  A 
stipend  granting  four  years'  study  in 
Rome,  annually  awarded  by  the 
French  government  to  competing 
pupils  of  the  Paris  Conservatoire. 
This  is  the  grand  prix  (gran  pre), 
the  second  (su-koh)  being  a  gold 
medal.  2.  Stipend  awarded  every 
other  year  by  the  Brussels  Cons. 

romera  (ro-ma -ra).     A  Turkish  dance. 

Roraanusbuchstaben  (ro-ma'-noos- 
bookh'-shta-ben),  G.  "  Letters  of 
Romanus."     Vide  litter^e  signifi- 

CAT^. 

ro'mischer  Gesang',  G.     "Roman" 

Catholic  plain-song. 
ron'da,  /.    Round. 


i*ff 


ronde  (roiid),  F.     A  whole  note. 

rondellus.  An  early  form  of  strict 
imitation. 

rondeau  (roh-do),  F  ,  rondo  (ron'-do), 
/.  and  E.  i .  A  form  originally  based 
on  a  dance  with  alternating  solos 
(couplets),  and  chorus  (rondeau.x) ;  th& 
form  is  characterised  by  a  cheerfi 
humour.  2.  In  classic  music  a  pri 
cipal  subject  preceding  and  interleav- 
ing two  episodes,  with  much  variation 
of  key  and  many  bridge-passages.  3. 
The  more  modern  form  consists  of 
three  themes  with  the  first  recurrent, 
thus  A-B-A-C-A-B  and  coda.  The 
second  theme  appears  in  the  dominant 
at  first,  finally  in  the  tonic,  giving 
the  Rondo  a  close  relation  with  the 
sonata  formula.  Vide  FORM.  A  small 
or  easy  rondo  is  called  variously,  r. 
mignon  (men-yon),  F.,  rondilet'- 1 
ta,  rondinet  to,  rondino  (ron-de 
no),  rondolet  to. 

rondena  (ron-dan'-ya),  Sp.    Fandango. ' 

root.     Fundamental  tone  of  a  chord 

rosalia  (ro-za'-li-a),  Rosalie  (r5-za-le'), 
G.  I.  A  sequence  (q.  v.)  advancing 
a  whole  tone  each  time.  2.  Music, 
consisting  of  cheap  and  trite  sequencesi 
and  harmonies. 

rose  (in  G.  ro-ze),  rosa  (ro'-za),  /. 
rosette  (ro-zet),  F.  The  ornamental! 
border  of  the  sound-hole  of  guitars,  etci 

rosin  (raz-Tn).      Resin. 

Rostral  (ros'-tral),  G.     A  music-pen 

rote,  E.,  rota,  rot  ta,  /.,  Rot  te,  G, 
"Wheel."  I.  Canon,  round.  2. 
Rondeau      3.    Hurdygurdy. 

rotondo  (ro-ton'-do),  /.     Round,  full. 

rot  to,  /.      Broken,  interrupted. 

rotula.     A  small  round  or  carol. 

roulade  (roo-lad),  F.  A  florid  passagej 
division,  a  grace. 

roulement  (rool-mah),  F.     A  roll. 

round,   i.   Popular  form  of  canon  in  tb 
unison  or  octave,   v/ithout  coda,  ami 
with  a  frequent  harmonic  support  0 
pes.     2.  A   circle-dance,     round    ciljj; 
A  rondo.  _  j    ; 

roundel,  roun'delay.  A  ballad  of  th 
fourteenth  century  with  a  recurrer 
refrain.     Also  a  ring-dance. 


DICTIONARY    OF    TERMS       257 


rovesciamento  (ro-va-sha-men'-to)  /., 
I.  Reversion.     2.  Inversion. 

rovescio  (ro-va'-sho),  /.  r.  Retro- 
grade. 2.  Inverted.  Hence,  al  r. 
In  inversion. 

rua'na.     Hindu  violin. 

rubato  (roo-ba-to),  /.  "  Robbed," 
borrowed,  used  of  a  tempo  whose 
strict  values  are  to  be  disregarded  at 
caprice,  the  long  notes  stealing  time 
from  the  short,  etc.  It  should  not  de- 
part so  far  from  the  tempo  as  to  de- 
stroy the  sense  of  rhythm. 

Ruckfall  (riik'-fal),  G.  Back-fall. 
Riick  -  positiv'.  Vide  positive. 
Riick'gang.  Return  of  the  leading 
theme. 

Riickung  (ruk'-oongk),  G.  i.  Synco- 
pation.    2.   Change. 

Riidenhorn  (rii'-den-horn).    Vide  hief- 

HORN. 

Ruhrung(ru'-roongk),  G.     Emotion. 

Ruhepunkt  (roo'-e-poonkt),  G.  Rest. 
R.  stelle,  -zeichen.  A  pause,  a 
rest. 

ruhig  (roo'-Kkh),  G.     Calm,  gentle. 

Riihrtrommel  (rlir'-).  An  old-fash- 
ioned drum. 

rule.  I.  Old  name  for  line.  2.  In 
music  as  in  science,  not  an  edict  by 
an  authority,  but  a  recorded  observa- 
tion by  more  or  less  qualified  judges 
of  what  has  happened  with  some  reg- 
ularity before.  It  need  not  neces- 
sarily  happen   always   again.      Vide 

OCTAVE. 

rullan'do,  rullante  (rool-lan'-te),  /. 
Rolling,     tamburo  r.     Side-drum. 

run.  I.  A  rapid  flight  of  notes  usually 
in  scales,  used  in  singing  on  one  syl- 
lable. 2.  Of  air  in  an  organ,  to  leak 
from  the  wind-chest  into  a  groove, 
where  it  causes  certain  pipes  to  give 
a  faint  sound  called  running. 

Rundgedicht  (roont'-ge-dlkht),  G.  i. 
Rondo.  2.  Solo  with  chorus.  Also 
R.-gesang. 

russe  (riis),  F.  Russian,  a  la  r.  In 
Russian  style. 

Russpfeife,  Ruszpfeife  (roos'-pfi-fe), 
C,  ruispipe  (rois'-pe-pe),  Dutch. 
Vide   RAUSCHQUINTE. 


Russian    bassoon.       A    deep-toned 

military  instrument. 
Russian  horn  band.     One   in   which 

each  horn  plays  but  one  tone. 
rustico  (roos'-tl-ko),  /.     Rural,   rustic. 
Rutscher  (root'-sher),  G.     A  galop. 
ruvido  (roo'-vl-do),  ruvidamen'te,  /. 

Rough(!y). 
ry'mour.     Old  E.     Minstrel. 
rythme,  rythm6,  F.     Same  as  rkyth- 

m(e). 


SAbbr.   (da/)    segno;   senza   {pe- 
dale) ;  sinistra;  solo;   sordino; 
{volti)  siibito. 
sab(b)'eca.     Hebrew  harp. 

sabot  (sa'-bo),  F.  i.  A  disk  turned  by 
one  of  the  pedals  of  a  double-action 
harp  and  carrying  two  studs  which 
engage  and  shorten  the  vibrating 
portion  of  a  string.  2.  A  cheap 
tiddle. 

saccade  (sak-kad),  F.  A  firm  pressure 
of  the  bow  against  two  or  more 
strings. 

sack'but,  sag'but.  i.  An  old  instr. 
resembling  the  trombone.  2.  Trans- 
lation of  sabeca. 

Sackpfeife  (sak'-pfi-fe),  G.  A  bag- 
pipe. 

sacque-boute  (sak-boot),  F.  Sackbut. 

sa'cring-bell.  Small  bell  marking  the 
divisions  of  the  Mass. 

sac'rist.  Music  librarian,  and  copyist 
of  a  church. 

sa'cred  music.     Religious  music. 

Saite  (zi'-te),  pi.  Saltan,  G.  String (s). 
Sai'teninstrument.  A  stringed  in- 
strument. S.-chor.  A  group  of 
strings  tuned  in  unison.  S.-fessel, 
or  -halter.  Tailpiece.  S.-harmo'- 
nika.  A  key-board  instr.  with  diminu- 
endo device,  inv.  by  Stein,  1788.  S.- 
orgel.  A  trichord  piano  with  a  fourth 
string  for  each  note.  This  string  is 
fanned  by  a  reed  of  the  same  pitch, 
with  leather  head,  thus  obtaining  a 
sustained  tone,  capable  of  swell  and 
decrease.  Treadles  and  bellows  con- 
trol this  part  of  the  instr.,  which  may 


258 


THE    MUSICAL    GUIDE 


serve  as  piano,  or  organ,  or  both,  or 
part  of  either.  This  instr.  was  inv. 
by  a  Prussian,  Karl  Giimbel,  iSqo. 
S.-klang,  or  -ton.  The  sound  of  a 
string.  S. -spieler.  Player  on  a 
stringed  instr.  saitig  (zi'-tikh). 
Stringed. 

saint's  bell.     Vide  sacking-bell. 

sal'amie.     Oriental  flute. 

salcional  (sal-sI-6-nal).  salicet  (sa-ll- 
sa).  sali'cionell,  salicional  (sa-le'- 
sI-6-nal),  F.  A  reed-stop  of  stringy 
tone. 

Salm  (salm),  C,  salmo  (sal'-mo),  pi.  i, 
/.     A  psalm. 

salmi  (sal'-me),  F.     Quodlibet. 

Salon  fiiigel,  G.  Parlour  grand  piano. 
Salonmusik  or  -stiick.  Music  for 
the  drawing-room. 

salpinx.     Ancient  Greek  trumpet. 

saltando  (sal-tan' -do),  /.  i.  Proceed- 
ing by  skips.  2.  With  bounding 
bow. 

saltarella  or  (0)  (sal-ta-rel'-lo),  /.  i.  A 
very  quick  dance,  in  2-4,  6-S,  or  6-4 
measure  with  wide  skips.  2.  The 
triple -timed,  second  part  of  a  i6th 
century  dance  in  duple  time  (also 
called  Hop'pellanz  (tants).  N'achtattz, 
G.,  proportio,  Z.  ,  toiirdion,  F.  3.  A 
jack.  4.  A  cantus  firmus  with  ac- 
companiment of  sextuplets. 

saltato  (sal-ta'-to),  /.   Springing.   Vide 

SALTAN'DO. 

salteret'to,  /.  i.  A  rhythmic  figure  in 
6-8  time,  the  first  and  fourth  quavers 
dotted. 

salter(i)'o  (sal-ta-rt-6),  /..  Salteire 
(zal-tl'-re),  Saltirsanch  (zal-ters'- 
ankh),  G.  i.  Psaltery,  s.  tedesco. 
Dulcimer. 

salto  (sal'-to),  /.  I.  Leap,  skip.  2. 
Dance,     di  s.     By  skip. 

Salve  Regi'na,  L.'  "  Hail  Queen  "  ; 
R.  C    hymn  to  the  Virgin  Mary. 

salvar'(e)  (sal-va'-re),  /.     To  resolve. 

salvation  (sil-vas-yon),  F.  Resolu- 
tion. 

sambuca  (sam-boo'-ka),  /.,  Sambat', 
Sambiut  (zam'-bK-oot),  G.  Word  used 
variously  and  ambiguously  for  vari- 
ous mediaeval  instrs.,  bagpipe,  hurdy- 


gurdy,  etc.  sambucis'tria.  One 
who  plays  such  an  instrument. 

Sammlung  (zam'-loongk),  G.  Collec- 
tion. 

sampogna  (sam-p6n'-ya),  sampo'nia, 
sarapu  nia,  /.  i.  A  flageolet.  2. 
Sambuca. 

san'cho.     A  negro  guitar. 

Sanct  us,  L.  "  Holy."  i.  Fourth 
movement    of    the    Mass.       2.   Vide 

SACKING. 

sanft  (zanft),  (7.  Soft,  mild.  S.-ge- 
dackt.  A  soft-toned  stopped  pipe. 
S.-heit.  Softness,  smoothness,  gentle- 
ness, sanftig  (zenf'-tikh),  sanft'- 
miithig.  Soft,  gentle.  S.-muth, 
S.-miithigkeit  (mu-tlkh-kit).  Soft- 
ness. 

Sang  (zang),  G.     Song. 

Sanger  (zeng'-er),  G.     Singer(s).     S.-  • 
bund  (boont).     A  society  or  conven- 
tion  of   singers.     S.-verein  (fer-In).     , 
Singers'  union. 

sanglot  (saii-glo),  F.  "Sob."  An 
old  grace  in  singing,  an  interjection.    I 

sans  (sail),   F      Without. 

santoral,  Sp   Choir-book.  .j 

santur'.    A  Turkish  inst. ,  the  psaltery,    k 

saquebute  (sak-but),  F.     Sackbut.  f; 

saraband  (sar-a-band),  £".,  sarabanda '  il 
(sar-a-ban'-da),  /..  sarabande  (sar-a-  k 
band  in  F.  ;  in  G.  za-rii-ban'-de).  A 
stately  Spanish  dance,  perhaps  derived  i^ 
from  the  Saracens,  and  danced  with  it 
castanets  ;  it  is  in  slow  3-4  or  3-2  i 
time,  with  the  second  note  usually  :■• 
prolonged  through  the  second  and 
third  beats  of  the  measure. 

sarrus'ophone.  A  double-reed  instr.,  i 
inv.  by  Sarrus,  Paris,  1863.  It  is  J 
'  made  in  6  sizes  besides  a  sopranino  1 
and  a  contra-bass  in  Eb,  and  re-.  ',' 
sembles  a  bassoon  in  appearance,  a 
trombone  in  tone. 

sartarella  (or  -o),  /.  A  tarantella- 
like  dance  in  6-8  time. 

Sattel  (zat  -t'l).  G.  Nut.  S.-machen.  > 
To  use  the  thumb  as  a  nut  for  pro-  \ 
ducing  harmonics  on  the  'cello.  S. 
lage.      Half-position. 

Satz  (zats),  G.  i.  Theme  or  subject. 
2.   Phrase,  half  a  period,  the  forme: 


t.    j|:^^ 

I 


DICTIONARY    OF    TERMS       259 


half  being  the  Vordersatz,  the  sec- 
ond, the  Nachsatz.  3.  Section  of 
a  movement.  4.  Movement.  5.  A 
composition.  6.  Style,  school,  as 
reiner  S.     Pure,  strict  style. 

saun.     Burmese  harp. 

saut  (so),  F.  Skip.  '  sauter  (s6-ta). 
To  overblow,  sautereau  (so-te-ro). 
Jack,     sauterie,  Old  E.     Psaltery. 

sautill^  (s6-te'-ya),  F.    Springing  bow. 

sauver  (s6-va).  To  resolve,  sauve- 
ment  (sov-mah).     Resolution. 

saw'try.     Psaltery. 

Sax  (zax).  A  prefix  for  the  numerous  in- 
ventions or  improvements  of  Adolphe 
Sax,  the  Christopher  Columbus  of 
metallic  instruments,  whose  impor- 
tance lies  largely  in  the  application  of 
a  valve-mechanism  to  old  natural 
keyed  instruments.  saxhorn.  An 
improvement  in  various  sizes  on  the 
key-bugle  and  ophicleide,  used  chiefly 
in  military  bands  except  the  tuba 
(q.  v.).  Saxhorns  are  made  in  the 
following  seven  principal  sizes  (va- 
riously named),  and  are  also  made  a 
semitone  lower  than  each  of  the  fol- 
lowing, the  compass  of  each  being 
given  in  brackets  : 

Bugles  a  Pistons  :  i.  Sopranino  sax- 
horn (petit  saxhorn,  petit  bugle  a  pis- 
tons, piccolo  in  Es.  or  eO,  [range 
a-b"  flat]).  2.  Soprano  saxhorn  (con- 
tralto saxhorn,  bugle-tenor,  Flugel- 
horn  in  i9  or  B  flat)  [g-b"  flatj.  3. 
Alto  saxhorn  (Althorn  in  Es.)  E  flat 
[A-e"].  4.  Tenor  saxhorn  (baryton 
en  sib,  Tenorhorn  in  B.  Bassflilgel- 
horn),  in  B  flat  [E-b'  flat].  Tufias  or 
bombardons:  I.  Bass  saxhorn  (tuba- 
basse  en  si^,  Basstuba,  Euphonium, 
Baryton,  Tenorbass  in  B)  in  B  flat 
[G-b'  flat],  also  made  in  C.  2.  Low 
bass  saxhorn  (bombardon  en  mi  b)  in 
E  flat  [G,  flat-e'  flat],  also  made  in 
F,.  3.  Contrabass  saxhorn  (bombar- 
don en  si^  grave,  Kontrabasstuba) 
in  B  flat  [E  flat— b  flat],  also  in  C. 
sax  ophone.  A  keyed  brass  iiistr. 
single-reeded  and  mouthed  like  a  clar- 
inet and  combining  in  its  tone  that 
of  the  'cello,  cor  anglais  and  clarinet. 


It  is  a  transposing  instr.  written  in 
the  G  clef,  made  in  six  sizes  with  two 
keys  to  each,  the  compass  being  near- 
ly three  octaves  :  i.  Sopranino  or 
piccolo  or  aigu  in  /"and  E^.  2.  So- 
prano in  C  and  B\3.  3.  Contralto  in 
/■  and  E^.  4.  Tenor  in  C  and  B^.. 
5.  Barytone  in  F  and  E^.  6.  Bass 
in  6"  and  B\).  Also  saxofo'nia,  /. 
sax'otromba.  An  instr.  in  seven 
sizes  standing  in  tone  between  the 
key-bugles,  or  saxhorns,  and  the 
horns,  sax-tuba.  Vide  saxhorns; 
(  Tubas). 
saynete  (sa-e-na'-te),  Sp.,  saynete 
(se-net),  F.  Comedietta  for  two  sing- 
ers. 
sbalzo  (sbal'-tso),  /.     Skip,    sbalzato 

(tsa'-to).  Dashing. 
sbar  ra,  /.  Bar.  s.  doppia.  Double-bar. 
scagnello  (skan-yel'-lo),  /.  Bridge. 
scala  (ska-la),  /.  Scale,  gamut. 
scald.  Scandinavian  poet-musician. 
scale.  From  the  Latin  .r^a/a  "a  lad- 
der," applied  to  the  Aretinian  syl- 
lables, ut,  re,  mi,  fa,  sol,  la.  In 
modern  usage  ;  i.  The  tones  of  any 
key  (q.  v.)  taken  in  succession  up  or 
down  according  to  pitch  ;  according 
to  Riemann  a  chord  of  the  tonic 
with  passing  notes,  as  c,  d,  e,  f, 
^,  a,  b,  and  r,  those  passing  notes  be- 
ing chosen  which  lead  most  inevitably 
to  the  next  chord-note,  chromatic, 
diatonic,  enharmonic,  major, 
minor,  pentatonic,  etc.,  scales,  vide 
the  adjectives.  Vide  also  modes.  The 
so-called  German  s.  is  a-h-c-d-e-f- 
g;  "  b,"  being  reserved  for  b*'.  V^ide  H. 
natural  or  normals.  That  of  the  key 
of  C,  which  has  no  chromatics.  2.  A 
series  of  semitones  in  successive  or- 
der. 3.  The  series  of  tones  belong- 
ing to  any  instr.  as  a  natural  horn. 
harmonic  or  natural  s.  The  series 
of  over-tones  (vide  acoustics).  4. 
A  compass  or  range.  5  Dimensions 
and  proportions,  as  the  s.  of  organ- 
pipes,  determined  by  the  ratio  of 
diameter  to  height,  a  b''oad  s.  giv- 
ing a  broad,  smooth  tone,  a  narrow 
S.  giving  a  thin,  sharp  tone. 


26o 


THE    MUSICAL   GUIDE 


SCannet'to,  scanel'la  (ska-nel'-la),  /. 
Bridge. 

SCemando  (she-man'-do),  /.  Diminish- 
ing. 

scena  (sha-nii),  /.,  schne  (sen),  F., 
scene  (sen),  £.  The  portion  be- 
tween the  entrances  of  different  actors, 
hence  a  dramatic  recitative  usually  fol- 
lowed by  an  aria,  often  s.  d'entrata 
or  d'entr^e  (dafi-tra).  Entry-song. 
scenic  music.      Dramatic  music. 

Schablonen  (shap-16'-nen),  G.  -Stencil- 
patterns,  hence  S.-musik.  Trite 
and  formal  music.  S.-haft  (haft). 
Academic. 

Schafer  (sha -fer),  G.  Shepherd.  S.- 
lied  (let).  Pastoral  song.  S.- 
pfeife.  Shepherd's  pipe.  S.-tanz. 
Rustic  dance. 

SChalkhaft  (shalk'-haft),  G.  Sportive, 
roguish. 

Schall  (shal),  G.  Sound,  ringing,  res- 
onance. S.-becher,  S.-horn,  S.- 
stiick,  or  S.-trichter.  Bell  (of  an 
instr.).  S.-becken,  G.  Cymbals. 
S.-loch.  Sound-hole,  f.-hole.  S.- 
Stab  (shtap).     Triangle. 

Schalmay,  Schalmei  (shal'-mi),  6^.  i. 
Shawm.  2.  Chalumeau.  3.  A  reed- 
stop. 

Schanzune  (shan-tsoo'-ne),  G.  Chan- 
son. 

scharf  (sharf),  G.  i.  Sharp.  2.  Acute, 
of  a  stop. 

schaurig  (show'-rKkh),  G.  Weird, 
ghastly. 

Schauspiel  (show'-shpel).  G.  Dramatic 
piece.    Schauspieler.     Actor. 

Scheitholt  (shit-holt),  G.  Marine 
trumpet. 

Schellen  (shSl'-len),  G.  Bells,  jingles. 
S.-baum  (bowm).  "Jingle-tree"; 
Crescent. 

Scherz  (sherts),  pi.  en,  G.,  scherzo 
(skgr'-ts6).  pi.  i,  /.  "  Jest."  i.  A 
style  of  instrumental  composition  in 
which  humour  prevails  (though  those 
of  Chopin  are  merely  moody  and 
whimsical;.  Those  of  Beethoven, 
the  greatest  master  of  this  style,  are 
often  hilariously  funny  and  provoke 
audible  laughter.     2.  A  form  devel- 


oped from  the  Minuet  and  by  Bee- 
thoven and  his  successors  generally 
substituted  as  the  3d  (or  2d)  move- 
ment of  the,  sonata  (q.  v.)  or  sym- 
phony. The  structure  varies  greatly, 
but  the  time  is  usually  triple,  scher- 
zan  do,  scherzan  te,  scherzevole 
(tsa-v5-le),  scherzo  SO,  /.,  scherz- 
haft  (sherts'haft),  G.  Sportive,  mirth- 
ful,   scherzosamen  te,  /.    Gaily. 

schietto  (skl-et'-to),  schiettamen'te, 
/.  Simp(ly).  schietezza  (ted-za), 
neatness. 

schisma  (sklz'-ma),  Gr.  A  minute  dif- 
ference between  intervals.  In  ancient 
music,  equal  to  the  half  of  a  comma, 
or  the  1 8th  of  a  tone  ;  in  modern 
acoustics,  the  nth  of  a  syntonic  com- 
ma (the  difference  between  the  3d 
tierce  of  the  8th  quint  and  the  octave 
of    a    given    tone).      Vide    temper- 

."VMENT,   QUINT,  and  TIERCE. 

Schlachtgesang    ( shlakht- ge-zang ), 

G.  War-song. 
Schlag  (shlakh),  G.     i.  Stroke,   blow. 

2.  Beat,  impulse,  schlagen.   To  beat. 

Schlagfeder(fa'-der).  Plectrum.  S.- 

instrument.       Inst,    of    percussion. 

S.-mani(e)'ren.        The     strokes    in 

down-beating.        S. -zither.        The 

common    zither    as  opposed   to   the 

bow-zither. 
Schlagel  (shla'-khel),  G.     Drumstick; 

hammer. 
schlecht    (shlekht),  G.     Faulty,  weak. 

Schlechtertaktt(h)eil     (shlekh-ter- 

takt-til),    G.     The    unaccented    part 

of  a  measure. 
schleifen     (sh!T'-f"n),    G.       To     slide, 

slur.    Schleifbogen  (bo-gen).    Slur. 

Schleifer  (shli'-fer).    i.  Slurred  note. 

2.  Slow  waltz.  Schleifzeichen.  Slur., 
schleppen  (shlep'-pen),  G.      To  drag. 

schleppend.     Dragging. 
Schlummer-lied  (shloom  -mer-let),  G. 

Slumber-song. 
Schluss  (shloos),  G.     i.   The  end.     2.| 

Cadence,  also  S.-fall,  S.-kadenz  (or! 

note).     Final  cadence  or  note. 
Schlussel  (shliis'-sel),  G.    A  clef.     S. 

fiedel.    Nail-fiddle.    S.  G.  The  note 

g'  occupied  by  the  G  clef.     S.-satz,' 


SCC!-' 


DICTIONARY    OF    TERMS      261 


A  closing  passage  or  movement. 
S,-striche.  Double  bar.  S.-zeich- 
en.  I.  A  firmate.  2.  Double  bar. 
S.-reim  (rim).     Refrain. 

schmachtend  (shmakh-tent),  G.  Lan- 
guishing. 

schmeichelnd  (shml'-khelnt),  G.  Coax- 
ing, caressing. 

schmelzend  (shmel'-tsent),  G.  Melt- 
ing. 

Schmerz  (shmerts),  G.  Grief,  sorrow. 
s.-shaft,  s.-lich.     Sorrowful. 

Schnabel  (shna-bel),  G.  "Beak," 
mouthpiece.     S.-flote.     Vide  flute. 

schnarr(shnar),G'.  Rattle.  S.-pfeifen, 
or -werk.  i.  Reed-pipes,  reed-work. 
2.  Regal.  S.-tone.  A  series  of 
rough  under-tones  exactly  paralleling 
and  drowning  the  overtones  as  in 
a  tuning-fork  vibrating  loosely  on  a 
box. 

Schnecke  (shnek'-g),  G.  "  Snail," 
scroll. 

SChnell  (shnel),  G.  Quick,  rapidly. 
Schnel'le,  Schnelligkeit  (shnel'- 
llkh-kit).  Rapidity,  schnel'ler,  G. 
I.  Quicker.  2.  Inverted  mordent. 
Schnell'walzer.     Quick  waltz. 

Schollrohr  (shol'-ror).  G.  Brass  wind- 
instrument. 

Schottisch  (shot'-tTsh),  C,  schot- 
tische(^.  andi^.,sh6t'-tTsh).  "Scot- 
tish," rather  slow  2-4  time  round 
dance. 

SChrag  (shrakh),  G.     Oblique. 

Schreibart  (shrip'-art),  G.  Style. 
Schreiber.     Music  copyist. 

schreiend  (shri'-Snt),  G.  Screaming, 
acute.  Schreiwerk.  Acute  (mixt- 
ure-stop). 

Schrei'erpfeife.  A  sharp  3-rank  mixt- 
ure-stop in  octaves. 

Schryari  (shre'-a-re),  G.  i.  An  obso- 
lete wind-instr.     2.  Schreierpfeife. 

schrittmas'sig  (shrlt'-mes-sikh),  G. 
Andante. 

schub  (shoop),  G.     Slide  (of  a  bow). 

Schuh  (shooh),  G.  "  Shoe"  ;  bridge  of 
a  marine  trumpet.  S.-plattltanz, 
An  Austrian  clog-dance. 

schuiftrommpet  (shwif-  trom  -  pet), 
Dutch.     Sackbut. 


Schule  (shoo'-le),  G.  A  school  or 
method,  schulgerecht  (ghg-r€kht). 
Academic. 

Schultergeige  (shool-ter-gl'-khe),  G. 
Shoulder-violin. 

Schusterfleck  (shoos'-ter-flek),  G.  Ro- 
salia. 

SChwach  (shvakh),  G.  Weak, 
schwacher  Taktteil.  Weak  beat. 
schwacher  (shve'-kher).     Softer. 

Schwarmer(shwer'-mer),  G.  Rauscher. 

Schwebung  (shva'-boongk),  G.  Wav- 
ing. I.  Tremulant.  2.  Beat  (of  vi- 
bration). 

Schweige  (shvl'-kh^),  G.  A  rest.  S.- 
zeichen.     Rest-mark. 

Schwegel  (shva'-khel).  i.  A  wind-instr. 
2.  A  Hue-pipe.  S.-pfeife.  A  4  or 
8  ft.  stop  with  tapering  pipes. 

Schweinskopf(shvins'-k6pf),6^.  "Pig's 
head. "  Used  of  the  profile  of  a  grand 
piano. 

Schweizerflote  (shvl'-tser-fia-te). 
"Swiss  flute."  I.Fife.  2.  8-ft  metal 
flue-stop.  S.-bass.  The  i6-ft.  stop 
on  the  pedal.  Schweizerpfeife.  i. 
4-ft.  stop.  2.  Old  name  of  cross  flute. 

schwellen  (shvel'len),  G.  To  swell, 
increase.  Schweller.  The  swell. 
Schwellwerk.  Swell  -  organ. 
Schwellton.     Messa  di  voce. 

schwer  (shvar),  G.  i.  Heavy,  pon- 
derous. 2.  Difficult.  S.-mut(h)ig. 
Melancholy. 

Swiegel  (shve'-gel),  G.     Schwegel. 

Schwindend  (shvln'-dent).  Dying 
away. 

Schw'ingung  (shvTng'-oongk),  G.  Vi- 
bration. 

scialumo  (shal-oo-m6'),  /.  Chalu- 
meau. 

scintillant(e)  (safi-te-yan(t)  in  F. ; 
shen-ttl-lan'-te  in  /.).     Brilliant. 

scioltezza  (shol  -  ted'-zii),  /.  Ease, 
sciolto  (sh6r-t5).  I.  Light.  2.  Free 
(of  fugue),     scioltamen'te.     Easily. 

scivolando  (she'-v6-lan-d6),  /.  Gliss- 
ando. 

scolia  (sko'-lK-a),  Gr.     Festive  lyrics. 

scordato  (skor-da -to),  /.  r.  Out  of 
tune.  2.  Tuned  in  an  unmusical  ac- 
cordature. 


262 


THE    MUSICAL    GUIDE 


scordatura  (too'-ra),  /. ,  scord'ature, 
E.  The  unusual  tuning  of  an  instr. 
for  special  effects,  as  a  violin  b-d  -a- 
e"  (Paganini). 

score.  I.  An  arrangement  of  the  parts 
of  a  composition  with  bars  drawn  (or 
"scored")  across  all  the  parts  to 
connect  the  simultaneous  measures. 
full  or  orchestral  s.  One  with  a 
stave  to  each  part,  voice  or  instr. 
close,  compressed,  or  short  s.  («.) 
One  with  more  than  one  part  on  a 
single  stave,  {b.)  An  abridged  score 
or  sketch,  piano  s.  A  compression 
of  score  to  two  staves  for  the  instru- 
ments with  two  additional  staves  for 
the  voice,  also  vocal  s.  The  organ  s. 
has  a  3d  stave  for  the  pedal,  sup- 
plementary S.  Staves  pasted  on 
when  the  parts  are  too  numerous  for 
the  page.  1.  As  a  lerb,  to  arrange 
for  instrs.,  hence  scoring  is  instru- 
mentation ;  score-reading  or  play- 
ing, the  mental  transposition  of  the 
different  keys  and  clefs  of  a  full  score 
into  one  key. 

scorren'do,  scorrevole  (ra  -v6-le),  /. 
Gliding,  flowing. 

Scotch  scale.     Vide  pent.vtomc. 

Scotch  catch,  or  snap.  A  rhythmic 
peculiarity  in  tunes  ;  as  the  placing 
of  an  accented  i6th  note  before  a 
dotted  eighth  note  with  a  snapping 
electric  effect.  It  is  a  characteristic 
of  Scotch  music  and  also  of  American 
negro  tunes. 

scozzese  (skod-za-se),  /.  Scotch. 
alia  s.     In  Scotch  style. 

scriva  (skre'-va).  Written,  si  s.  As 
written. 

scroll.   The  curved  head  of  violins,  etc. 

sdegno  (sdan'-yo),  /.  Disdain,  wrath, 
sdegnan'te.  Angrv.  sdegnoso. 
Disdainful. 

sdrucciolare  (sdroot-cho-la'-re),  /.  To 
slide  the  fingers  along  the  strings  or 
the  keys  of  an  instr.,  hence  the  noun 
sdrucciolamen  to,  and  the  adjective, 
sdrucciolato  (a'-to). 

se  (sa),  /.  If,  as,  etc.  se  bisogna 
(be-son'-ya).  If  necessarj-.  se  place 
(pl-a-che).     If  it  please  (you). 


sea-trumpet.     Marine  trumpet. 

sec  (sek),  F.,  secco  (sek'-ko),  /.  Dry, 
unornamented,  cold,  sharp.  Vide 
RECiTATivo.  a  table  sec  (a  tab'l 
sek).     Without  accompaniment. 

seccarara  (sek-ka-ra -ra),  /.  Neapoli- 
tan dance. 

sechs  (zekhs).  Six.  S.-achteltakt. 
6-8  time.    S.-vierteltakt.     6-4  time. 

Sechs  er,  sechstaktiger  (tak-tlkh-er), 
Satz,  G.  A  passage  or  period  in  6 
measures.  sechstheilig  (tl'-likh). 
Si.\-fold,  e.  g. ,  in  6  parts. 

sechszehn  (zekhs'-tsan),  G.  Si.xteen. 
S.-tel.  i6th  note.  S.-telpause 
(pow-ze).  i6th  rest.  S.-fiissig 
(fus-sikh).      i6-ft.  pipe. 

second(e)  (in  F.  sii-k6h(d)),  seconda 
or  o  (sa-kon-da),  /.,  Secunde  (za- 
koon'-de),  G.  I.  As  a  noun,  (a)  The 
interval  (q.  v.)  between  a  tone  and 
the  ne.\t  above  or  below,  (b)  Alto 
voice  or  part.  (c)  secondo.  2d 
part  or  player  in  a  duet,  (d)  chord 
of  the  second  (Secund  akkord). 
6-4-2    chord.     2.   As    an    adjective, 

(a)  Lower   in   pitch,    as    2d    string. 

(b)  Of  lower  rank  or  importance,  as 
2d  violin.  seconde  dessus.  2d 
soprano,  secon  da  donna,  etc.  (c) 
Higher,  as  the  2d  space  of  a  stave, 
(d)  Second  in  order,  as  seconde  fois, 
subject, etc.  secondan'do.  Following. 

secondaire,  temps  (tan-sii-kon-dar), 
F-     Weak  beat. 

sec  ondary.  Subordinate  (of  chords 
or  themes),  related  (of  keys). 

sec  tio  can'onis,  L.  "  The  section  of 
the  canon."  The  mathematical  di- 
vision of  a  string,  upon  a  monochord. 

section.  Portion  of  a  composition, 
variously  used  as  (a)  Half  a  phrase, 
(b)  what  is  often  called  a  phrase,  (c) 
a  group  of  periods  with  a  distinct 
completeness.     Vide  form. 

secular  music.  Music  that  is  noi 
sacred. 

Secun  de,  G.     Vide  sfxond. 

secun  dum  ar'tem,  Z.  According  t( 
art  or  rule. 

sedecima  (sa-da'-che-ma),  7.  and  L 
Sixteenth,     i.   Interval.     2.  Stop.     , 


DICTIONARY    OF    TERMS       263 


Seele  (za'-le),  G.  i.  Soul,  feeling.  2. 
Sound-post.  Seelenamt  (sa'-len- 
amt)  or  -mes'se.     Requiem. 

seer.     Bard  or  rhapsodist. 

segno  (san'-yo),  /.  A  sign  :S:.  al  s. 
(return),  "  to  the  sign."  dal  s.  (re- 
peat) "  from  the  sign,"  to  the  Fine. 

segue  (sa'-gwe),  /.  i.  Follows,  now 
follows,  as  s.  la  finale. — The  finale 
now  follows.  2.  In  a  similar  man- 
ner, to  that  which  precedes.  3.  Go 
on  ;  s.  senza  rit,  go  on  without  retard- 
ing. 

seguendo  (se-gwen'-do),  seguen  te,  /. 
Following  ne.Kt.  seguenza  (sa- 
gwen'-tsa).     A  sequence. 

iseguidilla  (sa-gwe-del'-ya),  Sp.    Span- 

;     ish    dance  in   3-4  time,  usually   slow 

!  and  in  minor,  with  vocal  and  castanet 
or  guitar  accompaniment. 

;Seguite  (se-gwe'-ta),  /.  Plural  of 
segue. 

seguito  (se-gwe'-to),  /.  Followed, 
imitated. 

sehnlich  (zan'-ltkh),  G.     Longing(ly). 

Sehnsucht  (zan'-zookht),  G.  Desire, 
longing,  s.-svoll.  Full  of  longing, 
sehnsiichtig  (zan'-zukh-tlkh).  Long- 
ingly. 

•'sehr  (zar),  G.     Very  much. 

sei  (sae),  /.     Six. 

Seitenbewegung  (zeit'-en-bS-va'- 
goongk),  G.  "Side -wise,"  i.  e., 
oblique  motion  (q.  v.).  Seitensatz 
(zats).  A  "side-piece";  episode,  or 
second  subject. 

seizi^me  (sez-yem),  F.     Sixteenth. 

Sekunde  (ze-koon'-de),  G.  Second. 
sekundi(e)ren  (de'-ren).  To  play  a 
second  part. 

selah  (sa'-la),  Heb.  A  term  used  per- 
haps to  mark  a  pause  or  a  place  for 
the  priests  to  blow  the  trumpets. 

sem(e)iog'raphy.  Notation  by  signs 
or  notes. 

semeiomelodicon  (za-mT'-6-me-l6d'-t- 
k5n).  A  device  inv.  by  Fruh,  1820, 
for  aiding  beginners;  it  consists  of  a 
series  of  note-heads  which  the  finger 
presses,  producing  the  corresponding 
tone. 

semi  (sem'-T),  L.  and  /.     Half.    s.  bis- 


croma.  32d  note,  semibreve  rest. 
Whole  rest.  s.  chorus.  A  chorus 
to  be  sung  by  half  of  the  voices. 
s.  cro'ma.  A  i6th  note,  semi- 
•demiseraiquaver  (rest).  64th  note 
(or  rest),  s.  diapa  son,  diapen  te, 
diates'seron,  di'tonus  (or  di  tone). 
Diminished  or  minor  octave,  fifth, 
fourth,  third.  semidi'tas.  The 
diminution  due  to  a  stroke  through 
the  time-signature.  semidi'tone, 
semi-fusa,  or  semiquaver.  i6th 
note.  semigrand.  Small  grand 
piano,  s.  niin'im(a).  Quarter  note. 
semipausa  (pa-oo-za).  Whole  rest. 
semiserio  (sa'-rI-6).  Serio-comic. 
s.  sus'pirium.  Quarter  rest.  s. 
trillo.     Inverted  mordent. 

semitone,  F.,  semito'nium,  L.,  se- 
mituono  (se-mt-too-6'-n6),  /.  A 
half-tone,    smallest    interval   written. 

semito'nium  modi.  The  leading 
note.  s.  fie  turn  (naturale).  A 
chromatic  (diatonic)  half-tone. 

semi-tonique  (to-nek),  F.  Chro- 
matic. 

semplice  (sem'-plT-che),  /.  Simple. 
semplicita  (sem-ple-chl-ta').  Sim- 
plicity, semplicemen'te.  Plainly, 
without  ornament,  semplicis'simo. 
With  utmost  simplicity. 

sempre  (sem'-pre),  /.  Always,  con- 
tinually, throughout. 

sen  net.  Old  E.  Repeating  a  note 
seven  times. 

sensibile  (sen-se'-bt-l^),  /.  Sensitive, 
expressive,  nota  s.  Leading  note, 
sensibilita  (be-ll-ta').  Feeling,  sen- 
sibilmen'te.     Expressively. 

sensible  (in  F.  san-sebl).  Leading 
note,  usually  note  s. 

sentence,  i.  An  interlude  strain  in 
the  Anglican  Church  service.  2.  Short 
anthem.     3.   Passage,  or  phrase. 

sentimen'to,  /.     Feeling,  sentiment. 

senza  (sen'-tsa),  /.  (Without,  some- 
times followed  by  the  infinitive  with 
or  without  di,  as  s.  (di)  rallentare, 
without  retarding. 

separa  tion.  i.  A  device  for  keeping 
the  great  organ-stops  from  speaking. 
2.   A  passing  note  in  a  tierce. 


264 


THE    MUSICAL    GUIDE 


sept-chord.     Chord  of  the  7th. 

Septdezime  (zept-da'-tse-me),  G.  A 
17th. 

septet  (sep-tet'),  E.,  septet'to,  /., 
Septett  (zep-tet'),  G.  Composition 
for  seven  voices  or  instruments. 

septi^me  (set-yem),  /".,  Septime  (zep'- 
te-me),  G.  Interval  of  a  seventh. 
Sep'timenakkord.  Chord  of  the 
seventh. 

septimole  (mo'-le),  septio'le,  septo'- 
le,  sep'tuplet,  L.  and  /.  A  group 
of  seven  equal  notes. 

septuor  (sep-tii-or).  F.      Septet. 

sequence  (in  F.  sa-kjihs),  Sequenz  (za- 
kvents'),  C,  sequenza  (se-kwen'- 
tsa),  /.  I.  The  repetition  at  least 
three  times  in  succession  of  a  musical 
pattern,  a  melodic  ox  Ztrtrwcv/ic  design, 
it  may  proceed  chromatically  or  by 
whole  tones.  Vide  rosalia.  2.  A  R. 
C.  Church  poem  (I'ro'sa)  of  the  gth 
century  adopted  to  the  long  coda  (or  se- 
quentia)  of  vocalising  on  the  vowels 
of  the  Hallelujah.  In  1568  Pope 
Pius  V.  abolished  all  but  these  five  : 
Victimae  paschali  laudes ;  Veni 
Sancte  Spiritus  ;  Lauda  sion  Salva- 
torem ;  Stabat  Mater ;  Dies  irae. 
These  are  still  in  use  (vide  also  the 
separate  titles). 

ser'aphine  (or -a).  An  early  harmo- 
nium. 

serenade,  E.,  serenade  (sa-ra-nad), 
F.,  serenata  (sa-re-na'-ta),  /. 
"Evening  music."  i.  An  open-air 
concert  under  the  window  of  the  per- 
son addressed.  2.  An  instrumental 
piece  of  like  character.  3.  A  dramatic 
cantata  of  the  18th  cent.  4.  A 
composition  in  chamber-style  of  sev- 
eral movements. 

sereno  (se-ra'-no),  /.     Serene. 

s6rieusement  (sa-rt-iiz'-mah),  F.  Seri- 
ously. 

serinette  (sur-lt-net'),  F.  A  bird- 
organ  used  for  training  birds  to  sing 
tunes. 

seringhi  (s^-ren'-ge),  //in.  Hindu 
violin. 

serio  (-a)  (sa'-ri-6),  serio'so,  /.  Seri- 
ous, grave. 


ser'pent,  serpente  (ser-pen'-te),  ser- 
pento'no,  /.  i.  Long  curved  wood- 
instr.  of  coarse  tone  and  compass  of 
2  octaves.  It  is  practically  obsolete, 
having  yielded  to  the  tuba.  The 
serpentcleide  is  wooden  but  much 
like  the  ophicleide.  The  contra- 
serpent,  descended  to  Eb.  2.  A 
reed-stop. 

service.  The  music  for  a  complete  set 
of  the  solo  and  chorus  numbers  used 
in  the  Anglican  Church  ritual  for 
morning  and  evening  prayer  and 
communion  :  Venite  e.xultemus,  Te 
Deum,  Benedicite,  Benedictus  dom- 
inus,  Jubilate,  Kyrie,  Credo,  Sanctus, 
Agnus  Dei,  Benedictus  fui  venit, 
Gloria  magnificat,  Cantate  Domino, 
Nunc  dimittis,  Deus  misereatur  (vide 
the  separate  titles). 

sesqui  (ses'-kwi),  L.  Latin  prefix  "a 
whole,  and  a  half  "  joined  with  al'te- 
ra,  ter'za,  quar'ta,  etc.,  it  expresses 
a  kind  of  ratio,  sesquialtera  (ses- 
kwT-al'-te-ra).  I.  The  ratio  of  a  per- 
fect fifth  which  includes  one  and  a 
half  to  one  (3  :  2).  2.  A  2  to  5  rank 
mi.xture-stop  producing  the  3d,  4th, 
and  sthpartials.  sesqulno'na.  Les- 
ser, whole  tone  (ratio  9  :  10).  S.-OC- 
ta'va.  Greater  whole  tone  (8  :  9). 
s.-tertia.  Perfect  4th  (3:4).  s.- 
quar'ta.  Major  3d  (4  :  5).  s.-quin'- 
ta,  or  s.-tone.     Minor  3d  (3  : 4). 

sesto  (ses'-to),  /.    Interval  of  a  sixth. 

sestet  (ses-tet),  E.,  sestet'to,  /.  Sex- 
tet. 

sestina  (s^s-te'-na),  sesto'la,  /.  A 
sextole. 

sette  (set'-te),  /.     Seven. 

settimo  (set-tT-mo),  /.  Interval  of  a 
seventh,     settimo'la.       A  septimole. 

Setzart  (zets'-art),  G.  Style  of  compo- 
sition. Setzkunst  (koonst).  Art  of 
composition.     Setzstiick.     Crook. 

seul(e)  (sul),  F.     "  Alone,"  solo. 

seventeenth',  i.  Two  octaves  plus  a 
tierce.     2.   A  tierce-stop. 

sev'enth.     Vide  interval,  chord. 

severamente  (se-var-a-men'-te),  /. 
Strictly,  severita  (se-va-rl-ta').  Ex- 
actness, strictness. 


I 


DICTIONARY    OF    TERMS       265 


text,  I.  Interval  of  a  6th.  2,  Vide 
HORAE.  3.  A  compound  stop  with  2 
ranks  a  6th  apart. 

sex'ta,  L.    Sixth  ;  interval  of  a  6th. 

Sexte  (zex'-te),  G.  i.  Sixth.  2.  A 
stop  with  two  ranks. 

sexquial'tera.     Vide  sesqui. 

sextet',  E.,  Sextett',  C,  sextuor 
(sex-tu-or),  /'.  A  composition  for 
six  voice-parts,  or  instrs.  Usually  a 
composition  in  sonata  form  for  six 
instruments. 

sext'ole,  sex'tolet,  sex'tuplet,  Z.  A 
group  of  six  equal  notes.  The  false 
s.  is  a  double  triplet. 

sex'tuple  measure.  Compound  double 
measure. 

sex'tus,  L.     Sixth. 

sf.     Abbr.  of  Sforzando. 

sfogato  (sf6-ga'-t6),  I.  "Exhaled.' 
A  lightly  executed  note,  soprano  s. 
A  high  voice. 

sforza  (sfor'-tsa),  /.  Force,  sforzan'- 
do,  sforzato  (a'-to).  "Forced,"  of 
a  particular  chord  or  note  to  be  struck 
with  immediate  emphasis.  If  followed 
by  a  softer  tone,  it  is  sfp,,  or  fzp.  sfor- 
zare  la  voce.  To  overstrain  the 
voice,  sforzatamen'te.  Energet- 
ically. 

sfuggito    (sfood-je'-to),   I.      Avoided. 

Vide  CADENCE. 

sfumato  (sfoo-ma'-to),  /.  Exhausted 
(of  breath). 

sgallinacciare  (sgal-lT-na-cha'-re),  /. 
To  sing  like  a  rooster  (galinaccio). 

shade.  i.  To  place  anything  near 
enough  to  the  tip  of  a  pipe  to  affect 
its  vibration.  2.  To  observe  grada- 
tions of  force  in  executing  music. 

shake.  I.  Trill,  double  S.  Simul- 
taneous shakes  as  on  sixths  or  thirds. 
passing  s.  A  short  trill,  prepared 
s.  A  shake  preceded  by  introduc- 
tory notes,  shaked  graces.  The 
beat,  backfall,  cadent,  elevation,  and 
double  Relish.    Vide  grace. 

shalm.     Shawm. 

sharp.  I.  A  character  (Jf)  raising  the 
following  note  a  half-tone  ;  if  in  the 
signature,  raising  every  note  on  the 
line  or  space  it  occupies.  The  double 


s.  (x)  marks  an  elevation  of  two 
half-steps.  2.  As  an  adj.  (a)  Too 
high  in  pitch.  (b)  Augmented  or 
major  (of  intervals),  (c)  With  sharps 
in  the  key-signature,  (d)  Shrill  (of 
stops),  (e)  A  black  piano-digital ; 
also  any  white  digital  regarded  as  a 
semitone  above  another,  to  sharpen, 
or  sharp.  To  raise  the  pitch  a  sem- 
itone. 

shawm.  i.  Ancient  Hebrew  wind- 
instr.,  supposed  to  be  of  the  reed 
class.  2.  An  early  form  of  the  oboe 
with  double  reeds  in  a  mouthpiece  ; 
it  still  persists  in  the  chanter  of  the 
bagpipe.     3.  Vide  chalumeau. 

shem'inith,  Heh.  i.  A  stringed  instr. 
2.  Species  of  music.     3.  Section. 

shepherd's  flute.  A  short  liute,  blown 
through  a  lip-piece  at  the  end. 

shift.  I.  A  change  of  the  left  hand's 
position  on  the  violin,  etc.  (vide  po- 
sition), half-shift  being  the  2d 
position,  whole  s.  the  3d,  the 
double  s.  the  4th.  2.  Any  position 
except  the  first,  hence  "  on  the  shift" 
and  shifting. 

shiv'aree.  Corruption,  probably  of 
charivari  ;  a  grotesque  discordant 
serenade  with  an  orchestra  of  tin 
pans,  cat-calls,  etc.,  to  bridal  couples 
or  to  other  objects  of  general  rid- 
icule. Philip  Hale  quotes  from  Ga- 
briel Peignot's  "  Histoire  morale, 
civile,  politique,  et  litterairesur  Chari- 
vari, depuis  son  origine  vers  le  iv* 
siecle,"  the  exact  make-up  of  such  an 
orchestra  for  a  town  of  15,000  or  20,- 

000  inhabitants  ;  "12  copper  kettles, 
10  saucepans,  4  big  boilers,  3  drip- 
ing-pans,  12  shovels,  and  12  tongs,  12 
dish  covers  for  cymbals,  6  frying- 
pans  and  pipkins,  4  warming-pans,  8 
basins,  6  watering-pots,  10  hand- 
bells and  mule  bells,  4  strings  of 
bells,  2  tambourines,  i  gong,  i  or  2 
empty  casks,  3  cornets-a-bouquins,  3 
big  hunting  horns,  3  little  trumpets, 
4  clarinets  (badly  keyed),  2  oboes, 
ditto, 2  whistles  (these  will  be  enough), 

1  musette,  4  wretched  violins  to 
scrape,   2    hurdygurdies,    \    marine- 


266 


THE    MUSICAL    GUIDE 


trumpet  (if  you  can  find  one),  4  rat- 
tles, 10  screeching  voices,  8  howling 
voices,  3  sucking  pigs,  4  dogs  to  be 
well  whipped.  This  is  all  that  is 
necessary.  I  can  assure  you  that 
when  all  this  is  vigorously  set  a-going 
at  the  same  time,  the  ear  will  experi- 
ence all  desirable  joy." 

sho  far.     A  Heb.  trumpet. 

short.    Vide  meter,  mordent,  appog- 

GI.\TURA,   score,   SHAKE,  OCTAVE. 

shut' ter.  One  of  the  blinds  of  a  swell- 
box.     Vide  organ. 

si  (se),  F.  and  /.  i.  The  note  or  key 
of  B.  2.  Vide  solmisation.  3. 
One  (cf.  French  on),  almost  equal  to 
"  you,"  as  si  leva.  One  lifts,  you 
lift,  si  piace.  One  pleases,  if  you 
please,  etc. 

sib'ilus,  L.     A  little  flute. 

Siciliana  (se-che-ll-a'-na),  or  -o,  /., 
Sicilienne  (se-sel-yen),  F.  A  Sicil- 
ian peasant  dance  of  slow  pastoral 
nature  in  6-8  or  12-8  time,  alia  s. 
In  Siciliana  style. 

side-drum.     Vide  drum. 

side-beards.     Vide  beard. 

Sieb  (zep),  G.     Sound-board. 

sieben  (ze-ben),  G.  Seven.  S.- 
pfeife.  Pan's  pipes.  S.-klang. 
Heptachord.  Siebente  (ze'-ben'-te). 
Seventh.  Siebenzehnte  (ze'-ben- 
tsan-te),  G.     Seventeenth. 

Siegesgesang  (zekh'-es-ge-zang).  or 
Siegeslied  (let),  G.  Triumphal  song. 
Sieges  marsch.   A  triumphal  march. 

si(e)ffl6te  (zef'-fla-te),  G.  A  i  or  2  ft. 
stop  of  the  Hohlflute  species. 

sifflar  (sif-fla),  F.  To  whistle,  sifflet 
(sif-fla).  I.  A  whistle,  s.  de  pan. 
(pah).  Pan's  pipes,  s.  diapa  son. 
I.    Pitchpipe.      2.    A  cat-call. 

Signalhorn  (zekh-nal-horn),  G.  A 
bugle.    Signalist  (lest).   Trumpeter. 

sign,  musical.  One  of  the  numerous 
de\ices  for  expressin,^  mu-.io  \.^uaily. 
Vide  chart,  signs  and  symbols. 

signatur  (zekh'-na-toor).  pi.  -en,  C, 
signature,  j^.  i.  The  tabulation  at 
the  beginning  of  a  compocition  sec- 
tion or  stave,  showing  (a)  the  key  of 
the    pi^ce  {key-stgnature),  with   such 


tones  as  are  to  be  sharpened  or  flat- 
tened unless  otherwise  marked,  (b) 
The  governing  time  or  rhythm  {time- 
signatiire).  2.  In  Germany  a  figured 
bass  sign. 

signe  (sen'-yu).  F.  Sign,  as  s.  acci- 
dental. An  accidental,  s.  de  silence 
(du  se-lahs).   i.  A  rest.  2.  Vide  SEGNO, 

signet.     Sennet. 

sig  num,  L.     Sign. 

siguidilla  (se-gwe-del'-ya),  Sp.  Segui- 
dilla. 

Silbendehnung  (zel'-ben-da-noongk), 
G.  Singing  a  syllable  to  more  than 
one  note. 

silence  (se-lahs).  F.,  silenzio  (se-Ien'- 
tsI-5),  /.     A  rest. 

sillet  (se-ya),  /'.  Nut.  petit  s.  The 
nut  at  the  neck  of  violins,  etc.  grand 
S.      That  at  the  tailpiece. 

silver  trumpet.  Chatsoteroth.  Manyj 
instrs.  and  strings  are  made  of  silver. 

sim'icon,  Gr.     35-stringed  harp. 

sim  ilar.     Vide  motion. 

simile  (sem'-I-le),  /  ,  similiter,  L.  Si 
ilarly.     An  indication    that  a  certair 
manner  of  pedalling  or  playing  is  tCi 
be  continued  till  otherwise  indicated 

simp  la,  low,  L.     Quarter  note. 

simple,  F..  (in  /'.  sah-pl).  i.  Not  com 
pound  (of  intervals).    Vide  counter 

POINT,    imitation,    RHYTHM,  CtC. 

Plain,  easy.    3.  Without  valves,   si 
plement  (siin-plu-man).     Simply. 

sin  (sin),  /.  As  far  as.  Vide  sino.  si 
al.     .As  far  as  the. 

sincopa  (sln'-k6-pa),  or -e,  /.  Sincop. 
tion. 

sinfonia(sTn-fr>-ne'-a),  /.,  Sinfonie  (it 
G.  zen-fo-ne'  ;  in  F.  sah-fo-ne).  ] 
Symphony.  2.  In  early  operas,  ovej^ 
ture.  s.  pittor'ica.  Descripti'l 
symphony,  s.  concertan'te,  con 
certa'ta,  concertate  (ta'-te).  Co, 
certo  for  many  instrs.,  a  conceri 
symphony,  s.  da  cam'era.  Chambi 
quartet. 

singen  (zing'-en),  G.   To  sing,  tochai, 
Singakademie   (a-ka-de-me),    -aw^ 
stalt  or  -verein.     Vocal  society. 

Singart    (zTng-art).       Vocal    art. 
chor.     Choir. 


THE    MUSICAL    GUIDE 


SIGNS    AND    SYMBOLS 

(See  also  Graces  and  Notation,) 

NUMERALS    AND    ACCENTS. 


I,  2,  3,   etc.      See  CHORD,  METRONOME, 
FINGERING,   TEMPO  and  REST. 

8,  8va.     See  ottava. 
2',  4',  8',  i6'.     See  foot. 

(J)'    (^'    ^^^'       ^^^  HARMONIUM. 

1,  i,  %  etc.     See  tempo. 


h 


See  TRi  plet.quartole. 
etc. 


4-tette,  5-tette,  etc.  Quartette,  Quin- 
tette, etc. 

i-ma,  2-da,  etc.   Prima  (Seconda,  etc.) 
volta. 


Man.    I.     The  Great  Organ. 
Man.  2.     The  Choir  Organ. 

See  CHORD. 


0,  ^,  etc. 

1,  II,  II„  VIF,  etc. 


a',  A',  b' ,  B",  etc. 

or 

alJb^  a»,  Ci,  Cs, 
a,  a,  etc. 


See  PITCH. 


O.  I.  Open  string.  2.  See  harmonic 
3.  Tasto  solo.  4.  The  heel,  in  organ- 
playing.     See  below. 


DOTS,    COMMAS,    CURVES,    LINES,    ETC. 

See  DOT  and  notation. 


'     Staccato. 

TT^     Slightly  staccato. 

-^^^-^-^-^     .Slightly  staccato  and  marcato. 

F    i       Very  staccato.     Martellato. 

— w Forte  tenuto. 

Placed  under  notes  sung  to  one 

or         syllable;  in  Tonic  Sol-fa, placed 
under  the  letters. 

•^     Fermate. 

-i-  or  //     Abbreviation  indicating  a  repe- 
tition of  the  figure  preceding, 
or  of  the  previous  measure(s)  or  part 
of  a  measure. 

'S'     :Q:         Presa. 

yi  %.  ^  I     Segno. 

IB^I^l^fi    Repeat. 
X  or  +     Thumb  (pfte. -music). 
IM     Sharp,  Flat,  Natural, 


X      Double-sharp. 

'  or  //  //  or  y  y     Breathing-place. 

—     Tenuto.      Pesante. 

_<:~^_     Mezzo  legato. 

-- — ^     Bind.     Slur.     Tie. 

^^^^     Sign  of  a  measure  where  no  bar 
~~~     is  required. 

>  A  V  ■=  I.  Forte-piano  (y^).  2.  Rin- 
forzando.      3.   Sforzato  (sf). 

A  V  or  o  ^  or  ^  V  Heel  and  toe  ;  in 
organ-playing  placed  above  the  notes 
for  the  right  foot  ;   below,  for  the  left. 

A  ^  A     Slide  the  toe  to  the  next  note. 

V  —  A     Change  toes  on  the  same  note. 

V  V     I.   Up-bow.     2.    Breathing  place. 
A      Down-bow  in  'cello  music. 

U     n      Down-bow  on  the  violin. 

I       I     I I       I.    In  organ  music,  alter. 

nately  heel  and  toe    f  the  same  foot_, 
2.    Bind.  '        •' 


DICTIONARY    OF    TERMS 


r~    Notes    thus   connected    are    to    be 
I—    played  with  the  same  finger  or  hand ; 
or  to  be  sung  divisi. 

I       I      Pesante. 

■j      Brace. 

^--  or  — —  Notes  so  connected  are  to 
be  played  with  the  same  hand,  or  con- 
tinue a  melody  or  a  resolution  from 
one  staff  to  another. 

'■''-"^  Sign  of  the  continuation  of  a 
TRILL  (q.v.)  or  of  all'  ottava  (q.v.). 

\    Arpeggio.    A  chord  preceded  by  this 
}    mark  is  to  be  played  broken. 


A\/  rvv  or  y  Direct. 
tvv  Inverted  Mordent. 
^     Mordent. 


tr 


etc.      Trill. 


Turn. 


Release  damper-pedal. 


I— 1  or  I 1    A  recent  improved  sign 

marking  exactly  the  points  where  the 
pedal  is  to  be  pressed  and  released. 

i      Thumb-position  on  the  'cello. 

-=:^     Crescendo. 

II^==-     Diminuendo. 


NOTES.    RESTS,   AND    SIGNATURES. 


Whole. 
Note.     Rest. 


Half-  Quarter- 

Note.    Rest.    Note.     Rest,  or    or 


l^=^l^ll^^-=P 


Below  the 
4th  line. 


Above  or  upon  Turns  to 

the  3rd  line.  the  right. 


Eighth.  Sixteenth     Thirty-second.  Rests  of  more  than  one  measure. 

Note.     Rest.       Note.     Rest.       Note.     Rest.     Two.      Three.     Four.  Four.      Six. 

Turns  to  Like  tail  of         Like  tail  of 

the  left.  the  note.  the  note. 

Key  Signatures,— Capital  letters  indicate  Major  keys;  small  letters,  the  relative 
Minor  keys  which  use  the  same  signatures.  White  notes  indicate  the  tonics  of  Majo: 
keys  ;  black  notes,  the  tonics  of  Minor  keys. 

C  G  D  A  E  B  F  sharp        C  sharp 

a  e  b  f  sharp       c  sharp  g  sharp      d  sharp      a  sharp         I 


[ix.ic 


i^ii^i^^pE^i^^p^^^^ip 


F  Bflat 

d  g 


Aflat 
f 


Dflat 
b  flat 


G  flat 
e  flat 


C  flat 
aflat 


l:i-*^^^zJ^gi^^^"^|%E^^^^^^^: 


DICTIONARY    OF    TERMS       267 


singbar  (ztng'-bar).  Singable,  sing- 
end  (zlng'-ent).  Cantabile.  Sing_(e)- 
tanz  (tants).  Dance-song.  Sing- 
fuge.  Vocal  fugue.  Singmarchen 
(mar-khen).  A  ballad.  Singma- 
ni(e)ren  (ma-ne'-ren).  Vocal  embel- 
lishment. Singschauspiel  (show- 
shpel).  Drama  with  songs.  Sing- 
schule  (shoo-le).  Vocal  school  or 
method.  Singspiel  (shpel).  i.  The 
original  form  of  German  opera  in 
the  i8th  cent.  Simple  tunes  were 
given  to  peasants,  etc.,  florid  songs 
to  the  aristocracy.  (Vide  j.  A.  hillf.r 
intheB.  D.)  Singstimme.  Voice, 
vocal  part.  Singstuck,  Singweise. 
Air,  melody. 

singhiozzando  (stn-gl-6d-zan'-d6),  /. 
Sobbing. 

single-action.  Vide  h.\rp. 

single-chant.  A  simple  melody  to 
one  verse  of  a  psalm. 

siniestra  (se-nl-as'-tra),  Sp.,  sinistra 
(stn'-Ts-tra),  L.  (in  /.  se-nes'-tra).  Left 
(hand).  colla  sinistra  (mano). 
With  the  left  hand,  sinis'trae,  L. 
Vide  TIBIA. 

sink'apace.  A  five-step  dance.  Cin- 
quepace. 

sino  (se'no),  /.  To,  as  far  as  ;  usually 
sin'al. 

si'ren,  E. ,  Sirene  (ze-ra -n^),  G. ,  sir^ne 
(se-ren'),  F.  i.  A  mythological  be- 
ing whose  vocal  powers  captivated 
the  human  beings  on  whom  she 
preyed  ;  hence,  a  prima  donna.  2. 
An  instr.  for  counting  vibrations. 

Sir  Roger  de  Coverley.  An  imaginary 
gentleman  of  the  old  school  described 
by  Addison  ;  hence  an  English  coun- 
try-dance in  g-4  time. 

sirventes  (ser-vant),  F.  Troubadour 
songs  of  homage. 

sistema  (ses-ta-ma),  /.     Staff. 

Sister  (zes-ter),  G.  Old  7-stringed 
guitar. 

sis'trum,  L.      An    ancient   inst.,    con- 


sisting of  an  iron  frame  with  a  num- 
ber of  movable  rings  ;  when  shaken 
or  struck  it  sounded. 

sit'ar.     Hindu  guitar. 

sito'le.     Citole. 


Sitz  (zlts),  G.     Position,  place. 

six  (in  /".  ses).  Six.  Vide  meter  ; 
6-8  time,  that  in  which  there  are  six- 
eighth  notes,  the  accent  resting  on 
the  first  and  fourth,  six  pour  quatre 
(poor  katr).     Sextuplet. 

sixte  (sekst),  sixifeme  (sez-yem),  F. 
A  sixth. 

sixteenth  note.  A  semiquaver  ;  one- 
fourth  of  a  quarter  note,  sixteenth 
rest.     A  pause  of  equal  duration. 

sixth.  I.  An  interval  (q.  v.).  2.  A 
chord,  chord  of  the  s.  or  s.  chord. 
The  first  inversion  of  a  chord  (q.  v.), 
chord  of  the  added  s.  (de  la  s. 
ajout^e).  Subdominant  triad,  with 
sixth  added  as  f-a-c-d.  Vide  altered. 
little  sharp  s.  The  2d  inversion 
of  the  seventh  on  the  second  degree. 
extreme  s.  Vide  extreme  and 
ALTERED,  six-four,  six-five,  etc. 
Vide  CHORD. 

sixtine  (sex-ten'),  F.     Sextuplet. 

sixty-fourth  (note).  A  hemidemi- 
semiquaver.  s.  rest.  A  pause  of 
equal  duration. 

Skalde  (skal'-de),  G.     Vide  scald. 

skim'ming^on.  A  shivaree  described 
in  Hardy's  novel  "  The  Mayor  of  Cas- 
terbridge." 

skip.  A  progression  exceeding  a  whole 
step. 

Skizze  (sktts'-z^),  G.  Sketch,  a  short 
piece. 

slancio  (slan'-cho),  /.     Vehemence. 

slargando  (slar-gan'-do),  slargan- 
dosi,  /.  Enlarging,  gradually  slow- 
er. 

slentan'to,  /.     Becoming  slower. 

slide.  I.  A  movable  tvtW ip  the  shape 
of  a  U,  used  in  the  9:iide-trumpet, 
slide-horn,  and  the  trombone  (q.  v.). 
2.  A  grace  of  two  or  more  notes 
moving  diatonically.  3.  A  porta- 
mento. 4.  A  sliding  lath  strip  which 
cuts  off  a  rank  of  pipes  from  the  wind, 
also  slider.  5.  tuning-s.  A  sliding 
pitch  -  pipe  sounding  thirteen  semi- 
tones, sliding-relish.  6.  An  old 
grace,  a  slide  (2>. 

slogan.  Highland  war-cry  or  rallying 
word. 


268 


THE    MUSICAL    GUIDE 


slur.  I.  A  curved  line  above  or  be- 
neath two  or  more  notes,  which  are, 
(a)  to  be  played  legato,  (b)  to  be 
sung  to  one  syllable,  hence  slurred 
as  opposed  to  syllabic  melody. 

small  octave.    Vide  pitch. 

smaniante  (sma-nT-an'-te),  smaniato 
(a'-t5),  smanio'so,  /.     Frantic. 

sminuendo  (sme-noo-Sn'-do).  Dimin- 
ishing, siminuito  (sme-noo-e'-to). 
Softer. 

smoran'do,  /.     Dying  away. 

smorfioso  (sm6r-f!-5'-z6),  /.    Affected. 

smorz.  Abbr.  of  stnorzando  (smor- 
tsan'-do),  /.  Dying  away.  Extin- 
guished. 

snap.     Vide  scotch. 

snare-drum.    Side-drum.    Vide  drum. 

snuff-box.  I.  A  musical  box  com- 
bined with  a  snuff-box.  2.  A  famous 
waltz  written  for  it. 

soave  (s6-a-ve),  soavemen'te,  /. 
Suave(ly),  sweet(ly). 

sobb.     Damping  (on  the  lute). 

sock'et.  The  round  joint  which  holds 
the  mouthpiece  of  a  clarinet. 

soggetto  (s6d-jet'-t6),  /.  Subject, 
theme,  motive,  s.  invariato  (a'-to). 
The  invariable  subject,  s.  variato 
(va-rl-a'-to),  /.  Variable  subject  of 
a  counterpoint. 

sognando  (son-yan'-do),  /.     Dreamy. 

soh.     Tonic  Sol-fa,  for  Sol. 

sol     (sol).       I.     Vide     SOLMISATION.       2. 

The  note  G  in  France  and  Italy. 

sola  (s6'-la),  /.     Alone,  solo. 

solem'nis,  Z.     Solemn. 

solenne  (s6-len'-ne),  solennemen'te, 
/.  Solemn(ly).  solennita  (1-ta'). 
Solemnity. 

solfa  (sol-fa),  /.  I.  Gamut;  scale.  2. 
A  baton.  3.  Time,  a  bat'tere  la  s., 
to  beat  time. 

solfa,  E.  I.  Solmisation  (q.  v.).  2. 
Solfeggio.  3.  To  sing  in  solmisa- 
tion  or  solfeggio.       4.  Vide    tonic 

SOL-FA. 

solf^ge  (siil-fezh),  /".,  solfeggio  (sol- 
fed'-jo),  /.  Exercise  for  the  voice  in 
solmisation  or  on  one  syllable,  sol- 
feggiare  (s61-fed-ja'-re),  /.,  solfeg- 
gi(e)ren    (zol-fed-je'-ren),    G.,    sol- 


fier  (siil-fl-a),  F.  To  sing  a  solfeg- 
gio. 

soli  (s6-le),  /.  I.  Plural  of  solo.  2.  A 
passage  played  by  one  performer  to 
each  part. 

sol'id.    Of  a  chord  not  broken  (q.  v.). 

so'list.     Soloist,  solo-player. 

solito  (s6-le'-t6),  /.  Usual,  ai  S.  As 
usual. 

sollecito  (s61-la'-che'-t6),  /.  Careful, 
exact. 

solmisation.  "  The  singing  of  the  syl- 
lables da,  re,  sol,  mi,  etc."  A  vener- 
able method  of  teaching  and  singing 
scales  and  inten'als  ascribed  to  Guide 
D'Arezzo  (or  Aretinus).  It  is  a  con- 
venient crutch  for  those  who  are  not 
going  far ;  but  must  soon  be  dis- 
carded. 

Greek  music  (Vide  modes)  divided  the 
complete  scale  into  groups  of  four 
consecutive  degrees  or  tetrachords. 
Guido  or  a  disciple  divided  it  into 
groups  of  six  degrees,  or  hexachords. 
It  happened  that  the  initial  syllables 
of  the  six  phrases  of  a  certain  fa- 
miliar hymn  to  St.  John  formed  the 
ascending  scale  of  one  of  these  hexa- 
chords (the  one  called  naiurah).  The 
device  was  hit  upon  (as  an  aid  for 
weak  memories)  of  using  these  sylla- 
bles as  names  of  the  notes  ;  hence 
the  notes  of  this  hexachord  began  to 
be  called  ut,  re,  mi,  fa,  sol,  la.  (The 
hymn  ran  as  follows  :  '''  Ut  queant 
laxis,  i^t'sonare  fibris  i7//ra  gestorum 
Fav[\vX\  tuorum  Sohe.  polluti  Zabii 
reatum,  Sancte  Johannes.")  It  was 
later  found  convenient  to  use  these 
syllables  for  other  hexachords,  the  ut 
being  movable.  A  crude  form  of 
modulation  was  developed  called  w/«- 
tation.  When  the  modern  scale 
came  into  play  early  in  the  17th  cent, 
it  brought  into  use  the  heptachord 
or  scale  of  seven  degrees.  A  new 
syllable  si  was  therefore  devised 
and  the  so-called  Areti^iian  syllables, 
used  for  singing  in  all  the  keys  ;  ut, 
being  always  the  tonic,  sol,  the  dom- 
inant, etc.  The  syllables  have  per- 
sisted for  primary  use  and   for  vocal. 


DICTIONARY    OF    TERMS       269 


exercises  ever  since.  In  many  coun- 
tries they  have  been  since  used  as  the 
definite  names  of  the  notes  of  the 
scale  of  C,  except  that  the  syllable 
do  (being  more  easily  sung)  has  dis- 
placed ut  except  in  France,  since  its 
first  use  (perhaps  by  Bononcini),  in 
1673.  This  is  the  only  change  that 
has  been  accepted  among  the  many 
that  have  been  advocated,  such  as 
the  bocedisation,  or  bodisation  (bo,  ce, 
di,  ga,  lo,  ma,  ni)  of  Waelraut,  1550 
(Pedro  d'Urenna  in  1620  proposing 
hi  for  si),  and  the  bebisation,  or  labe- 
cidation  (la,  be,  ce,  de,  me,  fe,  ge) — 
satirically  called  labisation — of  Hitz- 
ler  in  1628.  The  damenisatiott  (da, 
me,  ni,  po,  tu,  la,  be)  of  Graun,  1750, 
was  not  for  solmisation  but  for  use  in 
place  of  words  in  vocalising. 

solo  (s6'-16),  /.  I.  As  adjective, 
"  alone."  2.  A  passage  or  compo- 
sition for  a  single  voice  or  instr. 
violino  solo  may  mean  either  "vio- 
lin only  "  ;  or  the  solo  (i.  e.,  leading) 
vln.  solo-organ.  A  manual  of  the 
organ  (q.  v.).  solo  pitch.  A  scor- 
dature  (q.  v.)  used  by  a  soloist,  solo 
quartet.  A  group  of  four  soloists  ; 
a  composition  for  such  a  group  ;  a 
solo  with  3-part  accompaniment,  solo- 
stop.  Vide  STOP.  The  word  is  used 
in  compounds  of  various  languages, 
as  Solo-sanger,  G.    Solo-singer,  etc. 

SOlomanie  (s6-16-ma-ne').  A  Turkish 
flute,  without  reed. 

sombrer  (son-bra),  F.  To  give  a  som- 
bre, veiled  tone. 

somma  (s6m'-ma),  /.  Greatest,  high- 
est, extreme. 

Sommer'ophone.  A  bombardon-like 
instr.  inv.  by  Sommer  of  Weimar,  1843 
(also  called  <?«//«(?/«/('«,  euphonic  horn). 

son  (son),  F.,  son  (son),  Sp.  Sound. 
s.  harmonique  (s6-nar-mo-nek). 
Harmonic. 

sonabile  (s6-na -bl-l^),  sonante  (nan'- 
i      t^),  /.     Sounding,  sonorous. 
:  BOnare  (s5-na -re),   /.      To  sound  ;    to 
ring ;  to  play.     s.  alia  mente.      To 
improvise. 

sonata  (so-na'-ta),  /. ,  Sonate  (in  F.  so- 


nat,  in  G.  z6-na'-te).  Music  "  sound.- 
ed  or  p.layedj'  as  opposed  to  music 
sung  {cantata^  Originally  any  in- 
strumental piece,  as  s.  da  chiesa. 
For  church,  s.  da  camera.  For 
the  salon.  Later  the  term  was  applied 
to  a  group  of  three  to  five  dance-tunes 
of  varied  rhythms.  The  treatment 
came  to  be  less  and  less  lyrical  and 
more  and  more  thematic  (q.  v.).  Such 
were  Bach's  organ  and  violin  sonatas. 
The  very  human  Haydn  added  a 
lyric  interest  as  contrast  in  the  form 
both  of  counter-themes  to  the  princi- 
pal theme  and  of  separate  movements 
of  melodious  character.  Mozart  made 
no  formal  change  but  added  more 
human  interest  and  warmth.  The 
sonata  now  consisted  of  3  or  4  move-_ 
ments  ;  first  an  _allggra  written  bin 
what  is  confusedly  called  the  sonata- 
form  (the  editor  suggests  ""  sonata- 
formula  "  (q.  V.)  as  a  substitute  term 
for  describing  the  structure  of  this  one 
movement,  retainingjiie  word  I'^sona- 
ta-form "  for  the  entire  group  of 
movements);  second,  aslow  rnove- 
ment ;  third  a  minuet ;  fourth,  a  rojido^ 
QT^nale'Dnlhe^  same  formula  as  the 
first  movement.  Beethoven  substi- 
tuted for  the  minuet  a  light  and  witty 
gcherzo  (q.  v.)  ;  other  composers  have 
made  other  substitutions.  This  gen- 
eral group  of  varied  movements  and 
moods  is  applied  to  many  f<jrins,  not- 
ably the  symphony,  the  classic  oyer- 
ture^  the  concerto,  the  st:ring__quartft, 
and  chamber-music  generally,  which 
are  hence  said  to  be  "in  sonata- 
form."  The  sonata-formula,  son- 
ata-piece, or  Sonatasatz  (zats), 
the  structure  of  the  first  movement, 
marks  the  highest  period  of  classic 
formalism.  It  is  described  under 
Form  (q.  v.).  The  word  is  qualified 
in  many  ways  as  grand,  a  highly 
elaborate  form,  double,  for  two  solo 
instrs.  A  short  easy  composition  with 
few  movements  and  little  develop- 
ment is  called  sonatina  (s6n-a-te'- 
na).  sonatina,  /.,  Sonatine  (z6- 
na-te'-ne),  G. 


270 


THE    MUSICAL    GUIDE 


sonatore  (to'-re),  feminine  sona- 
trice  (tre'-ch^),  /.  A  man  (or  wom- 
an) instrumentalist. 

sonevole  (s5-na -vo-le),  /.  Resound- 
ing. 

sonetto  (s6-net'-t6),  /.  A  composition 
based  on  a  poetic  sonnet. 

song.  I.  A  melody  for  voice.  2. 
Lyric  piece  for  any  instr. 

song-form.  A  structure  of  3  chief 
sections,  (a)  a  first  theme,  (b)  a  con- 
trasting second  theme,  (c)  a  return 
of  the  first  theme.  In  poems  of 
many  stanzas,  the  same  air  is  com- 
monly used  for  all  the  stanzas  regard- 
less of  changed  language  and  em- 
phasis. This  strophic  treatment  is 
discarded  by  more  conscientious  com- 
posers for  a  treatment  in  which  each 
stanza  is  individually  set  to  music 
with  intelligent  deference  to  its  mean- 
ing. This  is  th^  through-composed ov 
durchkomponi(e)rt  (doorkh-kom-po- 
nert')  style. 

song  without  words.  A  lyric  instru- 
mental piece. 

sonnante  (son-naht),  F.  A  scale  of 
hanging  steel  bars  struck  with  a  ham- 
mer. 

sonner  (siin-na),  F.  To  sound,  s.  le 
tambour  (Id  tan-boor).  To  sound 
the  drum,  used  of  a  jarring  G  string 
in  the  'cello. 

sonnerie  (siin-re),  F.  i.  Chime. 
2.    Military  call. 

sono  (s6'-n6),  /.     Sound,  tone. 

sonomfetre  (s6-no-metr),  F.,  sono- 
meter. I.  A  monochord  inv.  by 
Loulis  to  aid  piano-tuners.  2.  A 
sounding-board  with  two  strings  for 
acoustic  experiments. 

sonore  (so-nor),  /'.,  sonoro  (s6-n6'- 
ro),  /.,  sonoramen'te.  Sonorous- 
(ly).  sonoridad  (so-no-rl-dadh), 
Sp.,  sonorita  (so-no-rl-ta),  /.,son- 
orit6  (so-no-rl-ta),  F.     Sonority. 

sonor'ophone.  A  form  of  bombar- 
don. 

sonorous  (s6-no'-rous).  Capable  of 
musical  sound  ;  sounding. 

so'nus,  L.     Sound,  tone. 

SO  pra,  /.     Over,  above,  upon,  before. 


come  s.  As  above,  di  s.  Above. 
s.  una  cor'da.  On  one  string. 
parte  di  s.  Higher  part.  s.  do- 
minante.  The  dominant,  s.  quin- 
ta.  Upper  dominant,  s.  to  nica. 
■Supertonic. 

soprano  (s6-pra'-n5),  /.  (pi.  -i),  ■ 
Sopran  (zo-pran'),  G.  i.  The  high-  ; 
est  kind  of  human  voice,  differing 
from  the  alto  in  lying  chiefly  in  the 
"head-register";  this  voice  is  typi- 
cally a  woman's  voice,  but  is  also 
found  in  boys.  It  occurs  naturally  in 
some  men  (called  falsetti,  alii  nat- 
urali,  or  tenorini),  but  was  obtained 
artificially  in  others  (called  cvirati, 
castrati),  particularly  in  the  last  cen- 
tury when  the  eunuch  "artificial" 
sopranos  achieved  marvellous  power 
and  agility.  The  soprano  voice  has 
an  average  range  from  c'-a"  (Vide 
pitch),  the  tones  from  f  up  being 
head-tones.  The  voice  occasionally 
reaches  lower,  and  often  higher  than 
this  normal  range,  c'",  being  not  un- 
usual. A  voice  that  reaches  f"  or  g'" 
is  phenomenal  (Agujari  sang  c"" 
three  octaves  above  mid-C).  (Vide 
also  mezzo-soprano.)  Soprano 
voices  are  divided  into  the  more 
powerful  or  dramalic  {drammat'ko), 
and  the  flexible,  and  light  or  lyric 
leggiero  (led-ja'-ro)  or  h'gier  (la-zha). 
2.  The  part  sung  by  the  highest  voice  • 
or  the  highest  instrument.  3.  The  I' 
instr.  which  is  the  highest  of  its  class  . 
(sometimes  an  extra  high  instr.  is 
called  sopranino).  4.  The  possessor 
of  a  soprano  voice,  soprana  chorda 
(kor-dii).  The  E  string  of  a  violin. 
sopran  ist.  A  male  soprano,  so- 
prano clef.  The  C  clef  on  the  first 
line  of  the  staff  ;  sometimes  used  of 
the  G  clef. 

sordo  (s6r'-d6),  /.  Muffled,  veiled- 
tone,     sordamen'te.     Soft(ly). 

sordellina  (le'-na),  /.  A  small  4-piped 
bagpipe. 

sordine,  E.,  Sordino  (s6r-de'-n6,  pi. 
-i,  German  pi.  -en),  /.  i.  A  small 
tone-softening  device,  damper  or  mute 
to   set  against   piano-strings,  in   the' 


DICTIONARY    OF    TERMS       271 


mouth  of  a  trumpet,  or,  on  the 
bridge  of  a  violin.  2.  A  l<it.  con 
s.  In  piano-playing  "use  the  soft 
pedal"  ;  in  playing  violin,  horn,  etc., 
"  use  the  mute."  senza  (sen'-tsa),  s. 
or  s.  levato  (le-va  -to).  "  Remove 
the  mute  or  damper." 

sordo'no,  /. ,  sordone  (sor-diin),  F., 
Sordun  (zor-doon'),  (7.  i.  Obs  bom- 
bard of  5  sizes,  and  12  ventages.  2. 
An  old  stop.  3.  In  G.  a  trumpet- 
mute. 

sorgfaltig  (zorkh'-fel-tTkh),  G.  Care- 
ful(ly). 

sortita(s6r-te'-ta),  /.  i.  Entrance  aria. 
2.  Voluntary  for  close  of  service. 

sospensione(sI-6'-ne),  /.  Suspension. 
sospensivamen'te.     Doubtfully. 

sospiran  do,  sospirante  (ran  -te),  sos- 
pirevole  (ra -v5-le),  sospiro  so,  /. 
I.  Sighing,  doleful.  2.  A  sobbing 
catch  in  the  breath. 

jsostenendo,    sostenen'te,   /.      Sus- 

:    taining  the  tone. 

sostenuto  (s6s-te-noo'-t6),  /.  i.  Sus- 
tained, prolonged,  retarded.  2.  Grad- 
ually retarded.     3.   Andante. 

sostinen'te,  /.  Used  of  instrs.  with 
special  device  for  sustaining  tones. 

sotto  (s6t'-t6),  /.  Under,  below,  s. 
voce  (vo'-che).     In  an  undertone,    s. 

i    dorainan  te.     Sub-dominant. 

isoubass  (soo-bas),  F.     Sub-bass. 

souf  farah.       Oriental     reedless  wind- 

I    instrs.  in  general. 

soum.     Burmese  harp. 

soufflerie  (soof-fle-re),  F  The  bellows 
action,  soufflet  (soof-fla).  Bellows. 
soufifler  (soof-fla).  To  blow,  souf- 
fleur  (flur),  fem.  souffleuse  (fluz). 
I.  Organ-blower.     2.    Prompter. 

sound.     Vide  acoustics. 

sound-board,  sounding-board,  i.  A 
thin  resonant  board  which  by  sym- 
pathetic vibrations  enlarges,  enriches 
and  prolongs  the  tone  of  the  strings 
stretched  across  it  (as  in  pianos,  the 
belly  of  violins,  etc.).  2.  The  cover 
of  the  wind-chest,  sound-body  or 
box,  a  resonance  box  ;  s.  bowr,  the 
rim  of  a  bell  ;  s.  hole,  a  hole  in  the 
resonance  box  to  give  communication 


from  the  resonance  chamber  to  the 
air.  s.  post.  Vide  violin,  s.  reg- 
ister. A  sound-recorder  inv.  in 
Paris,  1S58.  s.  waves.  The  alter- 
nate condensation  and  rarefaction  of 
air  in  vibration  (q.  v.). 

soupape  (soo-pap),  F.     Valve. 

soupir  (soo-per),  F.  A  quarter  rest. 
demi-s.  Sth  rest,  quart  de  s.  i6th 
rest  huiti^me  (or  demi  quart)  de 
s.    32d   rest,     seizifeme.     64th  rest. 

sourdeiine  (soor-de-len),  F.  Sordel- 
lina. 

sourdement  (soord-man),  F.  In  a  sub- 
dued manner. 

sourdine  (soor-den),  F.  i.  Sordino. 
2.  A  soft  harmonium-stop.  3.  Ce- 
leste pedal.     4.  An  old  spinet. 

sous  (soo),  F.  Under,  below,  s.- 
chantre  (shahtr).  Subcantor.  s.- 
dominante.  Sub-dominant.  s.-m6- 
diante.  Sub-mediante.  s.-tonique. 
Leading  note. 

soutenir  (soo-te-ner),  F.     To  sustain. 

souvenir  (soo-ve-ner),  /".  Reminis- 
cence. 

Sp.     Abbr.  of  Spitz. 

space.  The  interval  between  2  lines 
of  the  staff,  or  between  2  ledger  lines. 

spagnuola  (span-yoo-6 -la),  /.  The 
guitar. 

spalla  (spal'-la),  /.     Vide  vioi.. 

spanisch  (span-Ksh),  G.,  spagnolesco 
(span-yo-les-ko),  /.  Spanish,  span- 
ischer  Reiter  (rl'-ter),  G.  Tones 
made  by  running.  spanisches 
Kreuz  (kroits),  G.     Double  sharp. 

spar'ta,  spartita  (spar-te'-ta),  or  -o,  /., 
Sparte  (spar'-te),  G.      Partitura. 

spartire  (te'-re),  /.  To  score  ;  partic- 
ularly to  rescore  an  old  work. 

spassapensiero(pen-sl-a'-r6),  /.  Jew's 
harp. 

spasshaft  (spass'-haft),  G.  Sportive(ly). 
S.-tigkeit  (tlkh-klt).  Sportiveness, 
playfulness. 

spa'tium,  Z.,  spazio  (spa'-tsI-6),  I. 
A  space. 

species.  Kind.  Vide  counter- 
point. 

Sperrventil,  G.     Vide  ventil  2. 

spezzato  (sped-za'-to),  /.     Divided. 


272 


THE    MUSICAL    GUIDE 


spianato  (spl-a-na-to).  i.  Legato. 
2.  Calm. 

spiccato  (splk-ka'-to),  /.  Separated, 
pointed.     Vide  bow. 

Spiel  (shpel),  G.  Playing  ;  style  of 
playing.  S.-art.  i.  Style  of  per- 
formance. 2.  Touch,  s.-bar.  Play- 
able. S,-leute  (loi-te).  i.  The 
drummer  and  fifers  of  a  band.  2. 
Strolling  players.  S.-manieren 
(ma-ne-ren).  Ornaments,  graces. 
S.-oper.  Light  opera.  S. -tenor, 
etc.     Light  opera  tenor,  etc. 

Spillflote,  G.     Spitzfiote. 

spina  (spe-na),  L.  "  Thorn,"  jack  ; 
quill  of  a  spinet  (q.  v.). 

Spindelflote,  G.     Spitzflote. 

spinet  (spln-et  orspl-net'),  E.,  Spinett 
(spl-net),  C,  spinet'ta,  /.  Obso- 
lete and  small  square  form  of  harpsi- 
chord, originally  called  the  couched 
harp,  later  called  spinet,  from  its 
quills,  or  spinae. 

spirito  (spe'-rl-to),  /.  Spirit,  energy. 
spirituG  so,  spirito' so,  spiritosa- 
mente.     Spirited(ly). 

spirituale  (spe-rl-too-a'-le),  /.,  spirit- 
uel  (splr-i-too-el'),  F.     Spiritual. 

spis  si  gravis'simi,  L.  Hypatoides — 
the  deep  sounds  of  the  Greek  system. 

spis'sus,  L.  "Thick;"  full  (of  in- 
tervals). 

Spitz  (shpTts),  G.  Point  (of  bow)  ;  toe 
(of  foot).  S.-fiote  (fla-te).  A  soft 
stop  with  pointed  pipes.  S. -quint. 
Its  quint.  S.-harfe  (har'-fe).  Pointed 
harp.  A  small  harp  with  strings  on 
each  side  of  its  sounding-board. 

spondau'lium.    Greek  hj-mn  with  flute. 

spread.     Open. 

springing  bow^.     Vide  bow. 

spressione    (l-6'-ne),    /.     Expression. 

Sprung  (sproongk),  G.  A  skip.  s. 
weise  (vT-ze).     By  skip. 

square.  Vide  org.a.x.  square  B.  Vide 
B.     square  piano.     Vide  piano. 

squil'Ia,  /.  A  little  bell,  squillan'te. 
Tinkling. 

srou'tis.  The  22  degrees  of  the  Hindu 
scale. 

sta  (sta),  /.  "  Let  it  stand  ;  "  i.  e.,  to 
be  played  just  as  it  stands. 


Stab  at  Mater  Dolorosa,  L.    "  The 

grieving  Mother  stood,"  a  hymn  on 
the  Crucifixion,  written  by  Jacoponus, 
14th  cent.     Vide  sequence. 

stabile  (sta-bt-le),  /.     Firm. 

stac.     Abbr.  of  Staccato. 

staccare  (stak-ka'-re),  /.  To  play 
staccato. 

staccato  (stak-ka'-to),  /.  "  Detached," 
used  of  short,  non-legato  notes  or  a 
touch  which  leaves  the  key  or  string 
immediately.  This  crispness  is  marked 
over  the  notes  by  round  dots  called 
staccato  marks ;  it  may  be  modi- 
fied by  a  slur  over  the  dots,  or  em- 
phasised by  small  wedge-like  dots. 
staccatis  simo.  As  staccato  as  pos- 
sible. 

Stadt  (shtat),  G.  Town,  city ;  used 
of  a  salaried  municipal  musician,  as 
S.-musikus,  -pfeifer,  etc. 

staff,  stave.  The  five  horizontal  par- 
allel lines  on,  between,  above  and  be- 
low which  the  notes  are  placed,  the 
pitch  of  the  note  being  determined  by 
the  key-signature  and  the  clef,  from 
which  the  s.  takes  its  name.  The 
usual  arrangement  is  a  bass  s.  (with 
F  clef)  under  a  treble  s.  (with  G 
clef) ;  they  form  a  continuous  nota- 
tion e.Kcept  for  the  middle  C,  which  is 
sometimes  given  a  line,  making  the 
ii-line  or  great  s.  s.  notation  is  , 
opp.  to  alphabetical  notation.  The 
Gregorian  s.  had  4  lines. 

Stahlharmo'nika  (shtal),  G.  Steel  1 
bars  played  (a)  with  a  bow,  inv.  by ; 
Nobe,  1796,  (b)  with  a  hammer  ;  morel 
commonly  Stahlspiel  (shtal-shpel).    ; 

Stamentienpfeife  (shta-men'-tK-en-  j 
pfl'-fe),  G.     Vide  schwegel. 

Stamm  (shtam),  G.  Stem,  trunk.  S.-j 
akkord.  A  chord  in  root  position,' 
unaltered  and  uninverted.  S.-ton.j 
Natural  tone.  S.-tonleiter.  Keyof| 
C  major. 

stampita  (stam-pe'-ta),  /.     A  song. 

Standchen  (shtgnt'-kh^n),  G.  Sere 
nade. 

Standhaftigkeit  (shtant'-haf-tlkh-kit), 
G.     Firmness. 

stanghetta  (stan-get'-ta),  /.     A  bar. 


DICTIONARY    OF    TERMS       273 


sta'ple.  The  tube  which  holds  the 
oboe's  reed. 

Stark(shtark),  (7.  Strong,  loud,  star- 
ker (shter'-ker).     Louder. 

stave.     Staff. 

steam-organ.     Calliope. 

stec'ca,  /.  A  choked  and  strained 
tone-production. 

Stecher  (stekh'-er),  G.     Sticker.    Vide 

ORGAN. 

Steg  (stakh),  G.     Bridge. 

Stellung  (shtel'-loongk),  G.     Position. 

stem.  The  thin  stroke  attached  to  the 
head  of  a  note. 

stentan'do,  /.  Retarding,  stentato 
(ta-to).     Slow  and  forced. 

step.  A  progression  to  the  adjoining 
note  or  tone,  hence  whole-step,  and 
half-step  or  chromatic-step ;  a 
diatonic-step  is  a  progression  to 
the  next  note  of  the  key. 

Sterbend  (shter'-bent),  G.  Dying 
away.  Sterbelied  (shter'-be-let). 
Death-song. 

Steso  (sta'-s6),  /.  Extended,  prolonged, 
slow. 

stes'so,  /.  The  same.  s.  tempo. 
Same  time. 

sth6nocire  (sta-no-ser),  F.  A  finger- 
strengthener. 

stibbacchiato  (stTb-bak-kt-a'-to),  /. 
Retarded. 

sticca'do,  sticcato  (stik-ka'-to),  /. 
Xylophone. 

stick'er.     Vide  organ. 

Stiefel  (shte'-fel),  G.     Boot  (of  a  pipe). 

Stiel  (shtel),  C.     i.  Stem.     2.   Neck. 

Stift  (shtlft),  G.     Jack  (of  violin). 

Stil  (shtel),  6-.,  stile  (ste'-le),  stilo 
(ste-16),  /.,  sti'lus,  L.  Style,  s. 
rigoro'so,  or  osservato  (va-t6). 
Strict  style,  s.  rappresentativo 
(te'-v6).     Vide  opera. 

Still  (shtll),  G.  Calm,  quietly.  S.- 
gedakt.     A  stopped  diapason. 

Stimme  (shttm'-me),  pl.-en,  C.  i.  The 
voice.  2.  Part,  mit  der  S.  Colla 
parte.  3.  Organ-stop.  4.  Sound- 
post.  Stim'menssatz.  Vocal 
attack.  Stimm'bander  (bent-gr). 
Vocal  cords.  S.-bildung.  Voice- 
building.  S.-bruch  (brookh).  Change 


of  voice.  Vide  mutation.  S.-buch. 
Part-book.  Stimmer.  Tuner  ;  drone. 
stimmen.  To  tune,  or  voice. 
Stimmflote,  or  -pfeife.  Pitch-pipe. 
S.-fiihrer.  Chorus-leader.  S.-mit- 
tel.  Vocal  capacity.  S.-ritze  (rlt- 
ze).  Glottis.  S.-holz  (holts),  or 
-holzchen  (helts'-khen),  or  -stock. 
Sound-post  ;  wrestplank.  S.-werk- 
zeuge  (verk'-tsoi-khe).  Vocal  or- 
gans. S.-fiihrung  (fii-roongk). 
Part-progression.  S.-gabel  (ga-bel). 
Tuning-fork.  S.-hammer  (ham-mer). 
Tuning-hammer.  S.-horn.  Tuning- 
cone.  S.-keil.  Tuning-wedge.  S.- 
krucke.  Tuning-wire.  S.-zange. 
Tuning-tongs.  S.-umfang,  S.-weite 
(vT-te).     Compass. 

Stimmung  (shtlm'-moongk),  G.  i. 
Tune.  2.  Accordature.  3.  Pitch. 
4.  Mood.  S.  halten.  To  keep  the 
key.     S.-bild.     Tone-picture. 

stinguendo  (stin-gwen'-do),  /.  Dying 
away. 

stiracchiato  (ste-rak-kt-a-to),  stirato 
(ste-ra -to),  /.     Retarded. 

sti'va,  L.     Neuma. 

Stock  (shtok),  G.  Bundle  of  30  strings. 
S.-fagott.  Rackett.  S.-flote.  i. 
Bamboo  flute.  2.  A  flute  in  a  walk- 
ing-stick. Stockchen  (shtek'-khen). 
Heel  (of  violin,  etc.). 

Stollen     (shtol'-len),     G.,     pi.      Vide 

STROPHE. 

stolz  (shtolts),  G.     Proud. 

stonante  (niin'-te),  /.     Dissonant. 

stone-harmonica.     Lapideon. 

stop.  I.  Loosely  used  for  (a)  draw- 
knob  and  stop-knob  and  draw-stop, 
which  only  carry  the  label  and,  by 
admitting  wind,  bring  into  play  the 
stop  proper,  (b)  A  mechanical  stop, 
which  does  not  sound  or  speak,  but 
acts  as  a  coupler,  a  bell-signal,  a 
tremulant,  etc.  Strictly,  the  sound- 
ing, or  speaking  stop  is  a  complete 
graduated  series  of  organ-pipes  of 
uniform  quality.  It  is  this  quality 
which  gives  the  stop  its  individual 
name  (as  dulciana,  cremona,  etc.). 
Stops  are  divided  into  two  chief  class- 
es,   (a)    those   with   flue-pipes,   flue- 


274 


THE    MUSICAL    GUIDE 


work,  or  flue-stops,  and  (b)  those 
with  reed-pipes  (q.v.),  reed-work, 
or  reed-stops,  flue-work  is  again 
divided,  according  to  the  character 
of  the  pipes,  into  (a)  the  cylin- 
drical open  pipes  that  give  the  diapa- 
son, or  typical  organ-quality,  also 
called  principal-stops,  or  -work  ;  (b) 
covered,  plugged,  or  stopped  pipes 
(without  chimneys),  gedackt-work  ; 
(c)  pipes  too  broad  or  too  narrow  of 
scale  to  give  diapason  tone,  3  or  4 
sided  wooden  pipes,  and  stopped 
pipes  with  chimneys. 
stops  are  further  grouped  according 
to  the  length  of  their  pipes  as  2-ft., 
4-ft.,  8-ft.,  etc.,  the  standard  being 
the  8-ft.,  or  foundation-stops,  which 
are  the  basis  of  the  organ,  and  to 
which  the  other  stops  are  tuned  (vide 
foot). 

stops  which  do  not  produce  the  uni- 
son or  the  octa\  e  of  the  key-board,  but 
sound  the  third  (tierce),  tilth  (quint) 
and  such  of  their  octaves  as  the  tenth 
(double  tierce),  fifteenth,  etc.,  are 
called  mutation-stops, 
furniture,  mixture,  or  compound 
stops  are  composed  'of  2  or  more 
ranks  of  pipes  and  produce  the  oc- 
tave of  the  key  depressed  and  also 
one  or  more  of  its  other  overtones. 
A  stop  may  have  its  pipes  divided 
between  two  draw-knobs.  If  it  has 
a  pipe  for  every  key  of  the  key-board, 
it  is  cotnplele  ;  otherwise  it  is  an  im- 
perfect,  incumplete,  partial  or  half- 
stop. 

Some  stops  are  given  only  to  the 
pedal  ;  or  to  only  one  of  the  manuals  ; 
these  are  said  to  be  on  the  pedal,  on 
the  swell,  etc.  A  solo-stop  is  one 
'  complete  enough  in  itself  to  sound  a 
melody,  stopped.  Vide  pipe. 
stop.  2.  A  fret,  or  similar  position 
on  an  unfretted  instr.  3.  The  press- 
ure of  the  finger  at  a  nodal  point 
of  a  string,  double  stop.  The  stop- 
ping, hence  sounding,  of  two  or  more 
notes  at  once  on  the  violin,  etc.  4. 
On  a  wind-instr.  the  closing  with 
key   or  finger  of  a  ventage.      5.  On 


horns,  etc.,  the  inserting  of  the  hand 
in  the  bell  to  produce  a  raised  tone  of 
muffled  quality.  Such  a  tone  is  said 
to  be  stopped,  as  opposed  to  open  or 
natural. 

Stop  fen,  G.  To  stop  (of  trumpet,  etc.). 
stopftbne  (shtopf'-ta-ne).  Stopped 
tones. 

stop-knob.     Vide  stop. 

stor  ta,  /.  A  serpent,  stortina  (te'- 
na).     A  small  serpent. 

Stosszeichen  (shtos'  -  tsl  -  khen),  G. 
Staccato  mark. 

str.     Abbr.  for  String(s). 

straccicalando  (strat-chl-ka-lan'-do), 
/.     Prattling. 

straccinato  (stra-chT-na'-to),  /.  Re- 
tarded. 

Strad.,  Stradivari,  Stradivarius,  etc. 
A  violin  made  by  Stradivari  (vide  B. 
D.),  A.D.  1650. 

strain.     Section,  motive,  theme,  air. 

strascicando  (stra-shl-kan'-do),  stras- 
cinan  do,  /.  Dragging,  playing 
slowly,  s.  I'arco.  Keeping  the  bow 
of  the  violin  close  to  the  strings  to  slur 
the  notes,  strascinato  (a'-to).  Slow. 
strascino  (stra-she'-no).  A  drag,  a 
slurring  race,  in  slow  vocal  music. 

strathspey.  A  lively  Scotch  dance, 
in  common  time,  employing  the  Scotch 
snap  freely. 

stravagante  (gan'-te),  /.  Extravagant, 
odd.  stravaganza  (gan  -tsa).  Ec- 
centricity. 

straw  flddle.  Xylophone,  because  its 
bars  are  often  laid  on  straw  cords. 

straziante  (stra-tsl-an'-te),  /.  Mock- 
ing. 

street-organ.     Hand-organ. 

Streich  (strikh),  G.  Stroke  (as  of 
a  bow),  hence  S.-instrumente. 
Stringed  instrs.  S.-quartett  String 
quartet.  S.-orchester.  The  strings 
of  the  orch.  S. -zither.  Bow-zither. 
streichen.  i.  To  draw  the  bow.  2. 
To  cut  (as  a  scene),  streichend. 
"Stringy"  (of  the  violin  quality  of 
certain  stops).  Strei'cher.  Bow- 
instr.  player(s). 

strene.     A  breve. 

streng(shtreng),  G.  Firm(ly),  strict(ly). 


DICTIONARY    OF    TERMS       275 


strepito  (stra'-pl-to),  /.  Noise,  stre- 
pito'so,    strepitosamen  le.      Bois- 

terous(ly). 

stretch.  The  interval  covered  by  the 
fingers  of  one  hand. 

stretta  (stret'-ta),  /.  A  concluding 
passage,  or  finale,  in  an  opera,  taken 
in  quicker  time  to  enhance  the  effect. 

stret'to,  sometimes  stretta,  /. ,  strette 
(stret),  F.  I.  "Compressed."  In 
fugue  a  closing  treatment  in  which 
subject  and  answer  are  so  compressed 
as  to  overlap,  s.  maestrale,  orma- 
jestrale.  A  strictly  canonic  stretto. 
alia  s.  In  strettostyle.  andante  s. 
A  slow  agitato.  2.  "  Hastened."  A 
closing  movement  at  increased  speed. 

Strich  (strlkh),  G.  Stroke,  i.  A  dash. 
2.  A  cut.  Strichart.  Manner  of 
bowing. 

strict.  Used  of  a  composition  follow- 
ing the  most  rigid  and  severe  rules. 
Vide  CANON,  FUGUE,  etc. 

strident  (stre-dan),  F.,  striden'te, 
stridevole  (da-v6-le),  /.  Sharp, 
shrill. 

striking  reed.     Vide  reed. 

string.  A  sonorous  cord  made  of  va- 
rious materials,  the  strings  of  violins, 
etc.,  being  of  gut,  or  cat-gut  (so- 
called,  although  made  of  the  entrails 
of  sheep).  Guitar,  etc.,  strings  are 
of  brass,  copper,  or  a  core  of  steel 
wire  or  silk,  sometimes  f(7Z't';V(/ (wound 
round  with  silver  or  other  wire)  ;  pi- 
ano strings  are  of  drawn  cast  steel. 
Strings  are  measured  in  thickness  by 
a  string-gauge.  "  The  strings  "  is 
a  general  term  for  the  stringed  instru- 
ments of  an  orchestra  (also  string- 
band,  etc.,  or  string  orchestra), 
s.  pendulum.  A  Weber  chronome- 
ter, s.  quartet,  i.  A  group  of  four 
instrs.  of  the  violin  species,  1st  and 
2d  violin,  a  viola,  and  'cello.  2.  All 
the  instrs.  of  these  kinds  in  the  or- 
chestra. 3.  A  composition  for  these 
4  instrs.  s.  quintet,  sextet,  etc.,  (a) 
the  string-quartet  with  addition  of 
some  other  stringed  instr.  (as  double- 
bass),  or  more  of  the  same  kind  (as 
an  extra  violin). 


The  strings  of  an  instr.  are  numbered 
beginning  with  the  highest  (or  soprano 
or  chanterelle).  stringy  is  used  of 
tone  (such  as  that  of  an  organ-stop), 
which  resembles  a  bow  and  string 
instr.).  open  strings  are  those 
which  are  not  pressed  with  the  finger, 
or   stopped.      string-organ.      Vide 

SAITENORGEL. 

stringendo  (jen-d5),  /.  Accelerat- 
ing. 

Stroh-  (shtro),  G.  Straw.  S.-bass. 
The  husky  lower  tones  of  a  bass  voice. 
S.-fiedel  (fe-del).     Xylophone. 

stroke,  i.  Vide  signs.  2.  The  rise 
and  fall  of  a  pedal. 

strombazzata  (strom-bad-za -ta), 

strombettata  (bet-ta'-ta),  /.  Sound 
of  a  trumpet,  strombettare  (ta-re). 
To  play  on  the  trumpet,  strombet- 
tiere  (tl-a'-re).     Trumpeter. 

stromentato  (ta'-to),  /.   Instrumented. 

Vide   RECITATIVE. 

stromen'to,  strumen'to  (pi.  -i),  /.  In- 
strument(s).  s.  da  fiato  (da  fl-a'-to), 
or  s.  di  vento.  Wind-instr.  s. 
d'arco  (dar'-ko).  Bow-instr.  s.  da 
cor'da.  String-instr.  s.  da  tacto. 
Key-board  instr.  s.  di  legno  (di 
metallo).  Wooden  (metal)  instr. 
s.  di  rinforzo  (for'-tso).  An  instr. 
used  to  support  or  strengthen  an  ef- 
fect. 

Stuben-orgel  (shtoo'-ben-or-gel),  G. 
Chamber-organ. 

Stuck  (shtiik),  pi.  Stucke  (shtiik-e), 
G.  Piece.  S.-chen  (khen).  Little 
tune. 

Studie  (stoo'-de),  pi.  -ien  (t-en),  G., 
studio  (stoo'-dl-o),  /.,  stu'dium,  L., 
stud  y,  E.     Vide  etude  and  piano 

STUDIES. 

Stufe  (stoo'-fe),  pi.  en,  G.  Step,  de- 
gree, stufenweise  (vl-ze).  By  de- 
grees. 

stumm  (shtoom),  G.  Dumb.  S.-reg- 
is'ter.     Mechanical  stop. 

stiirmisch  (shtiir'-mlsh),  G.     Stormy. 

Stiirze  (shtUr'-tse),  G.  Bell  (of  horns, 
etc.).  S.  in  der  Hohe  (ha-e). 
"  The  bell  turned  upwards." 

Stuttgart  pitch.     Vide  pitch. 


276 


THE    MUSICAL    GUIDE 


Stuzfliigel   (shtoots' -  flli  -  gel),    G. 

"  Babv  "  grand  piano. 
Styl  (sh'tel),  G.     Style. 
su   (soo),  /.     Above,   upon,     arco    in 

su,     Up-bow. 
suabe-flute.     A  soft  stop, 
suave  (soo-a'-ve),  /.,  suave  (swav),  F. 

Suave,      suavita     (soo-a-vl-ta'),    /. 

Suavity. 
sub,  L.     Under,  below,  beneath. 
Subbass  (soop'-bas)  C,  subbour  don. 

A  double-stopped  16  or  32  ft.  stop. 
subcan'tor.     Assistant  cantor. 
subdiapen'te.     The  5th  below. 
subdom  inant.     The  fourth  tone  of  a 

scale  or  kev. 
Subflote,  G'.     Sifflote. 
subito   (soo'-bl-t5),  /. ,  subitamen  te. 

Sudden(ly),  inimediate(ly).      volti  s. 

Turn   quickly,     p.    subito.     A    soft 

touch  immediatelv  after  a  loud. 
subject,  E.,  Subjekt (soop-yekht),  G. 

A  motive  or  theme  for  development 

usually    followed    by   an   answer,    or 

second     {secondary     or     subsidiary) 

subject,    or    counter-subject.      Vide 

FORM. 

subme'diant.  The  sixth  tone  of  a 
scale  or  key. 

suboct'ave.  i.  The  octave  below.  2. 
Coupler  producing  the  octave  below. 

subordinate.  Not  principal  or  fun- 
damental, used  of  chords  on  the  2d, 
3d,  6th,  and  7th  degrees  of  a  scale, 
.and  of  all  7th  chords  except  that  on 
the  5th  degree. 

subprin'cipai.  Below  the  pedal  dia- 
pason, a  double  open  bass  32-ft.  stop. 

subsemifu  sa,  Z.     A  32d  note. 

subsem'itone,  subsemito'nium  mo'- 
di,  L.     Leading  note. 

substitu'tion.  The  resolution  of  a  dis- 
sonance in  some  other  part  an  octave 
removed. 

substitution  (siib-stl  -  tus-yon),  F. 
Change  of  fingers. 

subton'ic.     Leading  note. 

succen'tor,  L.  i.  Subcantor.  2.  Bass- 
singer. 

succes'sion,  i.  Sequence.  2.  Pro- 
gression. 

Sufflote  (soof-fla-te),  G.     Sifflote. 


sudden  modulation.  Modulation  to  a 
remote  key  without  intermediate  har- 
mony. 

suffocato  (soof-fo-ka'-to),  /.  "  Suffo- 
cated," muffled. 

sugli  (sool-ye),  sui  (soo-e),  /.  Vide  sul. 

suite  (swet),  F.,  or  suite  de  pieces 
(dii  pl-es').  A  set  or  series  of  pieces. 
Originally  a  group  of  dances,  the  s. 
has  followed  the  line  deserted  by  the 
sonata.  Strictly  it  is  a  cycle  series  of 
classic  dance-forms  in  one  key.  The 
number  varies  from  three  to  five,  often 
with  a  prelude.  The  dance-forms 
are  chosen  from  the  following  :  alle- 
mande,  courante,  sarabande,  bouree, 
gigue,  gavotte,  minuet,  passepied, 
loure,  anglaise,  polonaise,  pavane. 
The  allemande  is  usually  first,  the 
gigue  last ;  the  first  dances  named 
were  the  regular  constituents,  the 
others  being  called  intertnezzi.  The 
modern  suite  aims  chiefly  at  lightness 
even  when  extended  to  the  orchestra, 
and  great  liberty  is  now  taken  with 
keys  and  forms. 

suivez  (swe-va),  F.  "Follow"  (the 
soloist) ;  continue  similarly. 

sujet  (sii-zha),  F.     Subject. 

sul  (sool),  suir,  sulla  (sool'-la),  /.  On 
the,  near  the,  as  sul  a.  On  the  a 
string,  sulla  tastiera.  Near  the 
finger-board  (of  bowing),  sul  ponti- 
cello.     Near  the  bridge. 

suma'ra.     A  two-piped  Turkish  flute. 

summational  tones.  Vide  result- 
ant. 

sumpun'jah,  Heb.     Sambuca. 

sumsen  (zoom'-zen),  G.     To  hum. 

suonare  (soo-o-na'-re),  /.  To  play, 
sound,  ring,  suonata  (soo-o-na'-ta). 
Sonata.  suonatina  (te'-na).  So- 1 
natina. 

suono  (soo-o'-no),  /.  Sound.  suo'nlJ 
armonichi  (ar-mo'-nl-ke).  Harmo-] 
nics. 

su'per,  L.     Over,  above. 

superano  (soo-per-a'-no),  Sp.  Soprano,  i 

superdom'inant.  The  6th  tone  in  the! 
scale. 

superfluous,  E.,  superflu  (su-per-, 
flu),  F.     Augmented. 


DICTIONARY    OF    TERMS       277 


am 


supe'rius,  L.  Higher,  i.  e.,  the  high- 
est part. 

superoc'tave.  i.  The  octave  above, 
2.  A  stop  two  octaves  above  the  dia- 
pasons. 3.  Coupler  producing  the 
octave  above. 

superton'ic,  E.,  supertonique  (sti- 
per-ton-ek'),  F.  The  second  tone  of  a 
scale. 

supplican'do,  supplichevole  (soop- 
pll-ka'-vo-le),  supplichevolmen'te, 
/.      Pleading(ly),  appealing(ly). 

support'.  Accompaniment,  reinforce- 
ment. 

supposed  bass.  The  lowest  note  of 
an  inverted  chord  (q.  v.). 

sur  (soor),  /. ,  sur  (siir),  F.  On,  upon, 
over,  sur  une  corde.  On  one  string. 

surabondant(es)  (sur-a-b6n-dan(t)),  F\ 
Used  of  triplets,  quintoles,  etc. 

suraigu  (siir-e-gii),  F.     Over- acute. 

surdelina  (soor-da-le'-na),  /.  Small 
bagpipe. 

surprise,  i.  Vide  cadence.  2.  Name 
of  Haydn's  6th  symphony  with  an  un- 
expected crash  breaking  in  on  a  long, 
soft  movement. 

susdominante  (su-),  F.  Superdomi- 
nant. 

suspended  cadence,  i.  Vide  ca- 
dence.    2.  Vide  SUSPENSION. 

SUSpen'sion.  i.  The  holding  back  of 
one  note  of  a  chord  with  the  result 
that  it  causes,  with  the  following 
chord,  a  clash  that  earnestly  demands 
its  progress  to  the  destined  note  in 
which  it  will  find  resolution  (q.  v.). 
2.  The  note  so  suspended.  A  s.  may 
be  unp}-epared,  that  is,  it  may  be  the 
only  note  of  a  group  that  is  not 
proper  to  a  sudden  chord,  s.  may 
be  double  or  triple,  by  occurring  in 
more  than  one  note  of  a  group  at 
once. 

suspir'ium,  Z.  i.  A  quarter  rest.  2. 
More  anciently,  a  half-rest. 

sUss  (zus),  G.  Sweet(ly).  Sussflote. 
A  soft  flute-stop. 

Su(s)surando  (soo(s)-soo-ran'-d6) , 
su(s)surante  (ran'-te),  7.  Whisper- 
ing, murmur,  sussura'tion,  E.  A 
soft  murmur. 


sustain.  To  hold  a  note  during  its 
full  time-value  ;  to  perform  in  legato 
manner,  vide  also  pedal-point.  Vide 

PEDAL. 

svegliato  (sval-ya'-to),  I.     Lively. 

svelto  (svel'-to),  /.     Light,  easy. 

sw.     Abbr.  of  Swell-organ. 

swell.  I.  Gradual  increase  (and  de- 
crease) of  sound.  2.  The  device  for 
increasing  and  diminishing  a  sus- 
tained tone  on  an  organ,  hence 
swell-organ,  and  swell  key-board. 
Part  of  an  organ  (the  swell-organ), 
is  surrounded  by  a  swell-box,  the 
front  of  which  is  filled  with  Venetian 
swell-blinds  (Jalousie,  C),  opened 
or  closed  by  a  lever  worked  by  a 
swell-pedal.  In  old  organs,  there 
was  but  one  shutter  (nag's-head 
swell)  ;  in  harpsichords  the  cover 
moved. 

Sylbe  (zel'-be),  G.     Syllable. 

syllabic,  E.,  syllabisch  (zel-lap'- 
Ish),  (7.,  syllabique  (sel-lab-ek),  F. 
Of  an  air  in  which  each  syllable  has 
its  own  note. 

syllable-names.  Do,  re,  mi,  etc.,  as 
opposed  to  letter-iia?)ies,  C,  d,  e,  etc. 

Vide   SOLMISATION. 

sym'bal.     Cymbal. 

sympathetic.  Of  strings,  etc.,  which 
are  made  to  sound  by  sympathetic 
vibration  (q.  v.),  and  strengthen  some 
other  tone  by  unison  or  by  sounding 
some  overtone. 

symphone'ta,  L.     Polyphony. 

sympho'nia,  Gr.  i.  Agreement.  2. 
Hurdygurdy.     3.   A  symphony. 

symphoii  ic,  E.,  symphonique  (san- 
fo-nek),  7".,  symphonisch  (zem-fo'- 
nKsh),  G.  Pertaining  to  or  relating  to 
the  symphony,  symphonic  poem, 
poeme  s.  (p6-em'  san-fo-nek),  F., 
sympho'nische  Dichtung  (dlkh- 
toongk),  G.  A  composition  of  sym- 
phonic demands  on  orchestra  and  in- 
telligence, but  not  built  on  the  sonata 
form  and  rather  descriptive  than 
thematic.  The  name  was  first  given 
by  Liszt  to  some  of  his  best  works. 

Symphonic  (san-f6-ne  in  F.,  in  G. 
zem-fo-ne).     i.   Symphony.     2.  Con- 


278 


THE    MUSICAL    GUIDE 


cord.  3.  Instrumental  accompani- 
ment. 4.  .String-band,  5.  Orchestra. 
Symphonie-Ode  (6  -de),  G.  Choral 
symphony. 

sympho'nion.  i.  A  combination  of 
flute-stop  with  piano,  inv.  by  Kauf- 
mann.  2.  .\  music-bo.x  with  inter- 
changeable disk  in  place  of  a  cylin- 
der. 

sym'phonist,  symphoniste  (sah'-fo- 
nest  ), /•".,  Sympho  niker,  sympho- 
niensessr  (zcm-fo'-ni-en-za -zer),  G. 
A  composer  of  symphonies  ;  in  F. 
also  a  church-composer,  or  member 
of  an  orchestra. 

sympho  nious.     Harmonious. 

sym  phony,  Symphonic  (in  F.  sSn-fo- 
ne  ,  in  G.  zem-fo-ne).  I.  A  sonata 
for  orchestra  with  all  the  elaboratjan 
gjiiLextensiun  permitted  by  the  larger 
resources.  Beethoven  (and  follow- 
ers of  him)  even  added  a  chorus, 
hence  choral  symphony.  Historically 
founded  on  the  overture,  Haydn,  the 
father  of  tfe  sonata  (q.  v.),  established 
the  form,  which  has  survived  with 
minor  substitutions  (as  in  the  sonata) 
till  now.  2.  In  E.  and  elsewhere  the 
instrumental  pre-,  inter-,  and  post- 
ludes,  of  vocal  composition.  3.  Old 
name  for  hurdygurdy,  etc. 

sympo  sia.     Convivial  compositions. 

syn  copate.     To  perform  syncopation. 

syncopato  (sln-k6-pa'-t6),  /.,  Synco- 
pated. 

syncopation,  E.,  syncopa'tio,  Z., 
syncope  (san-kop  in  /•■.,  in  G. 
zen  -ko-pe).  A  pleasantly  confusing 
rhythmic  "intersection"  caused  by 
suppressing  a  natural  accent  or 
strong-beat,  or  moving  it  from  its 
natural  place  to  a  weak  beat,  usually 
by  means  of  tie-ing  over  a  note 
on  a  weak  beat  across  the  time 
belonging  to  a  strong  beat.  The 
note  so  prolonged  is  said  to  be  syn- 
copated. In  piano-music^  only  one 
hand  usually  has  the  syncopation. 

Synkope  (zeii'-ko-pe),  G.  Syncopation. 
synkopi(e)ren  (pe'-ren).  To  synco- 
pate. 

synnem  enon.     Vide  modes. 


synonyme  (se-no-nem),  F.  Homo- 
phone. 

synton  ic.     Vide  comma. 

syntonolyd  ian.     Hypolydian. 

syren.     Siren. 

syrinx,  Cr.,  syringe  (se-ranzh),  F. 
I.  Pandean  pipes.  2.  A  portion  of  a 
hymn  to  .\pollo  sung  by  candidates 
for  Pythian  prizes. 

sys  tern  (in  G.  zes'-tam).  i.  A  group  of 
staves.     2.   In  G.  a  stafT. 

syste  ma,  Gr.  i.  A  tetrachord,  or 
other  interval.  2.  In  /,.  StafT.  3. 
Hexachord  series.     Vide  modes. 

syst^me  (ses-tem),  F.  i.  All  musical 
tones.      2.   Compass. 

syzygia,  Gr.  and  L.  A  chord,  s. 
perfecta,  or  simplex.  Triad,  s. 
composita.  Triad  with  a  tone  doub- 
led, s.  propin  qua  {remo  to).  Close 
(open)  chord. 

szopelka  (sho-pel'-ka).  Russian  oboe 
with  brass  mouthpiece. 


TAbbr.  of  Talon,  Tasto,  Tempo, 
Teitor,   Toe,   Tre,   Tutli. 
tabal'lo,  /.     A  kettle-drum. 
tabar  (ta-bar),  /.,  tabarde, 
tab'arte,     Old  E.     A  tabor. 

tabl.     Egyptian  drum. 

tablatura  (tab-la-too'-ra),  /.,  tabla- 
ture  (ta-bla-tlir),  /=". ,  tablature  (tab'- 
la-tijr),  E.,  Tabulatur  (ta-boo-la- 
toor ),  G.  I.  The  Tonic  Sol-fa 
notation.  2.  The  rules  of  poetic  and 
musical  composition  established  by 
the  Meistersinger.  Vide  "  stories  of 
THE  OPERAS."  3.  An  early  form  of  no- 
tation from  which  our  present  system 
got  its  vertical  character,  the  bar  and 
the  tails  of  its  notes.  Old  tablature 
had  many  forms.  In  lute-tablature 
the  French  and  English  used  letters, 
the  Italians,  numerals,  designating  the 
frets  to  be  touched  on  the  lute. 
These  were  written  on  a  staff  with  as 
many  lines  as  the  instr.  written  for 
had  strings  ;  beneath  were  stems  with 
tails,  indicating  the  time-value  of  th^ 


DICTIONARY    OF    TERMS       279 


notes  ;  these  tails  represent  our  mod- 
ern values  except  that  our  whole  note 
(their  semibreve)  had  a  stem  like  that 
of  our  half-note  ;  our  half-note  (their 
minima)  had  the  tail  of  an  eighth 
note  ;  our  %  note  (semiminima)  a 
double-hooked-stem,  our  ^g  note  (fusa) 
three  hooks,  our  --^f,  note  (semifusa) 
the  tail  of  a  64th  note.  The  hooks 
of  consecutive  notes  were  often  run 
together  in  thick  lines  as  in  our  music. 
organ  (or  German)  t.  was  used 
for  key-board  instrs.,  and  employed 
the  letter-names  of  the  notes,  the 
melody  being  marked  on  a  staff  with 
chord-accompaniment  in  vertical  rows 
of  letters  beneath. 
table  d'harmonie  (tab!  dar-mo-ne),  F. 

1.  A  table  of  chords,   intervals,  etc. 

2.  Sound-board. 

table  d'instruraent  (tibl  dan-stru- 
man),  F.     Belly. 

table- music,  i.  Part-songs.  2.  Music 
printed  so  that  singers  at  opposite 
sides  of  a  table  could  read  it. 

tabor,  taboret',^.,  tabourin(ta-boo- 
raii),  F.,  tab  ret.  A  small  drum  ;  a 
tambourine  without  jingles. 

ta'cet,  pi.  fca'cent,  Z.,  tace  (ta'-che), 
pi.  taci  (ta'-che),  taciasi  (ta-chl-a'- 
sl),  /.  "  Be  silent  !  "  as  oboe  facet,  let 
the  oboe  be  silent. 

tac^tus,  L.  The  stroke  of  the  hand  or 
baton  in  conducting. 

Tafel  (ta'-fel),  G.  Table.  T.-formiges 
(fer-mlkh-es)  klavier,  or  T.-kla- 
vier.  Square  piano.  T.-musik  (moo- 
zek).      I.    Music  sung  at  a  banquet. 

2.    Vide  TABI.E-MUSIC. 

tail.  Stem,  tail-piece.  The  wooden 
brace  which  holds  the  strings  of  vio- 
lins, etc.,  below  the  bridge. 

taille  (ti'-yii),  A".  I.  Tenor.  2.  Viola, 
also  t.  de  violin,  t.  de  basson.  Oboe 
da  caccia. 

takigo'to.     I.  Japanese  dulcimer. 

Takt  (takt),  G.    i.  Time.    2.  Measure. 

.  3.  Beat,  im  T.  In  time,  ein  T. 
wie  vorher  zwei.  Double  the  for- 
mer time.  T, -accent.  Primary  ac- 
cent. T.-art.  Species  of  time,  as 
duple  or  triple.     T.-erstickung  (er- 


shtlk-oongk).  Syncopation.  T.-fach 
(fakh).  Space.  T.-fest.  Steady  in 
keeping  time.  T.-glied  (glet).  Meas- 
ure-note. T.-fiihrer  (fu'-rer).  Con- 
ductor ;  leader.  T.-halten.  To 
keep  time.  takti(e)ren  (tjik-ter'-en) 
or  t.-schlagen.  To  beat  time.  T.- 
linie  (line),  T.-strich  (strlkh). 
Bar-line,  t.-massig  (mes-slkh).  In 
time.  T.-messer.  Metronome.  T.- 
note.  Whole  note.  T. -pause.  Whole 
rest.  T. -stock.  Baton,  guter  T.- 
teil.  Strong  beat,  schlechter  T.- 
teil.  Weak  beat.  T.-vorzeichnung, 
or  Taktzeichen  (tsT-khen).  Signa- 
ture. 

talabalac'co,  /.      Moorish  drum. 

ta'lan.      Hindu  cymbals. 

talon  (ta-16n),  Z'.  Heel.  i.  Of  a  bow. 
2.   Of  the  foot. 

tambour  (tan-boor),  F.  i.  Drum.  2. 
Drummer,  t.  de  basque  (du  bask). 
Tambourine,  t.  chromatique.  Tim- 
balarion.  t.  roulante  (roo-lant). 
Long  drum.  t.  major  (ma-zhor). 
Drum-major. 

tamb(o)u'ra.  An  ancient  instr.,  used 
in  the  East,  like  a  guitar,  struck  with 
a  plectrum. 

tambouret  (tan-boo-ra),  F.,  tambou- 
rine (tam'boo-ren),  E.,  Tambourin 
(tam-boo-ren'),  G.  i.  A  small  drum, 
with  little  bells  (called  jint^/es)  pivoted 
in  the  rim.  Notes  with  waved  stems 
indicate  a  roll ;  notes  with  vertical 
lines  above,  call  for  the  jingles. 
tambourineur  (nur),  F.  Tambou- 
rine-player. 

tambourin  (taii-boo-ran),  F.  i.  A  tam- 
bourine without  jingles.  2.  A  lively 
dance  in  2-4  time  with  t.  accompani- 
ment. 

tamburaccio  (tam-boo-rat'-cho),  /.  A 
large  drum,  tamburel'lo,  tambu- 
ret'to,  /.    I.   Tabor.     2.   Drummer. 

tamburino  (tjim-boo-re'-no),  /.  i. 
Drummer.      2.    Tambourine. 

tamburo  (tam-boo'-r5),  /.     Side-drum. 

tamburone  (tam-boo-r5'-ne),  /.  The 
great  drum. 

tamis  (ta-me'),  F.      Pipe-rack. 

tamtam',     i.   Indian  drum.    2.  Gong. 


28o 


THE    MUSICAL    GUIDE 


Tanbur  (tan-boor'),  G.     Tamburo. 

tandelnd  (ten'-delnt),  G.  Playful,  tri- 
fling. 

tangent,  E.,  Tangente  (tan-jen'-te), 
G.  Vide  CLAVICHORD.  Tangen- 
tenfliigel.  A  "  wing-shaped  "  clav- 
ichord. 

tantino  (tan-te'-no),  /.     A  little. 

tanto  (tjin'-to),  /.  So  much  ;  as  much  ; 
but  allegro  non  t.  Not  too  quick. 
allegro  t.  possibile.  As  fast  as  pos- 
sible. 

Tan'tum  ergo,  L.  "  So  much  there- 
fore." A  hymn  sung  at  the  Benedic- 
tion in  the  R.  C.  service. 

Tanz  (tants),  6".,  pi.  Tanze  (ten'-tse). 
A  dance.  Tanzer  (ten'-tser).  A 
dancer.  Tanzerin  (t^n'-tse-rln).  A 
female  dancer.  T.-lied  (let).  Dance- 
song.  T.-musik,  or  T.-stiick 
(shtuk).     Dance-tune. 

tap.  A  single  note  on  the  drum.  taps. 
The  last  militar}'  signal  at  night.  It 
is  also  used  at  the  funeral  of  a 
soldier. 

tapada  (ta-padh'-a),  Sp.  Stop,  tap- 
adillo  (dhel'-yo).     Ba.xoncillo. 

ta'rabouk.  Instr.  used  by  Turks,  a 
parchment  over  the  bottom  of  a  large 
earthen  vessel. 

tarantella  (ta-ran-tel'-la),  tarentelle 
(tXr-ah-tel),  F.  Perhaps  of  Taren- 
tine  origin,  but  claimed  to  be  derived 
from  the  tarantula,  two  explanations 
being  given,  one  that  the  bite  of  the 
spider  incites  a  mania  for  dancing  ;  a 
more  probable  one  that  the  fatal  ef- 
fects of  the  poison  find  an  antidote  in 
violent  e.xercise.  The  dance  is  a  wild 
presto  in  3-8  or  6-8  time,  with  increas- 
ing frenzy  and  alternatingly  major  and 
minor. 

tarau,  theyau  thro.  Burmese  violin 
with  3  silk  strings. 

tar'do,  tardato  (tar-da-to),  tardan- 
do,  tardamen'te,  /.     Slow(ly). 

Tartini's  tones.  Resultant  tones, 
first  observed  by  Tartini.  (Vide  B.  D.). 

Taschengeige  (tash'-^n-gl-khe),  G. 
Kit. 

tasseau  (tas-so),  F.  The  mould  on 
which  violins  are  built, 


tastame  (tas-ta'-me),  /.,Tastatur(tas- 
ta-toor),  G.,  tastatura  (tas-ta-too'- 
ra),  /.,  tastiera  (tas-tl-a'-ra), /.  Key- 
board ;  finger-board,  sulla  tastiera. 
Near  the  finger-board  (of  a  vln.). 

Taste  (tas'-tc),  G.  The  touch,  hence 
a  key.  Tas'tenbreit.  Key-board. 
Tastenstabchen  (step-khen).  Fret. 
Tastenschwanz  (shvants).  Ex- 
tremity of  key-board.  Tastenwerk. 
A  keyed  instrument. 

tasto  (tas'-to),  /.  I.  Touch.  2.  Key. 
3.  Fret.  4.  Finger-board.  sul  t. 
"  Near  the  finger-board."  t.  solo. 
"  One  key  alone,"  a  note  to  be  played 
without  other  harmony  than  the  oc- 
taves. 

tatto  (tat'-t5),  /.     Touch. 

tattoo'.  The  drum-beat  at  night  re- 
calling soldiers  to  quarters  for  sleep. 
It  precedes  taps  (q.  v.). 

tche  (che).  A  Chinese  stringed  instru- 
ment. 

te.  Tonic  Sol-fa  name  for  the  7th  tone 
si. 

te  (ta),  F.     C  sharp. 

technic(s)  (tek'-nTk(s)),  E.,  Technik 
(tgkh-nek),  G.,  technique  (tek-nek), 
F.  The  mechanical  side  of  musical 
performance,  including  dexterity,  ve- 
locity, distinctness,  shading  as  op- 
posed to  the  poetical  or  interpreta- 
tive side.  The  means,  not  the  end, 
of  a  properly  balanced  musical  ambi- 
tion. 

tech'nicon.  A  device  for  training  the 
fingers,  inv.  by  J.  Brotherhood,  1889. 

tech'niphone.  First  name  of  the  Vir- 
gil Practice-Clavier. 

technisch  (tekh'-ntsh),  G.  Technical, 
used  to  indicate  proficiency. 

tedesco  (-a)  (te-des'-ko),  /.  German, 
alia  t.  In  the  German  style,  in  waltz- 
rhythm,     lira  t.     Hurdygurdy. 

Te  De  um  Lauda'mus,  L.  "Thee, 
Lord,  we  praise,"  a  hymn  attributed 
to  St.  Ambrosius.     Vide  MAS.S. 

Teil  (til),  G.     Vide  theil. 

tel'ephone-harp.  An  instr.  for  trans- 
mitting music  by  telephone. 

telltale.  An  indicator  of  wind-press- 
ure. 


DICTIONARY    OF   TERMS       281 


tema  (ta'-ma),  /.  Theme;  subject; 
melody. 

temperament,  E.,  temperament 
(tan-pa-ra-miin),  F.,  temperamen- 
to,  /.  A  method  of  tuning,  repre- 
senting the  triumph  of  practice  over 
theor)' ;  of  art  over  science.  It  is  a 
system  of  compromise,  whereby,  for 
practical  musical  purposes,  the  octave 
is  divided  into  twelve  intervals,  none 
of  which  is  quite  true.  In  the  pres- 
ent piano,  and  similar  instrs.  the 
tones  ct,  and  r/b,  for  example,  are 
identical,  and  are  given  the  same 
string  and  digital.  As  a  matter  of 
acoustical  fact  there  is  a  difference 
between  them.  If  they  were  given 
different  digitals  and  tuned  exactly, 
the  present  freedom  of  modulation 
from  one  key  to  another  would  be 
impossible  without  some  elaborate 
device,  and  the  piano,  organ,  etc., 
would  need  a  greatly  increased  fin- 
ger-board, with  53  digitals  to  the  oc- 
tave instead  of  12  as  now.  The 
present  tuning  was  not  reached  with- 
out a  war  of  the  bitterest  sort ;  but 
since  the  iSth  century  began,  only 
12  degrees  have  been  given  to  the 
octave.  The  earliest  method  was 
unequal  temperament,  the  key  of 
C  major  being  tuned  true,  and  the 
other  tones  forced  to  conform.  In 
the  twelve-semitone  system,  the 
octave  was  divided  into  twelve  equal 
parts,  no  interval  being  quite  true. 
The  mean-tone  system  had  the  ma- 
jor thirds  tuned  true,  the  intermediate 
space  being  divided  into  two  equal 
intervals  ;  this  system  produced  much 
discord  called  the  -luolf.  equal  tem- 
perament is  now  generally  em- 
ployed ;  it  is  the  practice  of  tuning  by 
fifths.  A  series  of  twelve  fifths  be- 
ginning with  c  lacks  only  74/73  of  form- 
ing a  perfect  seven  octaves ;  by  dividing 
this  slight  discrepancy  equally  among 
the  12  fifths,  the  circle  of  fifths  is 
tempered  and  made  perfect  ;  thus  in 
major  C-G-D-A-E-}>-F#-  (or  Gb)- 
Db-Afe-El2-D&  F-  C  (Btt);  in  minor 
a-e-b-f«-c#-g#-cl#  (or  eb)-bk-f-c-g- 


d-a ;  and  one  can  modulate  by 
means  of  dominant  harmony  (chords 
on  the  fifths)  through  the  whole  suc- 
cession of  keys  with  almost  imper- 
ceptible acoustic  falsehood.  It  is  this 
great  convenience  and  simplicity  of 
Equal  Temperament  that  has  pre- 
vented thus  far  the  acceptance  of  any 
of  the  many  instruments  invented 
with  the  rival  method  of  just  intona- 
tion. Nevertheless  the  music  we 
know  and  enjoy  has  no  perfect  inter- 
vals except  the  octave  ;  the  fifths  are 
a  I2th  of  a  comma  flat ;  the  fourths  a 
I2th  of  a  comma  sharp  ;  the  major 
thirds  ^th  of  a  comma  sharp,  etc. 

Temperatur  (tam-pe-rii-toor'),  G. 
Temperament. 

tempesto'so,  tempestosamen'te. 
Tempestuous(ly),  furious(ly). 

tempete  (tiih-pet),  F.  "Tempest." 
A  boisterous  quadrille  in  2-4  time. 

tempo,  /.  "Time."  i.  Rate  of 
speed,  ranging  from  the  slowest  to 
the  fastest,  thus  Grave,  largo,  lento, 
adagio,  andante,  moderato,  allegro, 
presto,  prestissimo.  2.  Rhythm, 
measure.  3.  Beat,  a  tempo.  In  exact 
time  (usually  appearing  after  retarda- 
tion), t.  primo  (or  imo),  or  pri- 
miero.  Original  speed.  t.  alia 
breve  (bra'-ve).  Vide  breve,  t.  a. 
piacere,  or  senza  t.  The  time  at 
pleasure,  t.  bina'rio  (terna'rio). 
Duple  (triple)  time.  t.  como'do. 
Convenient,  moderate  time.  t.  de- 
bole  (da'-b5-le).  Weak  beat.  t.  di 
ballo.  Dance-time.  t.  di  bolero, 
gavot'ta,  mar'cia,  etc.  In  the  time 
of  a  bolero,  gavotte,  march,  etc.  t. 
di  cappel'la.  In  the  Church-time. 
Vide  BREVE,  t.  di  prima  par'te. 
In  the  same  time  as  the  first  part. 
t.  forte.  Strong  beat.  t.  giusto 
(joos'-to).  In  strict  time.  I'istesso 
(or  lo  stesso),  t.  Continue  at 
"the  same  speed."  t.  maggiore 
(mad-jo'-re).  Vide  breve.  t.  mi- 
no're,  or  t.  ordina'rio.  i.  Common 
time,  4  beats  to  the  measure.  2. 
The  original  time  of  the  piece,  t. 
perdu'to.  "  Lost,"  unsteady  time.  t. 


282 


THE    MUSICAL    GUIDE 


reggiato  (red-ja-to),  same  as  colla 
parte,  t.  rubato.  Vide  rubato. 
T.  wie  vorher  (ve  for-har),  G.  Same 
time  as  before. 

tempo-mark,  Tempo-Bezeichnung 
(be-tsTkh'-noongi<),  G.  A  word  or 
phrase  indicating  the  standard  or  unit 
of  time  for  a  composition,  as  andante  ; 
or  indicating  some  deviation  from 
this  unit,  as  meno  mosso. 

temporiser  (tah-por-I-za),  F.  In  an 
accompaniment,  to  follow  the  soloist's 
time. 

temps  (tan),  F.  I.  Time.  2.  Beat, 
t.  faible  (febl),  or  Iev6  (lu-va). 
Weak  beat.  t.  fort  (for),  frapp6 
(frap-pa ).     Strong  beat. 

tem'pus,  L.  Time,  i.  e.,  of  the  breve, 
t.  perfec'tum  (marked  O).  That  in 
which  the  breve  equalled  3  semi- 
breves,  t.  im  perfectum  (marked 
(  ).  That  in  which  it  equalled  2 
semibreves.  t.  bina  rium  (or  terna- 
rium).     Duple  or  triple  time.     Vide 

NOTATION. 

tenete  (te-na'-td),  /.     Hold. 

Ten'ebrae,  L.  "  Shadows,  Darkness"  ; 
R.  C.  Evening  Service,  during  Holy 
Week,  in  commemoration  of  the 
Crucifixion,  the  candles  being  extin- 
guished one  by  one. 

tenen'do,  /.  Sustaining  (as  the  melody). 

tenero  (ta'-ne-ro),  tenero'so,  tenera- 
men  te,  /.  Tender(ly).  tenerez- 
za  (ta-ne-red'-za).     Tenderness. 

teneur  (tu-nur),  F.  Canttts  Jirmus  of 
a  hymn. 

tenor  (in  G.  ta-nor'),  t6nor  (ta-nor),  F. 
tenore  (ta-no-re),  /.  i.  The  high- 
est male  voice  produced  "in  the 
chest."  Vide  soprano.  (a)  The 
more  powerful  tenor  is  almost  a 
barytone  and  is  called  dramatic 
(Heldentenor ),  teno  re  robus'to,  or 
di  mezzo  carrattere  (de  med'-z6  ka- 
rit-ta'-re),  or  di  forza  (de  for'-tsa). 
Compass  c-b'  (&).  The  more  light 
and  flexile  tenor  is  called  lyric, 
lyrischer  (ler-tsh-er).  T.  tenore  leg- 
giero  (led-ja-ro),  16gier  (la-zha),  or  di 
grazia  (de  grats'-ya).  Compass  d-c", 
sometimes  higher.     2.  The  part  cor- 


responding to  the  tenor  voice  in  com- 
pass. 3.  The  highest  of  a  chime  of 
bells.  4.  The  viola,  as  tenor  violin. 
5.  As  a  prefix  for  instrs.  of  tenor 
range  ;  e.  g.,  tenor  trombone  {Tenor- 
posaune),  etc.  6.  tenor  C  is  an  oc- 
tave below  mid-c.  7.  tenor-clef, 
Tenor-schliissel  or  -zeichen,  the 
C  clef  on  the  fourth  line.  8.  The  low- 
est string  of  the  viola.  9.  In  Grego- 
rian music,  the  principal  melody  taken 
by  a  medium  male  voice,  above  which 
sang  the  counter-  or  contra-tenor, 
or  the  alius  or  alto.  10.  In  mediae- 
val music,  (a)  fermate,  (b)  ambitus, 
(c)  tone  of  a  mode  of  the  evovae. 
tenorino  (ta-no-re'-no),  /.  Falsetto 
or  castrato  tenor.  Tenorist  (ten- 
o-rest),  C,  tenorista  (tan-o-res- 
ta), /.,  t^noriste  (ta-n5-rest),  y^.  A 
tenor-singer. 

tenoroon'.  1.  Old  tenor  oboe,  compass 
downward  to  tenor  C.  2.  A  stop 
that  does  not  go  below  E. 

tensile.  Applied  to  stringed  instru- 
ments. 

tenth.  I.  An  interval  of  an  octave 
and  a  third.  2.  A  stop  a  tenth  above 
the  diapasons.     3.   Decima. 

tenu(e)  (tu-nu),  /'.,  tenuto  (ta-noo'-to), 
/.  "Held."  I.  Sustained.  2.  A 
sustained  note  or  pedal-point.  3. 
Legato.  4.  Constantly,  as  forte  t. 
PI.  tenute  (note). 

t^orbe  (ta-6rb),  /'.     Theorbo. 

teoretico  (ta-6-ra'-tI-k6),  /.  Theoret- 
ical. 

teoria  (ta-6-re'-a),  /.     Theory. 

tepidita  (ta-pe-dl-ta),  /.  Indifference, 
lukewarmth.  tepidamen'te.  Calmly. 

teponaz'tli.  An  Aztec  drum  still  used 
in  Central  America  ;  a  log  about  a 
yard  long,  hollowed  from  below,  then 
cut  through  till  two  tongues  of  wood 
are  left.  These  sound  an  interval  ; 
when  struck  with  padded  sticks. 

ter  (ter),  L.  Thrice,  three  times  (of  a 
passage  to  be  repeated  twice).  ter 
un'ca.  "Three-hooked";  i6th  note. 
ter  sanctus.  "  Thrice  holy,"  refer- 
ring to  the  "Holy,  holy,  holy,"  of 
the  Te  Deum, 


DICTIONARY    OF   TERMS       283 


terce.      i.    Tierce.      2.    Vide    hor,-e 

CANONIC.C. 

tercet  (ter-sa),  F.     Triplet. 

ternaire  (ter-nar),  F.,  ternario  (t^r- 
na'-rl-6),  /.,  ternary,  E.  Triple, 
three-fold,  ternary  form.  Rondo- 
form,  ternary  measure.  Triple 
time. 

terpo'dion.  i.  An  instr.  inv.  1816  by 
Buschmann,  resembling  the  harmo- 
nium, the  tone  being  produced  from 
sticks  of  wood.     2.   An  8-ft.  stop. 

Terpsichore  (terp-slk'-6-re).  The  muse 
of  dance  and  song. 

ter'tia,  Z.,  Terzia  (ter'-tsl-a),  G.  i. 
Third,  tierce,  tertia  modi.  The 
3d  degree.  2.  A  stop  sounding  a 
third  or  tenth  above. 

tertian  Zweifach  (ter-tsT-an  tsvl'- 
fakh),  G.  A  stop  combining  tierce 
and  larigot. 

Terz  (terts)  (pi.  en),  6^..terzo(-a)  (ter'- 
ts5),  /.  I.  Third,  (a)  the  interval, 
(b)  in  number.  2.  Tierce,  terzo 
mano.  Octave-coupler,  terzadec- 
ima,  Terzde  zime.  A  13th.  Terz- 
quart  akkord,  or  Terzquartsext- 
akkord,  6-4-3  chord.  (Vide  chord.) 
Terzquintsext'akkord,  6-5-3 
chord.  (Vide  chord.)  Terztone. 
Tierce-tones.  Terzflote.  1.  Small 
flute,  a  minor  third  above.  2.  A 
stop. 

Terzdecimole  (da-tsT-mo'-le).  A  group 

!    of  thirteen  equal  notes. 

Terzett  (ter-tset'),  G.,  terzetto  (ter- 
tsSt'-td),  /.     A  trio. 

terzina  (ter-tse'-na),  /.     A  triplet. 

tessitura  (tes-st-too'-ra),  /.,  tessiture 
(tes-sl-tur),  E.  "  The  web."  The 
general  "  lie"  of  a  song  or  phrase — 
its  average  pitch,  whether  high  or 
low. 
".es'ta,  I.     Head,     di  t.     In  the  head 

as  the  voice, 
■.esto  (tes'-to), /.    "Text."    i.  Subject, 

or  theme.     2.  The  words  of  a  song. 
;estu'do,  Z.     "Tortoise."     The  lyre. 
ete  (tet  not  tat),  F.    Head,  of  a  note  ; 
of  a  vln.,  etc. 

et'rachord,  E.,  tetrachorde  (tet-ra- 
kord),  F.,  tetracordo,  /.     i.  A  4- 


stringed  instr.  2.  The  interval  of  a 
fourth.  3.  The  4  diatonic  tones  of 
a  perfect  fourth.  (Vide  modes.)  tetra- 
chordal  system.  Original  form  of 
Tonic  Sol-fa. 

tetrachor'don.       A    small    piano-like  i 

instr.  with  a  rubber  cylinder,  imping- 
ing on  strings. 

tetrato'non,  Gr.,  tet'ratone.  An  in- 
terval of  four  whole  tones. 

tet'rad.     Chord  of  the  seventh.  \ 

tet'radiapa'son.  Interval  of  4  oc- 
taves. 

tet  raphone.     Tetratone.  | 

tetrapho'nia.     Organum  in  4  parts.  ' 

T(h)eil  (til),  G.    Part.  T.-ton.  Partial  I 

tone. 

the'ma,     Gr.,    Thema    (ta'-ma),     G., 
theme  (tem),  F.,  theme,  E.  Loosely, 
the  general    idea   of   a    composition. 
Strictly,   the    structural  molecule,  of 
which  motive  or  subject  and  answer 
are    the    component     atoms.       The 
theme  of  a  "  theme  with  variations," 
temacon  variazioni,  is  an  extended 
air.     Such  a  work  as  a   sonata    has 
contrasting  themes  which  are  devel- 
oped,    themat  ic  treatment  refers  1 
to    the  contrapuntal    handling  of   a  ' 
musical  design  as  opposed   to  a  lyric             ' 
treatment,    though    the    theme    itself 
may  be  lyric  in  nature. 

Theorbe  (te-6r-be),   C,  th^orbe  (ta- 

orb),    F.,    theorbo    (the-6r'-bo),    E.  , 

A   large    bass   lute  with    two   necks, 

the    longer    carrying    a    set    of    bass  | 

strings. 

Theoretiker  (te  -  6  -  ra  -  tl  -  ker),  G., 
th6oricien  (ta-6-res-yah),  F.  A 
theorist. 

theoria,  Gr.  and  Z.,  th6orie  (ta-5-re), 
A,  theory  (the-o-rl),  E.  The 
science  of  music,  particularly  of  its 
composition. 

the  sis,  Gr.     The  accented  downbeat. 

Vide  ARSIS.  \ 

Theur'gic  hymns.     Songs  performed  i 

in  Greek  mysteries.  ; 

theyau.     Vide  tarau. 

thin.  Used  of  chords  and  harmonies 
that  lack  support  and  fulness. 

thior  bo.     Theorbo. 


I 


284 


THE    MUSICAL    GUIDE 


third.  I.  Vide  interval.  2.  The  medi- 
ant, third-flute.  Vide  terzflote. 
third-tones.     Vide  quint-tones. 

thirteenth.     An  octave  and  a  sixth. 

thirty-second  note.  A  demisemi- 
quaver.  32d  rest.  A  rest  of  equal 
duration. 

thorough-bass.    Vide  bass. 

thorough-composed.     Vide  song. 

three-eighth  time.  That  in  which 
each  measure  contains  three  eighth 
notes. 

threefold.     Used  of  triads. 

three-lined.     Vide  pitch. 

three-time.     Triple  time. 

threno'dia,  L.  and  Gr.  A  song. 
threnody.     Lamentation. 

thrice-marked,      or      lined.        Vide 

I'lTCH. 

thro.     Vide  tara. 

through-composed.     Vide  song. 

thumb-position.  On  the  'cello,  a  high 
position  where  the  thumb  quits  the 
neck. 

thumb-string.     Banjo  melody-string. 

Thiirmer  (ttir'-mer),  G.  Town-mu- 
sician. 

tib'ia  (pi.  tib'iae),  Z.  "Shin-bone."  i. 
Ancient  name  of  all  wind-instrs.  with 
holes,  such  as  the  flute,  pipe  and  fife, 
originally  made  from  the  human  leg- 
bone,  tibiae  pa' res,  Z.,  pi.  Two 
flutes  of  the  same  length,  t.  impares. 
Unequal  flutes,  one  for  the  right  hand 
and  the  other  for  the  left,  which  were 
played  on  by  the  same  performer ; 
those  for  the  right  hand,  t.  dextrae, 
being  perhaps  of  higher  pitch  than 
those  for  the  left  (sinistrae).  t.  ob- 
li'qua,  or  vasca.  Cross-flute.  2. 
Name  of  various  flute-stops,  as  t. 
major,  a  i6-ft.  covered  stop.  3.  t. 
utric'ularis.     The  bagpipe. 

tib'icen  (pi.  tibic'ines,  feminine  tibi- 
ci'na),  L.  Flute-player,  tibicin'ium. 
_  Piping. 

tie.  A  slur  ;  a  curved  line  placed  over 
notes  on  the  same  degree  which  are 
to  be  sustained  as  one  tone.  Vide 
signs,  tied-notes.  i.  Those  thus 
tied.  2.  A  series  of  notes  (i6th  notes, 
etc.)  with  a  single  tail. 


tief(tef),  G.  Deep,  low.  tiefer  (te- 
fer).  Lower.  8va  tiefer.  Octave 
below.  tieftonend  (tef-ta'-nSnt). 
Deep-toned. 

tier  (ter).     Rank  (of  pipes). 

tierce  (ters),  E.  i.  A  third,  hence 
tierce-tones,  those  reached  by  skips 
of  major  thirds.  Vide  pitch.  2.  The 
4th  in  a  series  of  harmonics.  3.  A 
mutation  stop  2^j  octaves  above  di- 
apason.     4.    Vide   H0R.«    CANONIC/E. 

tierce  (tl-ers'),  F.  i.  A  third.  2.  Vide 
HOR.E  CANONIC.^,     t.  de  Picardic 

(du  pe-kar-de),  F.  Tierce  of  Picardy; 
a  major  third  introduced  in  the  last 
chord  of  a  composition  in  minor; 
supposed  to  have  originated  in  Picar- 
dy. t.  coulee  (koo-la).  A  sliding 
grace  in  thirds.     Vide  gr.vce. 

timbalarion.  A  series  of  8  drums 
chromatically  tuned  and  fitted  with 
pedals. 

timbale  (tah-bal),  F.,  timbal'lo,  /.  A 
kettle-drum,  timbalier  (tah-bal-ya). 
A  kettle-drummer. 

timbre  (tah-br),  Z".,  tim'bro,  /.  i. 
Quality  and  color  of  tone.  2.  A  ball 
struck  with  a  hammer,  jeux  de 
timbres  (zhu-dii-tanbr).  A  chro- 
matic series  of  small  bells  or  metal 
bars.     3.   The  snare  of  a  drum. 

tim'brel.     Hebrew  tambourine. 

time.  A  word  used  loosely  and  inter- 
changeably with  its  Italian  equiva- 
lent tempo,  to  indicate  :  i.  Rate  of 
movement,  or  speed.  2.  Rhythm. 
Speed  is  indicated  in  various  ways  by 
descriptive  words,  such  as  slow,  an- 
dante, langsam,  etc.,  or  by  the  me- 
tronome mark. 

Rhythm  is  generally  indicated  by  a 
fraction,  as  2-4  or  3-S  set  at  the  be- 
ginning of  the  composition  or  move- 
ment. The  denominator  indicates  the' 
unit  of  note-value ;  the  numeratoi. 
fixes  the  number  of  those  unit-notes 
in  each  measure.  Thus  2-4  mean; 
that  the  quarter-note  is  the  standarc 
of  value,  and  that  each  measure  con 
tains  two  quarter  notes  or  their  equiv.^ 
alents. 
With    the    exception    of    such 


\ 


CHART    OF    TIMES    AND    RHYTHMS 


285 


1.     Duple,  or  Common  Time,     (mesures  a  deux  ou  quatre  temps,  F. 
gerader  Takt,   G.     tempi  pari,  /.) 

A.    Simple,      (binaire,  F.     einfacher,  G.    semplice,  /.) 


No.  of 

gna- 

beats  to 

.or| 

2 

\ 

\ 

s 

or  A 

♦ 

,v 

* 

English. 


Two-t^vo  (alia 

breve). 
Two-four. 
Two-eight. 
Four-two. 
Four- four. 

(common). 
Four-eight. 
Four-sixteen. 
Eight-eight. 


Deux-deux. 

Deux-quatre. 
Deux-huit. 
Quatre-deux. 
Quatre-quatre. 

Quatre-huit. 
Quatre-seize. 
Huit-huit. 


Zweizweiteltakt. 

Zweivier  " 

Zweiach  " 

Vierzwei  " 

Viervier  " 

Viverach  "' 
Viersechzehn  " 
Achtach  " 


A  cappella  (alia  breve). 

Due-quarti  (quarttro-due). 
Due-ottavi  (otto-due). 
Quattro-mezzi  (due-quattro). 
Quattro-quarti     (quattro-quattro,   b 

nario,  ordinario). 
Quattro-ottavi  (otto-quattro). 
Quattro-sedicesimi(sedici-quattro). 
Otto  ottavi  (otto-otto). 


B.     Compound 

.  (ternaire,  F. 

zusammengesctzer,  C     composti,  /.) 

;na- 
res. 

No.  of 
beats  to 
a  meas. 

English. 

French. 

German. 

ItaUan. 

\ 

\ 

X 

8 

Six-two. 

Six-four. 

Six-eight. 

Si.x-sixteen. 

Twelve-four. 

Twelve-eight. 

Twelve-si.\- 

teen. 
Twenty-four- 
sixteen. 

Six-deux. 

Six-quatre. 

Six-huit. 

Six-seize. 

Douze-quatre. 

Douze-huit. 

Douze-seize. 

Vingt-quatre- 

Sechszweiteltakt. 

Sechsvier           " 

Sechsach 

Sechssechzehn" 

Zwolfvier 

Zwblfach 

Zwolfsechzehn" 

Vierundzwan- 
zigsechzehn   " 

Sei-mezzi  (due-sei). 
Sei-quarti  (quattro-sei). 
Sei-ottavi  (otto-sei). 
Sei-sedicesimi  (sedici-sei). 
Dodici-quarti  (quattro-dodici). 
Dodici-ottavi  (otto-dodici). 
Dodici-sedicesimi  (sedici-dodici). 

Ventiquattro-sedici. 

i  Triple  time,     (mesures  a  trois  temps,  F.     ungerader,  or  Tripel  Tajct,  G, 
tempi  dispari,  /.) 

A.    Simple. 

Jna. 
as. 

No.  of 
beats  to 
a  meas. 

English. 

French. 

German. 

Italian. 

:ri 

3 
3 

3 
3 

!          Mesure 
Three-one.       ;  k  trois-un. 
Three-two.         k  trois-deux. 
Three-four.        i  trois-quatre. 
three-eight.      4  trois-huit. 

Dreieinteltakt. 
Dreizwei    " 
Dreivier     " 
Dreiach      " 

Uno-tre. 

Tre-mezzi  (due-tre). 
Tre-quarti  (quattro-tre). 
Tre-ottavi  (otto-tre). 

B.     Compound. 


No.  of 

beats  to         English. 


Nine-four. 

Nine-eight. 

Nine-sixteen. 

Five-four. 

Five-eight. 


k  neuf-quatre. 

k  neuf-huit. 
[  a  neuf-seize. 

a  cinq-quatre. 
I  k  cinq-huit. 


Neunvierteltakt, 

Neunach 

Neunsechzehn 

Funfvier 

Fiinfach 


Nove-quarti  (quattro-nove). 
Nove-ottavi  (otto-nove). 
Nove-sedicesimi  isedici-nove). 
Cinque-quarti  (quattro-cinque). 
Cinque-ottavi  (otto-cinque). 


3TE.— Some  English  writers  classify  times  also  as  quadruple  and  octuple,  and  indicate  compound  times 
t>;he  signatures  oi  the  corresponding  simple  times  with  a  dot  added  after  the  denominator. 


286 


THE    MUSICAL    GUIDE 


rhythms  as  the  5-8  time,  all  musical 
time-patterns  are  divisible  by  2  or  3, 
and  are  called  duple  or  triple.  Thus 
in  2-4  time  there  are  two  beats  to 
the  measure,  in  3-4  time  there  are 
three.  In  more  elaborate  times  the 
beats  may  themselves  be  divided  by 
twos  or  threes.  These  are  called 
coDipound  duple  or  compound  triple 
times. 

The  chart  gives  the  various  times  in 
various  languages.  (See  also  Accent 
and  Tempo.) 

timido  (te'-ml-do),  /.  Timid,  timi- 
dezza  (te-ml-ded'-za).     Timidity. 

timoro  so,  timorosamen'te,  /.  Tim- 
id (ly).     timore  (tl-mo'-re).      Fsar. 

timpano  (tTm'-pa-nA)  (PI.  -i),  /.  Ket- 
tle-drum, t,  coper'to.  Muffled 
drum,     timpanisto.     Drummer. 

tin'termell.     An  old  dance. 

tintinnab  ulum,  L.,  tintinnabolo,  /. 
(tln-tm-na-bo-lo),  tintinna'bulo 

(boo-16).  I.  A  little  bell.  2.  A 
small  rattle  of  bells. 

tintinnamen  to,  tintinnio  (ne'-6), 
tintin'no,  /.     Tinkling. 

tin  to,  /.     Shading. 

tiorba  (te-6r'-ba),  /.     Theorbo. 

tipping.     Vide  double-tonguing. 

tirade  (te-rad),  F.  A  slide  across  an 
interval. 

tiran'na,  Sp.  A  national  air  with 
guitar. 

tirant  (te-rafi),  /'.  Stop-knob.  t.  a 
coupler  (a-koo-pla).  i.  Coupler. 
2.    Button.     3.   Drum-cord. 

tirarsi,  da  (da  te-rar'-se),  /.  "  With  a 
slide,"  as  tromba  da  t. 

tirasse  (tl-ras),  F.  i.  A  pedal-coup- 
ler. 2.  A  pedal  key-board  acting 
only  on  the  manual  pipes. 

tirata  (te-ra  -ta),  /.  A  group  of  equal 
notes,  moving  in  joint  degrees. 

tirato  (te-ra'-to),  /.  i.  Down-bow.  2. 
P°dal-coupler. 

tira  tutto  (te-ra  toot-to),  /.  A  pedal 
mechanism  controlling  the  full  power 
of  an  organ. 

tir6  (te-ra),  F.  Drawn,  pulled  ;  a 
down-bow.  tirez  (te-ra).  "  Use  the 
down-bow." 


Tischharfe  (tTsh'-har-fe),  G.  "Dish 
harp,"  an  autoharp. 

tlap  anhuehue  tl.     Huehuetl. 

tit  ty.     Hindu  bagpipe. 

tirolienne.     Tyrolienne. 

toccata  (tok-ka'-ta),  /.  From  toe- 
care,  to  touch,  to  play.  In  its  i6th 
century  form,  a  prelude  made  up  of 
runs  and  arpeggios.  The  modern 
toccata  develops  with  great  thematic 
hilarity  and  contrapuntal  informality 
a  brilliant,  swift  and  showy  improvi- 
sation, toccatina  (te'-na),  tocca- 
tel'la.     Short  toccata. 

toccato  (tok-ka'-to),  /.  A  fourth-trum- 
pet part  in  place  of  kettle-drums. 

tocsin.     An  alarm-bell. 

To(d)tesgesang  (tot'  -  es  -  ge  -  zang), 
To(d)teslied  (let),  G.  A  dirge. 
To(d)tengl6ckchen  (glek'-khen). 
Funeral  -  bell.  To(d)tenmarsch 
(marsh).     Funeral  ("  dead  ")  march. 

tombeau  (ton-bo),  F.  "  Tomb."  Dra- 
matic elegy. 

tomb  estere.  Old  E.  A  dancer  with 
tambourine. 

tomtom.     Hindu  drums. 

Ton  (ton),  pi.  Tone  (ta'-ne),  G.  i. 
Tone.  T.-bestimmung,  or  -mes- 
sung.  Calculation  of  tones.  Ton- 
gattung  (gat'-toongk).  The  division 
of  the  octave.  The  selection  of  tones. 
Hence,  mode.  T.-rein.  True  in 
pitch.  T.-bildung.  Tone-produc- 
tion ;  voice  -  training.  T.-biihne. 
Orchestra.  T.-dichter.  Tone-po^ 
composer  (also  T.-setzer).  T, 
dichtung  (dtkh-toongk)  or  satz. 
Composition.  T.-farbe  (far-be) 
Tone-colour,  timbre.  T.-folge.  Series 
of  tones.  T.-fiihrung.  Melodic 
progression,  modulation.  T.-fu 
T.-fall  (or  -schluss).  Caden 
T.-setzung,  or  -verhalt.  Rhythm,' 
measure.  T.-gang.  Melody.  T, 
gebung.  Intonation.  T.-kunde. 
Science  of  music.  T,-kunst  (koonst).^ 
Music;  the  art  of  music.  Tonkunst-* 
schule.  School  of  music.  Toa 
lehre  (ton'-la-re).  Acoustics.  Ton- 
leiter  (ll-ter).  Scale.  T.-loch. 
Ventage.       T.-malerei.        "Tone 


krt 


DICTIONARY    OF   TERMS       287 


painting,"  programme  music.  T.- 
messer.  Monochord,  siren,  sono- 
meter. Tonschliissel  (shlus'-sel). 
Key-note.  T.-runge.  Fugue.  T.- 
setzkunst.  Art  of  co'mposition.  T.- 
sprache.  Music.  T.-stiick  or 
-werk.  Piece  of  music.  T.-schrift. 
Musical  notes.  T.-verwandschaft. 
Relation  of  tones.  T.-verziehung. 
Tempo  rubato.  T.-veranderung. 
Modulation.  T.-'werkzeug.  In- 
strument (including  the  voice).  T.- 
system,  or  wissenschaft.  Theory 
of  music.  T.-zeichen.  Note  or 
other  musical  sign. 

2.  Pitch,  den  T.  angaben  (hal- 
ten).  To  give  (keep)  the  pitch,  T.- 
hohe.     Pitch.     T.-lage.     Register. 

3.  Key,  octave-scale,  mode,  usually 
Tonart  (ton  -art).  T.-anverwand- 
schaft  (fer-vant -shaft).  Key-rela- 
tionship. T.-geschlecht  (ge- 
shlekht).  Mode  (i.  e. ,  major  or  minor). 
Tonabstand  (ap-shtant).  Interval. 
T.-achtel.  Eighth  note.  T.-stufe. 
Degree.     T.-umfang.     Compass. 

Fon  (ton),  F.  I.  Tone.  t.  bouch6 
(boo-sha).  Stopped  tone  of  a  horn. 
t.  entier  (an-tT-a).  Whole  tone.  t. 
feint  (fan).  Old  term  for  flatted  tone. 
t.  ouvert  (oo-var).  Open  tone,  of 
wind-instr.  t.  g6n6rateur  (zha- 
•na-ra-tur).  Fundamental.  2.  Pitch. 
donner  le  t.  Give  the  pitch.  3.  Key, 
scale,  mode.  t.  majeur  (mineur). 
Major  (minor)  key.  t.  relatif.  Re- 
lated key.  t.  de  I'^glise  (du  la- 
glez).  Church-mode.  4.  Crook  of  a 
horn.  t.  de  r^change,  or  du  cor. 
Tuning-fork. 

inadica  (t5-na-de'-ka),  tonadilla 
(del'-ya),  Sp.  Cheerful  song  with 
guitar. 

)'nae  fic'ti,  Z.  Transposed  church- 
modes. 

inal.  Relating  to  a  tone,  a  key, 
mode,  etc.  Vide  FUGUE,  and  imita- 
tion. 

onalitat  (ton-al-I-tat'),  C,  tonali- 
ty (ton-ai-I-ta),  F.,  tonal'ity,  E. 
The  unity  in  key-relationship  of  a 
phrase  or  composition.      It  may  pass 


out  of  the  predominant  key,  but  so 
long  as  it  does  not  stray  beyond 
the  limits  of  easy  return  and  constant 
relationship  with  this  key,  the  compo- 
sition has  not  overstepped  its  general 
tonality, 
ton'do,  /.  Round,  full  (of  tone). 
tone.  I.  A  sound  of  musical  quality 
and  regular  vibration  as  opposed  to 
noise.  2.  A  sound,  (a)  of  definite 
pitch,  (b)  of  a  definite  quality.  3.  A 
full  interval  of  two  semitones.  4.  A 
mode.  5.  Of  aliquot,  combinational, 
differential,  partial,  resultant,  sum- 
mational, etc.,  tones  or  difference- 
tones, overtones, cXc.  Vide  those  words, 
also  ACOUSTICS.  Oi fifth-tones,  quint- 
tones,  third-tones.  VideQUiNT-TONES. 
bridge-tone.  Vide  tonic  sol-fa. 
tone-colour.  The  distinctive  qual- 
ity or  timbre  of  a  tone,  tone-paint- 
ing. Description  by  music,  tone- 
poem.  A  musical  e.Kpression  of 
sentiment,  determination  of  t. 
The  investigation  of  vibrations,  or 
tone-values,  tone-relationship,  etc. 
tone-relationship.  Tones  which 
concur  in  a  major  or  minor  chord  are 
said  to  be  of  the  first  degree  of  rela- 
tionship ;  c  is  so  related  tog,  f,  e,  ab, 
a,  and  et>,  etc. 
tonen  (ta'-nen),  G.  To  sound,  tb'nend. 

Sounding. 
tongue.  I.  Reed  ;  or  the  vibrating 
metal  slip  of  a  reed  ;  hence,  tongue- 
pipes.  2.  As  a  verb,  to  use  the 
tongue  in  playing  wind-instr. ;  called 
tonguing.  Vide  double-tonguing. 
Triple-tonguing  is  the  rapid  iteration 
by  tongue-thrust  with  the  consonants, 
t-k-t,  t-k-t,  etc. 
tonic,  E.,  tonica  (to'-ne-ka),  /.,  To'- 
nika,  G.,  tonique  (to-nek),  F.  i. 
The  key-note  of  a  key,  that  on  which 
the  scale  begins  and  ends,  the  tone 
from  which  a  key  takes  its  name, 
as  C.  2.  The  tonic-chord,  the 
diatonic  chord  built  on  the  key-note. 
t. -pedal.  Pedal-point  on  the  key- 
note, t.  section.  One  which  closes 
with  a  cadence  to  the  tonic  of  the 
chief  key  of  the  movement. 


L 


288 


THE    MUSICAL    GUIDE 


Tonic  Sol-fa.  A  system  of  teaching 
singing-,  inv.  by  Sarah  Ann  Glover, 
of  Norwich,  and  improved  by  Rev. 
John  Curwen,  and  his  son  John 
Spencer  Curwen.  It  consists,  first,  in 
analysis  with  constant  reference  to 
key-relations,  or  "tones  in  key"; 
the  second  element  is  a  notation  modi- 
fied from  solmisation  (q.  v.),  and  con- 
sisting of  doh  for  do,  raj  for  re,  me 
for  mi,  fah  for  fa,  soh  for  sol,  lah  for 
la,  te  for  si.  These  take  the  place 
of  notes  and  are  written  on  one  line 
by  their  initials,  d,  r,  m,  etc.,  an  ac- 
cent being  affixed  below  or  above  the 
letter  to  indicate  an  octave  lower  or 
higher  as  d'  r'.  Sharps  are  sung  de, 
re,  etc.  ;  flats  da,  ra,  etc.  In  modu- 
lation, bridge-tones  are  indicated  by 
the  new  key-value  of  the  tone  large 
with  its  old  key  value  small  as  ^d. 
In  notation,  rhythm  is  expressed  by 
time-spaces,  the  number  varying  ac- 
cording to  the  beats  or  pulses  in  the 
bar  ;  a  thick  bar  before  a  letter  marks 
a  strong  accent ;  a  colon  a  weak 
accent ;  a  dot  and  a  comma  mark 
half  and  quarter  beats  ;  a  dash  indi- 
cates prolongation  of  tone  ;  a  rest  is 
marked  by  a  vacant  space. 

to' no,  /.     I.   Tone.     2.   Key. 

to'nos,  Gr.^  tonus,  L.  i.  A  whole 
tone.  t.  grav  is,  tris'tis,  mys'ti- 
cus,  harmon  icus,  laet'us,  devo'- 
tus,  angel'icus,  perfect'us,  respec- 
tively the  1st,  2d,  3d,  4th,  5th,  6th, 
7th,  and  Sth  tones  in  church-music. 
t.  cur'rens.  Reciting  note.  t.  pe- 
regri'nus.    Foreign  tone.     2.  Mode. 

toquet  (to-ka),  touquet,  F.  Tocca- 
to. 

toomour'ah.     Hindu  tambourine. 

too'rooree'.     Brahmin  trumpet. 

toph  (tof),  Heb.     Hebrew  tambourine. 

torcelli  (tor-chel'-le),  /.    Organs. 

tosto  (tos'-to).  Quick,  rapid,  piii 
tosto.     Rather ;  sooner. 

touch.  I.  Act  or  style  of  pressing  the 
keys  of  a  key-board  instr.  2.  The 
response  or  resistance  of  the  action. 

touche  (toosh),  F.  i.  Touch.  2.  A 
digital.  3.  A  fret.  4.  A  iinger^board. 


toucher  (too-sha),  F.     i.  As  a  noun, 
touch.     2.   As  a  verb,  to  touch,  play, 
touchette  (too-shet'),  F.     Fret. 
toujours  (too-zhoor),  /'.  Always.  Vide 

SEMPRE. 

touquet  (too-ka),  F.     Toccato. 

tourdion  (toor-dl-6n),  F,     Saltarella  2. 

tourment^  (toor-mah-ta),  F.  Over- 
elaborated. 

tourne-boute  (toorn-boot),  F.  An 
instr.  Hke  a  flute. 

tour  de  force  (toor  du  fors),  F.  Bra- 
vura passage,  etc. 

tourniquet  (toor-nl-ka),  F.     Plug,  cap. 

touta'ri.     Hindu  bagpipe. 

tout  (too),  pi.  touts  (too),  or  toutes 
(toot),  F.  All.  t.  ensemble  (too- 
tan  -  sah'  -  bl).  All  ;  the  whole  to- 
gether ;  the  general  effect. 

toy.  A  trivial  air  or  dance,  toysym-: 
phony.  A  comic  work,  particularly: 
one  by  Haydn  employing  toy  cuckoo,, 
trumpet,  etc. 

tp.     Abbr.  of  Timpani.  ^ 

tr.     Abbr.  for  trumpet  or  trill. 

trackers,  E.,  Tractur  (trak-toor'),  G. 
Vide  ORGAN. 

tract,  E.,  trac'tus,  Z.  Solemn  melo- 
dies sung  from  the  Psalms  during 
Lent  in  the  Requiem  Mass.  Thf 
words  are  taken  from  the  Psalms. 

tradolce  (tra-dol'-che),  /.     Very  sweet 

tradotto  (tra-dot'-to),  /.  Translated 
arranged. 

Tra'gen  der  Stim'me,  G.  Portamento 

traine  (tre-na),  F.  i.  Slurred.  2.  I 
slow  waltz. 

trait  (tre),  F.  i.  Passage  as  t.  d, 
chant.  Vocal  run.  2.  A  phrasf 
progression,  t.  d'harmonie.  S( 
quence.  3.  Rule.  t.  d'octav< 
Rate  of  the  octave. 

traits  (tre-ta),  F.     A  treatise. 

Traktur  (trak-toor'),  G.  Tracker 
Vide  ORGAN.  ■' 

tranquillezza  (tran-kwTl-l^d'-za),  trai:  , 
quillita    (tran-kwTl-lI-ta),  /.    Tra- 
quillity.       tranquil'lo,     tranquil!: 
men'te.     Calm(ly). 

transcription  (in  F.  tran-skreps-yor 
A  rearrangement  of  a  compositi' 
for  a  different  instr.  or  instrs. 


An 


feo 


DICTIONARY    OF    TERMS      289 


uniforme.  The  notation,  common 
in  French  bands,  of  writing  all  the 
transposing  instrs.  in  the  G  clef. 
ran'sient.  Used  of  notes,  chords  and 
modulations  that  are  merely  passing 
and  secondary,  the  means,  not  the 
end. 

•an'sito,  Z.,  transit'ion  (in  F.  tran- 
ses-yoiij.  i.  A  modulation  of  tran- 
sient value ;  so  also  in  Tonic  Sol- 
fa. 

•an'situs,  L.  A  passing  note  (usu- 
ally t.  re'gularis).  t.  irre'gularis. 
Changing  note. 

■ansponi(e)ren   (p6-ne'-ren),  G.     To 
transpose.      transponi'rende     In'- 
strumente.     Transposing  instrs. 
anspose,  E.,  transposer  (trah-sp6- 
za),  F.     To   change   the   pitch    of   a 
composition  to  a  key  higher  or  lower. 
Thus   the    tonic   is  replaced    by  the 
tonic  of   the  new  key,  the  old  domi- 
nant by  the  new,  etc. 
ansposing.  i.  Used  of  instruments, 
which  are  not  written  as  they  sound, 
but  always  in  the  key  of  C   major. 
This  is  done  so  that  the  plaj'er's  ease 
and   accuracy    may   be    insured,    by 
keeping  the  fingering,  etc.,  the  same 
:n  all  keys,    the  key  of  the  instr.  be- 
ng  changed  by  changing  the  instr. 
entirely  or  merely  changing  a  crook. 
The  extent  of  this  transposition  is  the 
nterval  between  the  key  of  the  instr. 
ind  the  key  of  C  major.     So  an  instr. 
■n  B,  sounds  a  half-tone    lower  than 
Ivritten  ;  an  instr.  in  Ef?  sounds  a  ma- 
or  6th  below  or  a  minor  3d  above 
he  actual  note.     2.  t.  piano,  etc., 
me  in  which,  by  a  mechanism,  the 
.ction  is  shifted  to  higher  or  lower 
litch.     t.-scale.     Vide  modes. 
t.nspositeur  (trans-p6-zl-tur'),  F.     r. 
)ne   who    transposes.      2.   A  single- 
alve  inv.  by  Gautrot  as  a  substitute 
3r   the    series    usually   used.     3.   A 
ey-board  instr.,  piano  t.,  inv.  by  A. 
Volff,  1873. 
t  nsposition    (in    G.  trans-p6-ze'-ts^ 
n).     The  changing  of  the   key  of  a 
composition.      T.-skalen.      Trans- 
posing Scales.     Vide  modes. 


transverse  flute.     Vide  flute. 

traquenard  (trak-nar),  F.  A  brisk 
dance. 

trascinando  (tra-shl-nan'-do),  /.  Drag- 
ging, retarding. 

trascrit'to,  /.     Copied,  transcribed. 

trasportato  (tra-sp6r-ta'-t6),  /.  Trans- 
posed. '    chiavi    trasportati.    Vide 

CHI.WETTE. 

tratt.     Abbr.  of  trattenuto. 

trattato  (trat-ta'-to),  /.     Treatise. 

trattenuto  (noo'-to),  /.      Retarded. 

Trauergesang  (trow-er-ge-zang),  G. 
Dirge.  Trauermarsch  (marsh). 
Funeral-march,  trauervoll.  Sad. 
traurig  (trow'-rtkh).     Heavy,  sad. 

travailler  (tra-vl-ya),  F.  To  work ; 
to  lead,  play  solo  part.  travaill6 
(vi-ya).     Worked  up  elaborately. 

Travers'flote.  i.  A  cross-flute.  2. 
A  4-ft.  stop. 

traversiere  (tra-vers-yar),  F.,  traver- 
se (tra-ver'-s6).    Vide  flute. 

tre  (tra),  /.  Three,  a  tre.  For  three 
voices  or  instrs.  tre  cor'de.  Loud- 
pedal..  Vide  PL\NO.  tre  volte.  Three 
times. 

treble,  i.  The  highest  voice,  soprano 
(from  triplum,  q.  v.).  2.  Highest 
part  of  a  comp.  3.  Highest  regis- 
ter. 4.  The  highest  of  a  group  of 
instrs.  t.  clef.  The  G  clef.  t. 
forte  stop.  A  stop  for  cabinet  or- 
gans, increasing  the  treble  at  will, 
while  the  bass  remains  soft.  t.  staff. 
The  staff  on  which  the  treble  clef  is 
placed. 

Tredezime  (tra-da'-tse-me),  G.  Thir- 
teenth. 

treibend  (tri'-bent),  G.  Hurrying,  ac- 
celerating. 

treizieme    (trez-yem),  F.     Thirteenth. 

tremblant  (trafi-blan),  F.,  tremen'do, 
/.  Shaking,  trembler  (bla),  F. 
To  trill.  Vide  tremulant,  trem- 
blement  (traii-bl-mah),  F.  A  trill, 
shake. 

tremolando  (tram-o-lan'-do),  tremo- 
late  (la'-te),  tremolo  (tra'-m6-l6), 
tremulo  (tra'-moo-l6),  7.  Trembling, 
trilling,  quivering,  reiterated  with 
great  rapidity. 


290 


THE    MUSICAL    GUIDE 


trem'olant,  tremulant.  A  stop  which 
gives  to  the  tone  a  waving  or  tremb- 
ling effect. 

tremore  (tra-mo'-re),  tremoro'so,  /. 
Tremor(ous). 

tremuli(e)ren  (tra-moo-le'-r^n).  To 
trill. 

trench'more.  An  old  dance  in  triple 
or  compound  duple  time. 

tr^nise  (tra-nez),  F.  Vide  qua- 
drille. 

trenodia  (tra-no'-dl-a),  /.  A  funeral- 
dirge. 

trfes  (tre),  F.     Very. 

tres'ca,  trescone  (tres-ko'-ne),  /.  A 
country-dance. 

Treter  (tra'-tgr).  G.     Bellows  treader. 

triad,  i?.,  triade  (in  F.  tre-id  ;  in  /. 
tre-a'-de).  A  chord  of  three  tones. 
Vide  CHORD,  harmonic  t.  Major 
triad. 

triangle,  E.  (in  F.  tre-aiigl),  Trian- 
gel  (tre'-ang-gl),  G.,  triangolo  (tre- 
an'-g6-l6),  /.,  triangulo  (tre-an'-goo- 
16),  Sp.,  triang'ulus,  L.  A  small 
steel  rod  bent  into  a  triangle  and 
tapped  with  a  straight  rod,  for  em 
phasising  rhythm.  Triangular  harp. 
Vide  HARP. 

tri'as,  L.  Triad,  t.  defic'iens.  Im- 
perfect chord,  t.  harmo  nica.  Per- 
fect chord. 

trichord.  The  three-stringed  lyre.  t. 
piano.  One  with  three  strings  tuned 
in  unison  for  each  note,  trichord- 
on.     3-stringed  colachon. 

Trichter  (trikh'-tdr),  G.  i.  Tube  of  a 
reed-pipe.     2.   Bell  of  horn,  etc. 

tricin'ium,  L.   An  unaccompanied  trio. 

tricorde  (tre-kor'-de),  /.     3-stringed. 

tridiapa'son,  Gr.    A  triple  octave. 

tri'gon,  trigo'num.  A  3-stringed 
lyre-like  instrument. 

trihemito'nium,  Gr.     Minor  third. 

trill,  trille  (tre'-yu),  /".,  Triller  (trll'- 
l^r),  (7.,  rillo  (trll'-lo),  /.  The  rapid 
alternation  of  a  principal  note  with  an 
auxiliary,  usually  the  major  or  minor 
second  above  (a  small  chromatic  sign 
being  set  above  the  note  when  its 
auxiliary  is  not  to  be  diatonic).  The 
trill  begins  on  the  auxiliary  note  only 


when  the  auxiliary  is  written  as  a 
grace  note  before  the  principal,  in 
this  case  the  trill  ends  on  the  prin- 
cipal ;  normally  it  ends  on  the  aux- 
iliary. A  trill  is  long  or  short 
(trillette  (tre-y§t),  F.,  trillet'ta,  tril- 
let'to,  /.)  according  to  the  duration  of 
the  principal,  the  short  trill  sometimes 
amounting  only  to  a  mordent.  A 
series  of  trills  on  different  notes  is  a 
chain  of  trills  (Trillerket  te).  A 
mere  rough  rattle  on  one  note  instead 
of  two  notes  crisply  trilled  is  called 
goat-trill,  Bockstriller,  ch^vrote 
ment,  or  trillo  caprino.  trillettinc 
(te'no),  /.  A  soft  trill,  imperfect  t 
One  without  a  turn  at  the  close.  Ii 
Caccini's  Method,  1601,  the  trillo  wa 
the  reiteration  of  a  single  note,  ou 
trill  being  called  gruppo.  trillandi 
(trel-lan-do),  /.  i.  Trilling.  2.  i 
succession,  or  chain,  of  shakes  on  dil 
ferent  notes,  trillern  (trll'-lgrn),  Q 
To  trill.     Vide  graces  and  signs. 

trine  (tren).      A   triad,  with   2   majc 
thirds. 

Trinkgesang  (trKnk'-g^-zang),  T.-lie 
(let),  G.     Drinking-song. 

trino'na.     Open  8-ft.  stop. 

trio  (tre'-6),  /.      i.  A  composition  f< 
three  instrs.  or  voices,  often  in  sona 
form,    pianoforte  trio.  pf.,vln., at 
cello,  string  trio  (vln.,  viola  (or  ; 
vln.),   and    cello).      (The    name   w 
formerly  used  for  3  instrs.,  accomp  , 
nied  by  a  fourth  playing  basso  co  b 
tinuo.)    organ  trio.    A  strongly  cc  i; 
trastedwork  for  2  manuals  and  pec!>: 
or  for  3  manuals.     2.   In  the  danc  i, 
form,  the  contrastingly  quiet  or  lyrii  ;  i 
second    division.     Gaining    its    na:    j 
from  being  once   written  in  3  pat;   i 
the  word  should  now  be  laid  aside  ?L 
meaningless  and  confusing,  and  ' 
phrase  second  part,  or  second  subj 
used  instead. 

Triole  (trl-o'-lf),  G.,  triolet  (in  F.  I-  1. 
6-la).     A  triplet. 

triomphale  (tre-oii-fSl),  F.,  trionfJir 
(tre-6n-fa'-lg),  /.   Triumphal,    trie 
phant   (tre-6n-fan),  /".,    trionfa:* 
(tre-6n-fan't6),  /.    Triumphant. 


DICTIONARY    OF    TERMS       291 


ripar'tite.     In  three  parts. 

ripel  (tre'-pel),  G.  Triple,  as  T. 
hige,  triple  fugue.  T.-konzert, 
Triple  concerto,  T.-takt.  Triple 
time.    T.-zunge.     Triple-tonguing. 

riph'ony.  Three  sounds  heard  at 
once,  tripho'nia.  Organum  in  3 
parts,  triphonisch  (tre-fo'-nlsh),  G. 
Triphonic,  3-voiced. 

dpla  (tre'-pla),  /.  Triple  time.  t.  de 
minima,     i.  3-2  time.    2.  Triplet. 

-iple  (in  F.  trep'-l).    Threefold.     Vide 

COUNTERFOINT,  TIME,  etc.     t.-CfOChc 

(kvosh).     32d  note. 

■ip'let.     A  group  of  three  equal  notes. 
doublet.     A  sextole. 
ip'lum,   L.     The  third  part  in  organ- 
um, hence  the  highest  ;  in  4-part  next 
to  the  highest,  the  4th  being  called 
quadruplum;  if  there  is  a  5th  it  is 
called  quintuplum,  etc. 
ipola  (tre'-po-la),  /.     Tripla. 
risa'gion,     Gr.,     Trisa  gium,     L. 
"  Thrice  Holy,"  the  Sanctus. 
isemito'nium,  L.     Minor  third. 
istezza  (trts-t^d'-za),  /.     vSadness. 
.   istro'pha,  Gr.    Triple  square  note  of 
the  greater  stress. 

iton  (tre-toii),  F.,  tritone  (tri'-ton), 
E.,  tritono  (tre-to'-no),  /.,  tri'to- 
lOUS,  Z.  (in  G.  tre-to-noos).  An  aug- 
mented fourth ;  long  a  forbidden 
linterval  in  strict  writing,  since  it  was 
augmented  and  was  said  to  be  hard 
to  sing,  mi  chord  of  the  t.  Third 
inversion  of   the   dominant   seventh, 

.vhich  contains  the  tritone.  Vide  Ml. 
rton  a'vis,  L.     "  3-toned    bird,"   a 

West-Indian  bird,  capable  of  singing 

1   note,  and   its    twelfth  and    seven- 

eenth,  all  at  the  same  time, 
'itt  (trlt),  G.   Treadle,  pedal.    Tritt'- 
.    Jchuh  (shoo).      Place  for  the  foot  on 

)ellows.     Tritt'harfe.      Pedal-harp. 
\    rritt'bret  or  T.-holz.    The  board 

in  which  the  bellows-treader  steps. 
:  ttus,  Z.     Lydian  Church-mode. 
t  jmphirend'    (tre-oom-fe'-rdnt),     G. 
.     Triumphant.        Triumphlied    (let). 

.iong  of  triumph, 
t  is    (trwa),   F.      Three,      mesure    h 

'ois-deux    (trwa-du).     3-2  time.     A 


trois-huit  (trwa  zwet).  3-S  time. 
trois-qttatre  (trwa  kitr).      3-4  time. 

troll.  I.  Round  or  catch.  2.  As  a 
verb,  to  sing  a  catch. 

tromba  (trom-ba),  /.  i.  A  trumpet. 
2.  8-ft.  reed-stop.  t.  croma'tica,  /. 
Valve  trumpet.  t.-bas'sa,  or  di 
basso,  or  spezzata  (spgd-za-ta). 
The  bass  trumpet,  t.  da  tirar'si. 
Old  slide  trumpet,  perhaps  a  soprano 
trombone,  t.-marina  (ma-re'-na),  I. 
Marine  trumpet,  spezzata (spSd-za- 
ta),  /.  An  obsolete  name  for  the 
bass  trombone.  t.  sor'da.  Muted 
trumpet,  trombadore  (do'-r^),  trom- 
bacelloclyde.  A  Bl^  ophicleide. 
trombet  ta,  trombettino  (te'-no), 
trombettatto're-    or   iere   (I-a'-re). 

1.  Trumpet.     2.   A  small  trumpet. 
trombone    (in    E.    tram'-bon ;     in    I. 

trom-bo'-ne  ;  in  F.  troh-bun), /. ,  pi. 
-i.  I.  A  trumpet-like  instr.  with 
valves  ;  or  more  anciently,  with  a  tube 
that  may  be  lengthened  or  shortened 
by  means  of  a  U-shaped  portion  to 
bt  pushed  in  or  drawn  out.  This 
slide  moving  by  semitones  has  seven 
positions,  each  of  which  virtually, 
makes  a  separate  instr.  of  it  with  a 
distinct  key,  the  partial  tones  of  this 
being  obtained  by  variations  of  press- 
ure (vide  embouchure).  The  tone 
of  the  instr.,  though  suffering  from 
misuse  in  bad  hands,  is  of  the  utmost 
richness,  dignity  and  humanity.  Ber- 
lioz calls  it  "epic."  It  is  a  non-trans- 
posing instr.  in  four  sizes,  the  tenor 
being  most  used  ;  the  tenor  and  alto 
are  written  on  the  C  clef  ;  the  bass 
and  contrabass  on  the  F  clef ;  com- 
passes ;  tenor,  chromatic  E-b'b  (with 
pedal-tones  G-B,  t^,  and  difficult 
tones  b -d") ;  alto,  A-e"l?;  bass  B -f. 

2.  A  powerful  8,  16  or  32  ft.  stop. 
Trommel       (trom'-mel),    G.       Drum. 

gros'se  T.  Bass  drum.  Militar-t., 
or  Wirbel-t.  Side  drum.  Roll-t. 
Tenor  drum.  T.-bass.  A  bass  note 
thumped  drum-wise.  T.-boden  (bo'- 
den).  Bottom  of  a  drum.  T.-kas'- 
ten.  The  bodv  of  a  drum.  T.- 
klopfel   (klep-fe'l),    or  T.-schlagel 


292 


THE    MUSICAL    GUIDE 


(shla-gel).  Drumsticks.  T.-schla- 
ger.  Drummer,  trom'meln.  To 
drum ;  drumming. 

TrommelstUck  ( trom'-mel-shtiik),  G. 
Tambourine,  tabor. 

trompe  (tronp),  F.  i.  Hunt-horn.  2. 
Reed-stop.  t.  de  Beam  (du  ba-arn), 
or  a  laquais  (a  iak-e).  Jew's  harp. 

Trompete  (trom-pa'-te),  G.  i.  Trum- 
pet. 2.  A  reed-stop.  Trompeten- 
geige.  Marine  trumpet.  Trompe- 
tenzug  (tsookh).  Trumpet-stop. 
Trompeter  (trom-pa'-ter),  tromp6- 
teur  (troh-pa-tur),  F.     Trumpeter. 

trompette  (troh-pet),  F.  i.  A  trum- 
pet. 2.  Trumpeter.  3.  A  reed-stop. 
t.  a  coulisse  (a  koo-les).  SHde- 
trumpet.  t.  a  clefs  (a  kla).  The 
trumpet  with  keys.  t.  a  pistons  (a 
pes-ton).  Valve  trumpet,  t.  d'har- 
monie  (dar-mu-ne).  Orchestral  t. 
t.  harmonieuse  (ar-mon-yuz).  Trom- 
bone, t.  marine.  Marine  trum- 
pet, t.  harmonique  (Sr-mun-ek).  A 
reed-stop. 

troop,  I.  A  quick  march  for  trooping 
the  colors.  2.  The  2d  drum-beat  as 
a  march-signal. 

trope,  tro'pus.  i.  A  Gregorian  for- 
mula  for  the  close  of  the  lesser  doxol- 
ogy.     2.   Mode. 

troppo  (tr6p'-p5),  /.  Too,  too  much. 
lento  jna  non  t.  Slow,  but  not  too 
slow. 

troubadour  (troo-ba-door),  F.,  trova- 
dor  (tro-va-dhor),  Sp.,  trovatore 
(tro-va-to'-re),  /.  A  poet  musician, 
usually  of  noble  rank,  skilled  in  sing- 
ing, chiefly  of  love.  The  cult  arising 
in  Southern  France,  flourished  widely 
from  the  nth  Century.  The  t. 
sometimes  had  hired  minstrels  (me- 
nestrels,  menetriers,  or  jongleurs)  in 
attendance  on  him.  trouveres  (troo- 
var),  F.  A  cult  of  poet-musicians 
contemporary  with  and  often  con- 
fused with  the  troubadours,  but  more 
characteristic  of  the  north  of  France, 
and  singing  songs  rather  of  war  and 
epic  struggle  than  of  love. 

triib(e)  (trfip  or  trii'-be),  G.     Sad. 

Trug  (trookh),  G.      Deception.      T.- 


fortschreitung.  Progression  of  a 
dissonance,  not  to  its  resolution,  but 
to  another  dissonance.  T.-kadenz, 
or  -schluss.     Vide  cadence. 

Trumbscheit  (troomp'-shit),  G.     Ma- 
rine trumpet. 

trump.      I.  Trumpet.     2.  Jew's  harp, 

trumpet,  i.  A  metal  wind-instr.  with 
a  tube  half  as  long  as  that  of  the  horn, 
but  bent  in  longer  folds,  and  with  a 
smaller  bell.  The  tube  is  narrow  and 
cylindrical  till  near  the  bell ;  the 
mouthpiece  is  hemispherical  and 
cupped.  It  is  a  transposing  instr. 
written  in  the  G  clef  (almost  always), 
and  in  the  key  of  C.  Its  pitch  is  ar 
octave  higher  than  that  of  the  horn 
and  it  is  used  in  fewer  keys.  Itisth< 
most  commanding  of  all  brass  instrs. 
but  its  stopped  tones  are  unpleasant 
It  should  be  written  for  in  a  distinct 
ly  vocal  manner.  It  is  fitted  witl 
crooks  to  give  it  any  key,  the  ton 
being  produced  by  embouchure  (q.  v. 
e.xcept  in  the  valve;  or  chromatic, 
trumpet;  which  is  displacing  the  olde 
form.  Its  extreme  compass  is  d-b"[5J 
In  England  the  slide  trumpet  is  useci 
working  like  a  trombone  but  wit 
shorter  slide.  Trumpets  of  the  saroi 
key  but  sounding  an  octave  apart  ai)  r, 
called  alto  (high),  and  basso  (low,. 
2.   An  8-ft.  reed-stop.  j 

marine   trumpet.      An    old    insti 
once  used  for  signalling  in  the  Enj 
lish  navy,  hence  its  name  ;  also  us(  a 
in    convents,    whence   it    was   call(;> 
"  nun' s  fiddled     It  was  played  chie,-  ; 
ly  in   harmonics,  and  had  one  thii;  ;. 
gut    string,     sometimes     an     octa  . 
string,  and  one  or  more  drone-string  •  1 
The  box  was  long  and  thin  with  she 
neck  and  flat  belly  ;  one  foot  of  i 
bridge    rested    loosely   producing  I 
powerful    resonance,     harmo 
Asackbut.     reed-t,     A  trumpe 
36   brass-reeded    pipes   inclosi 
ranged  in  a  circle,  so  that  each 
was    brought   in    turn    between-. 
mouthpiece  and  the  bell. 

Trumscheit  (troom'-shit),  G.     M; 
trumpet. 


CM,!. 
J!',  il 


!.ll 


Si 


DICTIONARY    OF    TERMS       293 


s.     Abbr.  of  Tasto  Solo. 
scheng  (cheng).     Cheng. 
jChung  (choong).     Chinese  gong. 
iba  (too-ba),  /.     I.  The  lowest  of  the 
saxhorns  (q.  v.),  an  enormous  brass 
j  horn  with  four  pistons,  a  trombone- 
I  like  mouthpiece,  and  a  compass  of  4 
i  octaves.    It  is  a  non-transposing  instr. 
(except  in  the  case  of  a  tenor-tuba  in 
I  Bb,  and  a  bass-tuba  in  F  so  written 
I  by  Wagner),  and  is  written  in  the  G 
I  clef.     It  is  usually  made  of    3  sizes, 
i  the  bass  or  the  euphonium,  in  B  flat 
j  (compass  available  B,l^-f'),  or  in  Eb; 
the  bombardon,  a  fifth  lower  ;  and  the 
I  contrabass   tuba  (or  bombardon) 
jinBban  octave  lower  than  the  Eupho- 
fnium.     2.  The  straight  Roman  trum- 
pet, or  t.  communis  ;  the  t.  duc- 
tilis,  being  curved.     3.  t.  curva.  A 
limited  natural  French  trumpet  of  the 
l8th  Century.     4.   A    powerful    S-ft. 
■  reed-stop.  t.  major,  t.  mirab  ilis,  t. 
1  clarion.     A  4-ft.  stop. 
ii'bicen,  L.     A  trumpeter. 
ick'et.     A  flourish  of  trumpets. 
liau  (twe-6),  F.     Tuyau. 
■imultuoso      (too-mool-too-o'-s6),  /. 
.Agitated. 

.n.     Ancient  Yucatan  drum. 
•ne.     An  air  or  melody,  usually  short 
and  simple. 

.'ner.  i.  One  who  tunes  instruments. 
2.  The  flap  or  cut  in  the  top  of  a 
pipe  by  which  it  is  tuned.  3.  Tun- 
jing-cone. 

'ning.  I.  The  correction  of  the  tone- 
production  of  an  instr.  2.  Accorda- 
ture.  t.-cone  or  horn.  A  cone  of 
horn  or  metal  which  can  be  inserted 
in  the  top  of  an  organ-pipe ;  by 
"  coning  out  "  or  increasing  its  flare 
and  raising  its  pitch;  by  "coning 
in"  or  pressing  it,  point  upwards, 
over  the  top  of  a  pipe,  it  decreases 
the  flare  and  lowers  the  pitch,  t.- 
crook.  Vide  crook,  t.-fork.  A 
small  steel  instr.  with  two  prongs 
which  upon  being  struck  sounds  a 
certain  fixed  tone.  t. -hammer  or 
key.  A  hand-wrench.  t.  slide. 
I.  An  English   instr.   for  producing 


thirteen  semitones.  2.  An  adjustable 
U-shaped  portion  of  the  tube  of  cer- 
tain brass  instrs.  t.  wire.  Vide 
REED  and  PIPE. 

tuono  (too-o'-no),  /.  I.  Mode,  as  t. 
ecclesias'tico.  Church-mode.  2. 
Tone. 

tuorbe  (tworb),  F.     Theorbo. 

turba,  pi.  -ae,  L.  "  Crowd,  multi- 
tude." The  heathen  or  Jewish  chorus 
in  Passion  music. 

turbinoso  (toor-bl-no'-so),  /.  Tempes- 
tuous. 

turbo  (toor'-bo),  Gr.  A  seashell  trum- 
pet. 

turco  (toor'-k5),  /.  Turkish,  alia 
turca.   In  the  style  of  Turkish  music. 

turdion  (toor'-dI-6n),  Sp.,  turchesco 
(toor-ka'-sko),  /.     An  old  dance. 

turkish  (tiir'-klsh),  G.  Turkish.  Turk- 
isch-muzik.     Janizary  music. 

turn.  An  embeliishment  consisting  of 
a  principal  tone  (struck  twice)  and 
one  higher  and  one  lower  auxiliary  a 
diatonic  second  removed,  unless  a 
chromatic  sign  accompanies  the  sym- 
bol ;  if  a  sharp  or  flat  is  placed  above 
the  turn-mark,  it  alters  the  higher 
auxiliary  ;  if  below,  the  lower.  The 
common,  direct,  or  regular  turn 
usually  begins  on  the  upper  auxiliary  ; 
the  back  or  inverted  t.  begins  with 
the  lower  ;  the  rebounding  or  trilled 
t.  begins  with  a  passing  shake  ;  the 
double  t.  affects  two  notes  at  once. 
Vide  GRACES. 

turr.     3-stringed  Burmese  violin. 

Tusch  (toosh),  G.  A  triple  flourish  of 
trumpets  and  drums. 

Tute  (too'-te),  G.     Cornet. 

tutta  (toot'-taj,  tutto,  pi.  tutte  (toot'- 
te),  or  tutti  (toot'-te),  /.  All  ;  the 
entire  band  or  chorus  ;  in  a  solo  or  con- 
certo it  means  that  the  full  orchestra 
is  to  come  in.  tutte  corde  (kor'-de). 
"  All  the  strings  "  ;  i.  e.,  release  the 
soft  pedal,  tutti.  Full  band  or 
chorus — the  entire  force,  tutto  ar'- 
CO.     With  the  whole  bow. 

tuyau  (twe'-yo),  F.  i.  Tube,  as  of  a 
horn.  2.  Pipe.  t.  a  anche.  Reed- 
pipe,     t.  a  bouche.     Flue-pipe. 


294 


THE    MUSICAL    GUIDE 


twelfth.  I.  An  interval  of  an  octave 
plus  a  fifth.  2.  A  stop  twelve  tones 
above  the  diapasons. 

twenty-second.     A  triple  octave. 

twice-marked,  or  -accented.     Vide 

PITCH. 

two-lined.  Vide  pitch,  two-time. 
Duple  time,  two-step.  A  dance 
in  6-8  time,  somewhat  resembling 
the  waltz,  but  in  duple  accent. 

tymb'estere.     Vide  tombestere. 

tym'pan.  i.  Timbrel.  2.  Drum.  3.  Irish 
instr.,  perhaps  the  crowd,  tympani 
(tTm'-pa-ne),  /.,  pi.  Kettle-drums. 
tympanis'ta.     Kettle-drummer. 

tympanischi'za.     Marine  trumpet. 

tympan'on  (tem-pa-noii),  F.  i.  Dul- 
cimer.    2.   Kettle-drum. 

tym'panum,  L.  i.  Ancient  drum  resem- 
bling the  kettle-drum.  2.  Kettle- 
drum. 3.  The  water-wheel  in  old 
hydraulic  organs. 

ty'pophone.  A  piano-like  instr.,  with 
steel  wands  instead  of  strings,  com- 
pass c'-c'"". 

tyrolienne  (te-rol-y^n),  F.  i.  Song,  or 
dance  peculiar  to  the  Tyrolese  ;  and 
characterised  by  the  jode'l.  2.  Round 
dance  in  3-4  time. 

tzeltze'lim,  Heb.     Cymbals. 

tzet'ze.     Abyssinian  guitar. 

tzi'ti.     Hindu  bagpipe. 

V 

UBELKLANG  (U'-bel-klang) 
or  -laut  (lowt),  G.  Discord. 
iiben  (u'-b6n),  G.  To  prac- 
tise. 
iiber  (ii'-ber),  G.  Over,  above.  U.- 
einstimmung  (Tn-shtlm-moongk). 
Harmony,  ii.-gefiihrt  (ge-fUrt).  Di- 
vided (of  stops),  ii.-greifen  (grl- 
fSn).  (a)  To  cross  the  hands  ;  (b)  to 
lift  the  thumb  from  the  neck  of  a 
'cello,  ii.-greifendes  System  (zes- 
tam).  Hauptmann's  plan  of  forming 
a  new  key-system  by  adding  to  the 
group  of  triads  of  one  key,  a  triad  in 
its  dominant  or  sub-dominant  key. 
ij.-blasen  (bia-z6n).      Overblowing, 


to   overblow.      U.-gang.,     (gang). 
Transition,  modulation.    U.-leitung 
(li-toongk).     Transition  passage,    ii.- 
massig(mgs-slkh).  Augmented,    ii,- 
schlagen  (shla'-gen).     (a)  To  cross ^;I^ 
over  (the  hands),     (b)  To  overblow,  if^.]^' 
(c)  To  break,     ii.-setzen  (zet'-z6n).    i ;'..., 
To  pass  a  finger  over  the  thumb  ;  or 
one  foot  over  the  other,     ii.-steigen 
(shtl'-ghen).     For  a  part  to  soar  tem- 
porarily higher  than  the  part  normally 

.,  above  it. 

tJbung  (u-boongk),  G.  (pi. -en).  Ex- 
ercise ;  a  study.  Ubungsabend.  Pu- 
pils' concert. 

ugab  (oo'-gab),  Heb.     An  organ. 

uguale  (oo-gwa'-le),  /.  Equal,  like. 
ugualita  (ll-ta).  Equality,  ugual- 
men'te.     Equality,  alike. 

umana  (oo-ma-na),  /.  Human,  vo- 
ce u.  (v6'-che).  I.  The  human  voice. 
2.   A  stop. 

Umfang  (oom'-fang),  G.     Compass. 

umgekehrt  (oom-ge-kart'),  G.  Re- 
versed, inverted. 

Umkehrung(oom-ka-roongk),  G.  In- 
version. 

umore  (oo-mo'-r^),  /.     Humour.  Ijt'^ 

um  (00m),  G.     Prefix  about,  around.ifFiwt 

umschlagen  (sla'-gen).  i.  Tobreak'l--  i 
to  make  a  pronounced  change  of  regi  'i'-'^^ta 
ister.  2.  To  overblow.  3.  To  mak(:  ;\^- 
the  goose.  Um'stimmung  (shtira ! iji^-^ 
(a)  Change,     (b)  Cordaj^^s 


moongk) 

ture,  pitch  or  key 
un.      Abbr.  of  Unison. 
un  (uh),    F.,  un  (oon),    una  (oo'-na) 

uno  (oo'-no),  /.     A,  an,  one. 
unaccented.     Vide  pitch. 
unaccompanied.     Without  instrumen 

tal  accompaniment. 
unacknowledged.      Used  of  passing 

or  unessential  notes. 
un'ca,  L.     "  Hooked  "  ;   quarter  note 

bis  unca.     i6th  note. 
uncoupled.     With  coupler  released. 
und  (oont).  G.     And.  \ 

un'da  maris,  Z.     "  Wave  of  the  sea.:  ; 

A  stop  tuned  sharp  or  flat  and  pre  7.1 

ducing  an  undulating  effect  by  mear'  i 

of  beats  ;  sometimes  a  pipe  with  t\v^ 

mouths,  one  higher  than  the  other.  '  „, 


I  Wf  Ti 


DICTIONARY    OF    TERMS       295 


indecima  (oon-da-che'-ma),  Z.  and  /. 
An  eleventh. 

indecimole  (oon-da-chK-mo'-le),  /.  A 
group  of  eleven  equal  notes. 

inderchord.     The  minor  triad. 

inderpart.  That  beneath,  or  subor- 
dinate to  others. 

ndersong.     A  burden. 

,ndertone.  A  lower  partial  sometimes 
produced  by  the  simultaneous  sound- 
ing   of     two    higher    tones.      (Vide 

ACOUSTICS.) 

Indezime  (oon-da'-tse-m^),  G.  An 
eleventh.  Unde'zimo'le.  Undeci- 
mole. 

adulation,   E.,   undulazione  (oon- 
doo-la-tsI-6'-n^),  /.   Vibrato  effect  on 
bow  instruments. 
oe  (Un),  F.     A,  an,  one. 
aeigentliche  (oon-i'-gent-ltkh-e).    Ir- 
regular (of  fugue). 

nendlich(er)  (oon-ent'-Hkh-(gr) ),    G. 
Endless  (of  canon). 
aequal.     i.  Vide  temperament.     2. 
Of  voices  =  mixed. 
lessen'tial.      Used   of  passing  and 
grace  notes,  etc. 
ifret'ted.     Vide  fretted. 
igar  (oon'-gar),  ungarisch  (oon-ga'- 
rlsh),  G.      Hungarian. 
igebunden     (oon-ge-boont'-^n),     G. 
I.  Vide  FRETTED.     2.  Unconstrained. 
igeduldig      (oon-ge-dool'-dlkh),    G. 
Impatient. 

igerade  Takt  (oon-g^-ra'-d^  takt), 
G.     Triple  time. 

tgestrichen  (oon-gS-strlkh'-Sn).    Un- 
accented.    Vide  PITCH. 
igestiim  (oon'-g^-shtum),  G.    Impet- 
uous. 

igezwungen  (oon-gS-tsvoong'-en), 
G.     Easy. 

igleich  (oon'-glikh).  Unequal.  Vide 
COUNTERPOINT.  unglcichschwc- 
bende  (shva-ben-d^).  Unequal,  of 
temperament  (q.  v.). 
harmo'nischer  Querstand  (kwar'- 
shtant)  or  umstand  (oom'-shtant). 
False  relation. 

uichord,    E.,   unichor'dum,  L.     i. 
Monochord.     2.    Marine  trumpet. 
•  ion  (lin-yoii),  F.      Union,     u.   des 


r^gistres   (da  ra-zh^str).     Blending 
of  registers. 
unione  (oo-nl-6'-n$),  /.     Coupler. 
u  nison  (in  G.,  oo-nl-zon),  uniso'nus, 
Z,.,  unisono  (oo-ne-s6'-n6),  /. ;  unis- 
son  (u-nls-s6h),  F.      i.   Identity  of 
pitch.     2.  Any  octave  of  a  pitch.     3. 
A  tone  of  the  same  or  octave  pitch. 
4.   A  prime,  hence  augmented  uni- 
son.    5.   A  group  of  2   or  3  strings 
tuned  in  the  piano  to  one  note,     all' 
unisono,  a  I'unisson,  in  unison,  or 
progressing  in  the  unison  or  the  oc- 
tave. 
unis'onant,     unis'onous.     In   unison 

or  octave. 
unito    (oo-ne-to),     unitamen'te,     /. 
United(ly).       uniti     cancels    divisi 
(q.  v.). 
unmeasured.      Without  definite  meas- 
ure. 
uno  (oo'-no),     una   (oo'-na),  /.    One  ; 
a,  an.    uno  a  uno.    One  by  one;  one 
after  another. 
unrein  (oon'-rin'),  G.     Impure  ;  out  of 

tune. 
unruhig  (oon-roo'-lkh),  G.     Restless; 

uneasy. 
unschuidig  (oon-shool'-dikh),  G.     In- 
nocent. 
unsingbar    (oon-ztng'-bar),    G.      Not 

singable. 
unstrung.     Of  strings  (a)   relaxed  in 

tension,  (b)  removed  entirely. 
unter  (oon'-ter),  G.  Under,  below, 
sub.  U.-bass  (bas).  Double  bass. 
U.-brechung  (brSkh'-oongk).  Inter- 
ruption, u.-brochen  (brokh-en).  In- 
terrupted. U.-dominante  (do-mt- 
nan'-t^).  Subdominant.  U.-halbton 
(halp-ton).  Half-step  below.  U.- 
haltungsstiick  (hal-toongs-shtuk). 
Divertissement.  U.-Ieitton  (llt-ton). 
Dominant  seventh.  U.-mediante 
(ma-dr-ant'-g).  Submediant.  U.- 
satz(zats).  Supporter;  a  32-ft.  stop 
on  the  pedal,  u.-setzen  (z^t'-z^n). 
To  pass  the  thumb  under  a  finger  ;  or 
one  foot  under  another.  U.-stimme. 
Lowest  voice,  or  part.  U.-tasten 
(tas-tSn).  The  white  keys  of  the 
piano   or  organ.      U.-tone   (ta-n«). 


I 


296 


THE    MUSICAL    GUIDE 


Untertonreihe  (n-e).  Vide  under- 
tones. 

unverziert  (oon-fer-tsert'),  G.  Unor- 
namented. 

unvolkommen  (oon'-fol-kom-men),  G. 
Incomplete. 

uomo    (00-6 -mo),  /.      A   man.     Vide 

PRIMO. 

up-beat.  I.  The  raising  of  the  hand 
or  baton,  hence  2.  An  unaccented 
part  of  a  measure. 

up-bow.     Vide  BOW. 

upright.     Vide  piano. 

ura  nion.  An  instrument  like  the  harp- 
sichord or  piano. 

uhr-heen.     Chinese  violin. 

upper-clang.     Vide  cl.\ng. 

uscir  di  tuono  (oo-sher  de  too-o-'no),  /. 
To  get  out  of  tune. 

u'sus,  L.  I.  The  rules  of  music.  2. 
Old  synonym  for  neumes  and  the 
neume  system. 

ut  (ut  in  /'.,•  in  /.  and  Z.  oot).  i.  In 
France  the  key  and  note  C,  so  used 
also  in  indicating  pitch,  as  ut  2.  2. 
Vide  SOLMISATION.  3.  In  Latin,  as, 
like  that,  ut  supra.  As  above,  as 
before. 

Ut  que'ant  lait  is,  Z.     Vide  solmisa- 

TION. 

F 

VAbbr.    for    vide  —  see  ;     vio- 
lin{s)  ;  volti  ;  voce. 
va  (va),  /.     Go  on.    va  cres- 
cendo (kre-shen'-do),  I.    Go 
on  increasing  the  volume. 
vaccilando     (vat-chl-lan'-do),     vacci- 
lante   (lan'-te),  /.     Wavering,    irreg- 
ular. 
va'gans,  Z.     Vague.     Vide  quintus. 
vago  (va'-g6),  I.     Vague,  rambling. 
valce  (val'-che),  I.     Waltz. 
valeur  (va-lur),  Z".,  val  or,  Z.,  valore 

(va-l6'-re),  /.  Duration  (of  a  note). 
valse  (vals),  F.  Waltz  ;  used  in  E. 
rather  of  a  concert-piece  (v.  de  sa- 
lon), than  of  a  strict  dance-tune. 
V.  chant6e  (shah-ta),  vocal  waltz. 
V.  a  deux  temps  (du  tan).  A  quick 
waltz,  with  two  steps  in  each  measure. 


value.     Duration  of  a  note  or  rest. 

valve,  valvola  (val'-vo-la),  I.  i.  The 
device  inv.  by  Claggett,  1790,  and 
Bluhmel,  1813,  by  which  natural 
brass  instrs.  are  made  chromatic.  A 
natural  horn  produces  the  funda- 
mental tone  naturally  made  by  a  col- 
umn of  air  of  its  exact  length  ;  it  can 
be  made  to  produce  a  series  of  par- 
tials  of  this  tone  by  the  method  of 
blowing.  Vide  emkouchlre  and 
acoustics.  The  key  of  the  horn  can 
be  changed  by  substituting  for  one 
section  of  its  tube  a  longer  or  shorter 
section  called  a  crook,  which  alters 
the  length  of  the  horn,  and  the  col- 
umn of  air,  and  alters  therefore  its 
fundamental  key  and  gives  it  a  new 
series  of  partials.  Until  the  valve- 
mechanism  was  invented  a  horn  could 
therefore  play  only  in  one  key  at  a 
time.  Valve  instrs.  have  auxiliar)' 
tubes  fitted  to  the  main  tube  ;  they 
are,  in  fact,  merely  stationary  crooks. 
The  pressure  of  a  certain  valve  acts 
as  an  instantaneous  change  of  crook 
by  shutting  off  the  air  in  one  crook, 
and  turning  it  into  another  of  differ- 
ent length.  This  device  permits  the 
sounding  of  a  complete  chromatic 
scale  along  the  instrument's  whole 
range.  The  valves  are  usually  three 
in  number,  the  first  lowering  the 
pitch  a  semitone,  the  second  a  tone, 
the  third  three  semitones,  thus  giving 
a  command  of  all  keys  ^cf.  harp), 
(a)  the  piston,  or  piston-valve,  is 
a  plunger  in  an  air-tight  cylinder  ;  by 
means  of  two  holes  the  plunger  at 
rest  carries  the  air  through  the  main 
tube  ;  when  pressed  it  shuts  off  the 
main  tube  and  opens  a  side-tube,  thus 
changing  the  key  ;  a  spiral  spring  re- 
stores it  after  pressure  to  the  natura 
position,  (b)  the  rotary  valve  is  £ 
stop-cock  with  four  holes  which  pro- 
duce the  same  effect.  2.  organ- 
valves  are  (a)  suction-valves,  0 
suckers,  which  admit  the  wind  t( 
the  bellows  and  retain  it  there  ;  (b 
joint-valves  which  regulate  the  air 
density    in    the    wind   channels,     (c, 


DICTIONARY    OF    TERMS       297 


!l    key-valves  or  pallets,   which  are 

worked  bv  a  draw-stop  ;  and  (d)  the 

waste-pallet   reHeving   the    bellows 

of  surplus  air. 

valzer  (val-tsar),  /.     Waltz,     v.  a  due 

passi.     Two-step. 
vamp.     I.   To  improvise  an  accompa- 
niment or  prelude.     2.   Such  an   ac- 
companiment or  prelude. 
variamento  (vJi-rT-a-men'-to),    /.     Va- 
riation,    difference.       variamen'te. 
Varied,  freely. 
Variation,  j5'.  (in  G.  fa-rl-a-tsl-6n',  pi. 
-en  ;  in  F.  var-T-as-yon),  variazione 
(va-rT-a-tsl-6'-ne,  pi.  -i),  /.      The  ma- 
nipulation  of   a   given   theme  or   air. 
In    the   old    sense   (called  doubles), 
and  in  cheap  modern  usage  such  as 
"  Home,    sweet    Home    with    varia- 
tions," the  air  is  simply  smothered  in 
\   ornaments,    arpeggios,    etc. ;    in    the 
1   better  sense  (character  variations) 
I   the  theme  is  subjected  to  as  much  re- 
!   modelling,  inversion,  change  of  note- 
value,  etc. ,  as  is  possible  without  losing 
•   entire  sight  of   its  original   meaning  ; 
sometimes  merely  the  chord-relations 
are  preserved,     variato   (va-rl-a'-to), 
/.,  varie  (va-rt-a),  F.     Treated  with 
variation. 
j-arsoviana    (a'-na),  /.,    varsovienne 
\  (vl-en),  F.     "  Warsaw  dance."    Slow 
1  Polish  dance  in  3-4  time  with  an  up- 
1  take  of  a  quarter  note,   and  an   ac- 
I  cented  down-beat  in  every  other  meas- 
j  ure. 

.audeville   (v6d-vel),  F.     i.  A   coun- 
;  try  ballad  or  roundelay,  usually  satir- 
1  ical.    2.  Operatic  or  musical  comedy. 
iC,  vcello.     Abbr.  for  violoncello. 
leemente    (va-a-men'-tS),    /.       Vehe- 
,  ment.    veemenza  (men'-tsa).    Force. 
leiled,  velato  (va-la'-to),  /.     Marked 
by  a  desirable  softening  of  the  metal- 
lic quality  of  a  tone  ;  usually  acquired 
by  a  slight  escape  of  breath. 
ellutato  (vel-loo-ta-t5),  /.     Velvety, 
!  smooth. 

leloce(ve-lo'-che),  velocemen'te,  /. 
I  Swift(ly).  velocis'simo.  With  ex- 
)  treme  rapidity,  velocita  (che-ta'). 
i  Rapidity. 


veneziana  (ve-na-tsl-a'-na),  /.  Ve- 
netian. 

ventage.  A  hole  in  flutes,  etc.,  to  be 
stopped  with  finger  or  key. 

Ventil  (in  G.  fen-tll),  ventile  (ven- 
te'-le),  /.  I.  Valve,  hence  Ventil- 
horn  or  -kornett.     2.  Organ-valve. 

vepres  (vepr),  F.     Vespers. 

venusto  (va-noos'-to),  /.  Beautiful, 
charming. 

Veranderungen  (fer-en'-der-oong-en), 
■  G.,  pi.      Variations. 

Verbindung  (fer-bln'-doongk)  G. 
Binding,  combination.  V.-szeichen 
(tsT-khen),  G.     Tie. 

verdeckt  (fer-dekt),  G.     Hidden. 

verdoppelt  (fer-dop'-pelt),  G.  Doubled. 
Verdop  pelung  (oongk).     Doubling. 

Verengung(fer-eng'-oongk),  G.  Dimi- 
nution of  value  or  interval. 

vergellen  (fer-gel'-len),  G.  To  di- 
minish. 

vergliedern  (fer-gle'-dern),  G.  To 
articulate. 

vergniigt    (fer-gniikht),    G.     Cheerful. 

Vergrosserung  (fer-gres'-ser-oongk), 
G.     Augmentation. 

Verhaltniss  (fer-helt'-nls),  G.  Ratio 
or  proportion. 

verhallend  (fer-hal'-lent),  G.  Dying 
away. 

ver'ilay.     Vaudeville. 

Verkehrung  (fer-ka'-roongk),  G.  Imi- 
tation in  contrary  motion, 

Verkleinerung  (fer-kll'-ner-oongk),  G. 
Diminution. 

Verkiirzung  (fer-kiir'-tsoongk),  G. 
Diminution  of  value. 

Verlangerungszeichen  (fer-leng'-er- 
oongs-tsi'-khen),  G.  Dot  of  pro- 
longation. 

verloschend  (fer-lesh'-ent),  G.  Dying 
away. 

vermindert  (fer-mKn'-dert),  G.  Di- 
minished. 

Vermittelungssatz  (fer-mtt'-tSl- 

oongks-zats),  G.     Episode. 

verrillon  (ver-e-yon),  F.  Mouth-har- 
monica. 

Verschiebung  (f^r-she'-boongk),  G. 
"Shift,"  soft  pedal.  ohneV.  Without 
soft  pedal,   mit  V.    With  soft  pedal. 


298 


THE    MUSICAL    GUIDE 


\^ 


verschwindend  (fer-shvln'-dent},  G. 
Dying  away. 

verse,  i.  Portion  of  an  anthem  or  ser- 
vice to  be  sung  by  a  soloist  to  each 
part,  and  not  by  the  full  chorus ; 
hence  Verse-anthem,  and  Verse- 
service  for  solo  voices.  2.  Line.  3. 
Stanza. 

verset'  (in  F.  ver-sa),  versetto  (ver- 
sgt'-to),  /.,  Versette  (fer-set'-t^), 
G.  I.  Short  piece  for  the  or- 
gan. 2.  Versicle.  versetzen  (fer- 
zgt'-s^n),  G.  To  transpose.  Ver- 
set'zung  (zoongk).  Transposition. 
Verset'-zungszeichen  (tsT  -khen). 
The  sharp,  flat,  and  natural. 

versicle,  £.,  Versikel  (f6r'-slk-el).  G. 
A  short  phrase  or  line,  combining 
with  the  response  to  form  one  sen- 
tence. 

versila're,  L.     To  sing  antiphonally. 

verso  (ver'-s6),  /.     i.   Verse.     2.  Air. 

Verspatung  (fer-shpa-toongk),  G. 
Retardation. 

verstarkt  (fer-shterkt'),  G.    Sforzando. 

verstimmt  (fer-shtlmt'),  G.  i.  Out  of 
tune.     2.    Depressed. 

ver  tatur,  ver  te,  L.  Turn  over.  v. 
subito.      Turn  quickly. 

vertical.  Of  piano-strings,  in  one 
plane  ;  opposed  to  overstrung. 

vertonen  (fer-ta'-nen),  G.  To  die 
away. 

verve  (verv),  F.     Spirit,  energy. 

verwandt  (fer-vant').  G.  Related,  rel- 
ative. V.-schaft  (shaft).  Relation- 
ship. 

Verwechselung  (fer-vekh'-sel-oongk), 
G.     Change,  mutation,  of  key,  etc. 

verweilend  (fer-vl'-lent),  G.  Retard- 
ing. 

Verwerfung  (fer-verf'-oongk),  G. 
Transposing. 

verzi(e)rt  (fer-tsert'),  G.  Embellished. 
Verzi(e)rung  (tse'-roongk).  Orna- 
ment. Verzogerung  (fer-tsakh'-g- 
roongk),  G.     Retardation. 

verzweiflungsvoll  (f^r-tsvl'-floongs- 
fol),  G.     Full  of  despair. 

Vesper  (fes'-pgr),  (7.,  vespero  (ves'- 
pg-ro),  vespro  (ves'-pro),  /.,  ves'- 
perae,  L.     Vespers.     Vide  iiOR.t. 


vesperti'ni  psal'rai,  /.,   pi.    Evening 

psalms. 
vezzoso(ved-z5'-s6),  /. ,  vezzosamen'- 

te,  /.     Graceful(ly),  tender(ly). 

vi.     Abbr.  for  violini. 

vibrante  (ve-bran'-te),  /.  Vibrating, 
quivering. 

vibrato  (ve-bra'-to),  /.  i.  Vibrating, 
resonant.  2.  A  strongly  tremulous 
tone  of  distinct  vibrations. 

vibration  (in  F.  ve-bras-yoh).  The 
regular  oscillation  of  an  elastic  body, 
as  a  string,  sounding-board,  etc., 
contributing  rapid  periodic  changes  in 
the  density  of  the  air,  which  conveys 
the  motion  in  sound-waves  to  the  ear 
(without  the  air  the  vibrations  are  not 
conveyed  to  the  air  as  sound  ;  in  a 
vacuum,  a  bell,  for  example,  is  not 
audible).  The  strength  of  the  tope 
varies  according  to  the  amplitude  or 
breadth  of  vibrations  (travelling-dis- 
tance of  the  elastic  body  back  and 
forth)  ;  the  pitch  of  the  tone  varies 
directly  with  the  rapidity  of  the  vi- 
brations. The  vibration-numbers  of 
sounds  vary  in  inverse  ratio  with  the 
length  of  their  sound-wave.  A  single  , 
vibration  is  from  the  point  of  rest  to 
one  extreme  of  motion,  but  is  often 
calculated  from  one  extreme  to  the 
opposite.  A  double  vibration  ismeas- ' 
ured  from  one  extreme  to  the  oppo- 
site and  back  again,  sympathetic 
V.  is  that  which  is  set  up  in  an  object 
(as  a  string,  tuning-fork  or  even  a 
plate)  when  the  tone  to  which  it  vi- 
brates naturally  is  sounded  by  some 
other  instrument.  Thus  press  the 
loud  pedal  of  a  piano,  to  remove  the 
dampers,  and  sing  or  play  on  a  violin 
any  note.  This  note  will  be  heard  at, 
once  sounding  on  the  piano-string. 
Furthermore,  its  partials  will  be  simi- 
larly heard. 

vicar-choral.  Lay  vicar  of  a  cathe- 
dral choir. 

vicenda  (ve-ch^n'-da),  /.  Change. 
vicendevole  (da'v6-lS).     Vacillating. 

Victimae  pas'chali  lau'des,  L. 
"  Praise  the  paschal  offering."     Vide 

SEQL'E.NCE. 


F«f 


I 


DICTIONARY   OF   TERMS       299 


vi'de,  vi'di,  L.  See.  vi-  is  often  put 
at  the  beginning  of  a  passage  to  be 
cut,  and  -de  at  the  end. 

vide  (ved),  F.  "Empty";  open,  of 
strings,  as  corde  a  v.  opp.  to  corde 
a  jouer,  a  string  to  be  stopped. 

Videl  (fe-del),  G.     Fiddle. 

viel  (fel),  G.  Much,  many,  v.-chorig 
(ka-rikh).  For  several  choruses,  v.- 
facher  (fakh-5r).  Polymorphous. 
v.-stimmig  (shtlm-mikh).  Poly- 
phonic. 

viM(l)e  (vT-el),  F.,  viella  (vl-el'-la),  /. 
I.    Hurdygurdy.     2.  Old  viol,     viel- 

'     leur  (vl-el-lur),  v^.    Player  of  the  viol. 

ivier  (fer),  G.  Four.  V,-achteltakt. 
4-8  time,     v.-doppelt.     Quadruple. 

I    v.-fach  (fer'-fakh).     With  four  ranks 

!  of  pipes,  etc.  v.-fiissig  (fer'-fus- 
slkh).  Four-foot  (of  pipes).  V.- 
gesang.  4-part  song,  v.-gestri- 
chene  Note.  32d  note,  v.-ges- 
trichene  Oktave.  Four-marked. 
Vide  PITCH.      v.-handig(hen-dlkh). 

:    For   four    hands.      V.-klang    (fer'- 

1    klang).      Chord    of    four    tones ;    a 

,  seventh  chord,  v.-massig  (fer-m^s- 
slkh).  Containing  four  measures. 
v.-saitig.  Four-stringed,  v.-stim- 
mig.      In    four-parts.       V.-stiick. 

:   Quartet,     vierte    (fer'-te).     Fourth. 

:,  viertel    or    viertelnote.      Quarter 

1  note.    Viertelpause.    Quarter  rest. 
Viertelton.  Quarter  note.  Vierund- 
sechzigstel         (fer-oont-zekhs'-lkh- 
shtei).      64th    note.       Vierviertel- 
takt    (fer-fer'-tel-takt).       4-4    time. 
vierzehn(fer'-tsan).  Fourteen,  vier- 
zehnte.  Fourteenth.    Vierzweitel- 
tact  (fer-zvl'-tel-takt).     4-2  time. 
ietato  (ve-a-tii'-to),  /.     Forbidden, 
if  (vef),  F.     Brisk,  quick. 
igoroso     (ve-g6-r6'-s6),     vigorosa- 
men'te,  /.     Bold(ly). 
iguela  (ve-goo-a'-la),      vihuela   (ve- 
_hoo-a'-la),  Sp.     A  primitive  guitar. 
illageois    (ve-lS-zhwa),    villageoise 
(zhwaz),  F.     Rustic. 
tllancico  (vel-yan'-the-ko),  villancio 
(vel-yan'-tht-6),    Sp.       i.    A    church 
festival     anthem.       2.  A    beginning 
and  ending  with  chorus. 


villanella  (vel-la-n^l'-la), /.,  villanelle 
(ve-ya-nel),  F.  "  Village  song,"  15th 
cent.  Italian  folk-song  of  rustic  tone 
and  artless  grace. 

villanesco  (nes'-ko),  villareccio  (vel- 
la-ret'-cho),  /.     Rustic. 

villot'to,  /.     Secular  song  ;  cf.  villa- 

NELLA. 

vi'na.  Ancient  fretted  7-stringed  Hin- 
du instr.  with  body  of  bamboo,  and 
two  gourds  for  resonance. 

vinata  (ve-na'-ta),  /.  A  vintage-song. 
vinet'ta.     Little  vinata. 

viol,  viola  (ve-6'-la),  /.,  viole  (in  F. 
ve'-61 ;  in  G.  fe-o'-le).  i.  The  viola 
in  modern  usage  is  the  tenor  or  alto 
violin,  a  little  larger  in  size  than  the 
normal  violin,  and  tuned  a  fifth  lower 
c-g-d-a'.  It  is  written  on  the  C 
clef  (except  high  notes,  which  are 
written  in  the  G  clef).  Its  tone  is 
more  sombre  (very  richly  melancholy 
and  elegiac  indeed),  and  its  harmon- 
ics are  more  limited.  2.  The  proto- 
type of  the  violin.  A  fretted  bow- 
instr.  with  6  strings  (sometimes  5  to 
8) ;  flat  and  tapering  back  ;  belly  usu- 
ally flat ;  sound-holes  circular  ;  bridge 
low  to  facilitate  chords ;  tuned  in 
fourths  with  one  midway  third.  In  4 
sizes  treble  {alto),  alto  {alt  or  tenore), 
bass  {basso),  contrabass  {violone). 
The  bass-viol  still  persists  in  Eng- 
land. V.  di  bardone  (bar-do'-n^),  /.  A 
barytone  viol,  of  the  size  cf  the  'cello, 
with  6  or  7  gut  strings,  and  a  num- 
ber of  wire  resonance  strings  lying 
along  the  belly  and  tuned  diatoni- 
cally.  V.  bastarda  (bas-tar'-da),  /. 
"  Bastard  viol."  Large  viol  da  gam- 
ba.  V.  da  braccio  (da  brat'-cho). 
"Arm-viol"  as  opposed  to  v.  da 
gamba,  "  Leg- viol."  v.  da  spalla. 
"  Shoulder-viol,"  a  larger  arm-viol. 
viola  d'amore  (da-mo'-re),  /.,  viole 
d'amour  (da-moor),  F.  i.  Richly 
beautiful,  but  obsolete  instr.,  larger 
than  the  viola,  furnished  with  frets 
and  more  strings,  some  above,  and 
some  below  the  finger-board.  2.  A 
stop.  v.  pic'cola  or  marina  (ma- 
re'-na).     An  instr.  resembling  the  V. 


300 


THE    MUSICAL    GUIDE 


d'amore.  v.  pomposa  {p6m-p6'-sa). 
A  large  viol  of  the  compass  of  the 
'cello,  but  with  a  fifth  string.  Inv. 
by  J.  S.  Bach.  •  viol  da  gamba  (da 
gam' -ba),  viol  di  (de)  gamba.  "  Leg- 
viol."  A  small  obsolete  violoncello, 
with  frets,  and  five  or  six  strings. 
viola  alta.  An  enlarged  viola  inv. 
by  Hermann  Ritter  of  Wismar,  Ger- 
many, 1S77. 

violento  (ve-o-len'-to),  violentemen- 
te(len-te-men'-te),/.  Violently,  vio- 
lenza  (len'-tsa).     Fur>'. 

vi'olin',  E.,  Violine  (fe-6-le'-ne),  G., 
violino  (ve-6-le'-n6),  /.,  violon  (ve- 
6-16h),  F.  I.  "  Small  viol."  A  uni- 
versally popular  4-stringed  bow-instr. 
Developed  possibly  from  the  Viol,  it 
has  also  been  traced  to  the  lira  da 
braccio ;  it  passed  through  many 
changes  from  about  1480-1530,  when 
it  assumed  a  shape  little  varied  since. 
Though  the  name  usually  applies  to 
one  size,  it  may  also  be  stretched  to 
include  the  whole  string  quartet 
(which  is  the  harmonic  basis  of  the 
modern  orchestra) :  the  violin  (or 
treble),  the  tenor  violin  or  viola,  the 
violoncello  and  the  double  bass.  The 
violin  proper  has  four  gut  strings 
with  the  accordature,  g-d'-a'-e". 
Its  tone  is  capable  of  great  variety, 
sentiment  and  brilliance,  its  range  ex- 
tending from  g  to  the  highest  note  in 
the  orchestra,  e"".  It  is  rich  in  har- 
monics, but  its  resources  in  chords 
are  limited  and  must  be  handled  with 
great  care  for  the  fingering. 

Instrs.  of  the  violin  family  consist 
of  a  curved  body,  or  resonance-box, 
whose  upper  surface  or  belly  is  joined 
to  a  vaulted  back  by  ribs  ;  the  body 
is  curved  in  at  the  waist,  the  incurving 
being  accented  by  bouts,  whose  cor- 
ners are  braced  with  triangular 
blocks:  the  belly  (on  which  the  bridge 
rests  between  sHts  called  sound-holes, 
or  from  their  shape /-/^c/c-.f)  is  braced 
with  a  thin  strip  (under  the  G  string) 
called  the  bass-bar.  A  round  prop 
or  soiindpost  beneath  the  treble  foot 
of  the  bridge  connects  the  back  and 


the  belly.  The  finger-board  is  on  the 
tieck,  which  terminates  in  a  head  orna- 
mented with  a  scroll  and  containing  a 
peg-box,  in  which  are  four  movable 
pegs  from  each  of  which  a  string 
passes  across  a  ridge  called  the  nut,  j 
along  the  finger-board  and  over  the  ] 
bridge  to  the  flat  tail-piece  which  is 
fastened  by  a  loop  of  gut  to  a  button 
in  the  lower  end  of  the  body.  2.  A 
2,  4,  and  8  ft.  stop.  Viol'inbogen 
(fe-o-len'-bo-khen),  G.  A  vln.-bow. 
Violin-clef,  Violinschliissel  or 
-zeichen,  G.  The  G  clef,  violi- 
nier  (hn-I-a),  violiniste  (nest),  F., 
violinista  (nes'-tii),  /.,  Violinspie- 
ler,  G.  A  violin-player,  violino 
alto,  /.  A  small  tenor  viol,  vio- 
lino picciolo  (plt'-ch6-l6),  piccolo, 
pochetto  (ket'-to),  /.  A  small  vln. 
tuned  a  fifth  higher,  v.  pompo'so, 
/.  A  viola  with  an  additional  higher 
string,  violin-principal.  A  4,  or  8  , 
ft.  stop.  Violinsaite.  Violin-string. 
Violinsteg  (stakh).  Violin-bridge. 
Violinstimme.  Violin-part.  Vio- 
lin-tenor.    A  vln.  of  low  tone,  vio- 

•  Ion  de  fer  (du  fer).  Iron  fiddle,  vio-  i 
linata.  A  piece  for  violin,  or  iiJ' 
violin  style,  violinzo'li.  8-ft.  sto|;f ' 
on  the  swell. 

Violon  (fe-6-l6n'),  G.   The  double-bass  1 

violier   (ve-61-ya),   violiste  (lest'),  /  / 
Viola-player. 

violonar(v€-6-15-nar'),  F.  Double-bass 
violonaro  (nar'-6).     Octo-bass.  .< 

Violoncell  (fe-o-lon-tsel'),  G.,  violonil. 
celle  (ve-6-16n-sel),  F.,  violoncell. |: 
(ve-o-lon-chel'-lo),  /.      "Little    vie' 
lone."  Commonly  abbr.  'cello.   Larg  1 
4-stringed  instr.  of  vln. -family  (vie 
violin)  held  between  the  knees  ar 
resting  on  a  standard  or  peg.     It 
tuned  an  octave  below  the  viola,  ( 
G,  d,  a.     Its  music  is  written  chief 
in  the  C  clef,  save  high  notes  in  the 
clef,  and  low  in  the  F  clef  (former 
it  was  all  written  in  the  G  clef,  an  0 
tave  higher  than  it  sounded).     Chor 
and  harmonics  are  little  used,  exce 
in  solos.     The  'cello  is   one  of  t 
most  important  of  orchestral  instr 


;e      ■ 
t 


DICTIONARY    OF    TERMS       301 


and  one  of  the  most  expressive,  espe- 
cially of  the  graver  or  more  yearning 

i  emotions,  its  gayety  being  rather  sar- 
donic. 

j^iolone  (ve-6-l6'-ne),  violono  (l6'-n6), 

I  ./.     "Large  viol."     i.   Double-bass. 

;    2.  Pedal-stop. 

violot'ta.  A  large  viola  devised  by 
Stelzner,  Dresden,  1895,  and  tuned  G, 
d,  a,  e'. 

vir'elay.  Vaudeville  (also  from  the 
town  of  Vau.x  de  Vire). 

vir'gil,  L.     A  neume. 

Virgil  practice-clavier,  A  mechan- 
ical piano  inv.  by  A.  K.  Virgil,  1883, 
for  practice-purposes,  the  heaviness 
of  touch  being  adjustable  in  6  grada- 
tions ;  a  click  answering  the  depression 
of  a  key,  and  another  click  its  release. 

7ir'ginal(s).     A  small  spinet-like  instr. 

:  popular  in  the  time  of  Queen  EHza- 
beth,  and  placed  upon  a  table. 

Virtues  (fer-too-oz'),  G.,  virtuoso 
(ver-too-o'-s6),  /.,  virtuose  (vlr-tu- 
6z),  F.  A  performer  of  marked  skill. 
Virtuositat  (o-zl-tat'),  G.  Virtuos- 
ity.    Remarkable  execution. 

ns-a-vis  (ve-za-ve),  F.  "  Face  to 
face."  A  large  double  piano  with  2 
opposite  key-boards. 

rista  (ves'-ta), /.  Sight,  a  prima  v. 
At  (first)  sight. 

risto  (ves'-to),    vito  (ve'-to),  vi(s)ta- 

:_men'te,  /.     Swift(ly). 

I'ite    (vet),     vitement    (vet-mah),   F. 

\    Quick(ly). 

'itesse  (ve-tes),  F.     Swiftness. 

'ivace  (ve-va'-che),  /.  Lively,  faster 
than  Allegro,  vivacemen'te.  Brisk- 
ly, quickly,  vivacet'to  (chet'-to). 
Rather    lively.      vivacezza    (ched'- 

,  za),  vivacita  (ve-va-chl-ta').    Vivac- 

!  ity.     vivacis'simo.     Very  fast,     vi- 
-   !  vamen'te.     Briskly. 

'ive  (vev),  F.     Brisk,  quick. 

iven  dum,  ad.  Z.  "  To  live"  i.  e.,  for 
permanence.  Written,  as  opposed  to 
improvised,  counterpoint. 

ivente  (ve-ven'-te),  vivido  (ve'-vl-do), 
vivo  (ve'-v6),  7.  Animated,    vivezza 
.     (ve-ved'-za).     Liveliness. 
^   la.    Abbr.  for  viola. 


vocal,  vocale  (vo-ka-le  in  /./  \nF.  v6- 
kai),  voca'lis,  L.  Relating  or  ap- 
propriate to  the  human  voice,  vocal 
chords.  The  two  membranes  in  the 
larynx  whose  tensity  is  regulated  at 
will  to  produce  desired  pitches.  Vide 
GLOTTIS,  rima  vocalis.  The  open- 
ing between  the  vocal  chords. 

vocalezzo  (v6-ka-led'-zo),  I.  A  vocal 
exercise. 

voca'lion.     Vide  reed-org.-vn. 

vocalises  (in  F.  v6-ka-lez').  Solfeg- 
gio exercises  for  the  voice. 

vocaliser  (v6-kal-I-za),  F.,  vocaliz- 
zare  (v6-ka-lld-za-re),  /.,  vo'calize, 
E.  To  practise  exercises  for  the 
voice  without  words. 

vocalisa'tion  (in  F.  vo-kS-le-zas-yoh). 
I.  The  practice  of  exercises  for  the 
voice.     2.   Display  of  vocal  agility. 

vocalizzo  (lld'-z6,  pi.  -i),  I.  Vocal  ex- 
ercise. 

voce  (vo'-che),  /.  Voice,  colla  v. 
"  With  the  voice,"  i.  e.,  adopting  the 
tempo  of  the  solo  part.  v.  an- 
gelica (an-ja'-ll-ka).  ' '  Angel  voice. " 
Delicate  reed-stop.  v.  di  bianca 
(de  bl-an'-ka),  /.  "  White  voice." 
Applied  to  pale  and  colourless  tones, 
such  as  the  voices  of  young  women, 
children  and  poorly  trained  adults. 
V.  di  camera.  A  small  voice  for 
the  chamber,  v.  digo'Ia.  A  guttural, 
throaty  voice,  v,  di  pet'to.  The 
chest  voice,  v.  di  testa.  Head 
voice,  the  falsetto,  upper  register,  v. 
granita  (gra-ne-ta).  A  "granite" 
or  massive  voice.  mezza  voce 
(med'-za).  Half  the  power  of  the 
voice  ;  a  moderate  tone.  v.  pasto'sa. 
A  soft,  flexible  voice,  v.  principale 
(pren-chl-pa'-le).  Principal  voice,  v. 
rauca  (ra'-oo-ka).  A  hoarse,  rough 
voice.  V.  so'la.  The  voice  alone,  v. 
spianata  (spe-a-na'-ta).  Drawn  out ; 
smooth,  sustained  voice,  v.  spiccata 
(splk-ka-ta).  A  clear,  distinct  voice  : 
well  articulated,  v.  umana  (00-ma'- 
na).  The  human  voice.  Vide  vox 
HU.MANA.  vociaccia  (v6-chT-at'-cha). 
A  bad,  disagreeable  voice,  vocina 
(v6-che'-na).     Thin  little  voice. 


302 


THE    MUSICAL    GUIDE 


voces,  L.,  pi.  of  vox.    v.  aequa'les. 

Voices  of  the  same  kind. 
Vogar  (fo'-gar),  G.     Fugara. 
Vogel   (fo'-gdl),   G.      Bird.      V.-flbte 
or  pfeife.     A  bird-whistle.      V,-ge- 
sang.     "  Singing  of  birds  "  ;  stop  in 
old   German  organs,   of  small   pipes 
standing  in  water,  through  which  the 
wind  passes  ;  a  merula. 
voglia  (vol'-ya),  /.     Ardour. 
voice.     I.   The  sound  produced  by  the 
larynx  of  human  beings  or  animals. 
2.   Part  (for  any  instr.),  often  voice- 
part.      3.  The   tuning   and   tone  of 
organ-pipes. 

Of  the  human  voice,  these  are  the 
following  divisions  :  basso,  tenor, 
counter-tenor ,  contralto  or  alto,  mezzo- 
soprano,  soprano  (\'ide  each  of  these 
words).  Each  voice  is  also  divided 
into  registers  (or  groups  of  tones  of  a 
uniform  quality)  the  transition  from 
one  to  another  register  being  some- 
times distinct  enough  to  be  called  a 
break ;  there  are  usually  two  breaks 
in  a  male,  and  three  in  the  female 
voice.  The  registers  are  chest,  head 
and  falsetto  (q.  v.). 
voicing.     The  adjustment  of  the  pitch 

and  quality  of  a  pipe. 
voil6e  (vwa-la),  F.     Veiled. 
voix  (vwa),  F.   I.  Voice(s).   2.  Part(s). 
v.        ang^lique       (vwa-zaii-ja-lek). 
Vox  angelica,     v.  celeste    (sa-lest), 
F.     "Celestial  voice,"  a  stop  formed 
of  two  dulcianas,  one  slightly  sharp, 
thus  giving  a  vibrato,    v.  de  poitrine 
(dii   pwa-tren),  F.     Chest  voice.      v. 
de  tete    (dCitet).      Head  voice,  fal- 
setto voice.     V.  glapissante  (gla-pe- 
sSnt).     A  shrill  voice,     v.  gr^le  (vwa 
grel).     A  sharp,  thin  voice,     v.   hu- 
maine  (ii-men).     Vox  humana. 
vokal    (fo-kal),    G.      Vocal.      V.-stil 

(shtel).     Vocal  style. 
volante    (v6-lan'-tg),     /.       "Flying," 

light,  swift, 
volata (vo-la-ta),  /.,  Volate  (v5-la'-te), 
C.,volatine(v6-la-ten),  F.  "  Flight," 
run,  rapid  series  of  notes,     volatina 
(v6-la-te'-na),  /.     A  little  volata. 
vol6e  (vo-la),  F.     A  volata. 


Volk  (folk),  G.  Folk  ;  of  the  common 
people.  V.  gesang  (f61k'-g$-zang). 
V.  s-lied  (slet),  V.  stiickchen  (stuk'- 
kh'n),  V.s-weise.  Folk-song  or 
folk-music,  im  Volkston'  or  Volks- 
weise.  In  folk-tone  or  style.  volks> 
t(h)umliches  (tum-Ukh-gs).  Lied. 
Popular  folk-song. 

VOll  (fol),  C.  I.  ¥n\\;mitvollem  Werk, 
Chore,  Orchester,  with  the  full  organ, 
chorus  or  orchestra.  vbller  {iiX- 
\hx).  Fuller,  louder,  voiles  Werk 
(fol'-l^s  vdrk).  Full  organ.  Vollge- 
sang.  Chorus.  volIgriffig(grif-f!kh). 
"  Full-handed,"  with  full  chords. 
vollkom'men.  Perfect,  complete. 
vollstimmig.  Full-toned,  full-voiced. 
Vollstimmigkeit.  Fullness  of  tone.  , 
volltonend,  G.  Sonorous.  2.  As  a 
suffix  =  full,  as  gedankenvoll. 
Thoughtful. 

volont6  (v6-16h-ta),  F.  Will,  pleasure. 
a  V.     At  will. 

volta  (vol'-ta),  /.  I.  Time.  2.  A  kind 
of  galliard.  prima  v.  (pre'-ma). 
First  time,  una  V.  One.  due  volte. 
Twice. 

voltare  (v61-ta'-r$),  /.  To  turn,  to 
turn  over. 

volte  (vol'-t^,  I.;  in  F.  volt),  i.  An  ob- 
solete   bounding  dance  in   3-4   time  i 
resembling    the    galliard.      2.   PI.  of 

VOLTA. 

volteggiando  (v6l-ted-jan'-d6),  /. 
Crossing  the  hands,  volteggiare. 
To  cross  hands. 

volti  (vol'-te),  /.  Turn  over.  V.  su-|( 
bite.     Turn  quickly. 

volubilita  (v6-loo-be-lT-ta'),  /.  Vol-| 
ubility.     volubilmen'te.     Fluently. 

volume.     Quality  of  tone. 

voluntary,  i.  An  introductory  organ-l 
piece  often  extemporaneous.  2.  At; 
introductory  anthem.  3.  A  species' 
of  toccata  in  two  or  three  movements 

volver  a  la  misma  cancion  (vol-vaii 
a  la  mes'-ma  kan'-thl-5n),  Sp.  T(J 
return  to  the  same  (original)  air. 

vom     (fom),    G.    =    von  dem.      Fr 
the.    vom  Anfang.  From  the  beginj 
ning.  vom  Blatte  (blat'-t^).   "  Fr 
the  page,"  i.  e.,  at  first  sight. 


WfH, 


DICTIONARY   OF   TERMS      303 


von  (fon),  G.     By,  of,  from,  on. 

vor  (for),  G.     Before,  pre-. 

Vorausnahme  (for-ows  -na-me),  Vor- 
greifung  (for-grl'-foongk),  Vorgriff 
(for'-grlf),  G.  Anticipation.  Vor- 
bereitung  (for'-be-rl-toongk).  Prep- 
aration. Vorberei  tungsunterricht 
(oon'-ter-rikht).  Preparatory  instruc- 
tion. 

Vor'dersatz  (zats),  G.  First  sub- 
ject. 

Vor  geiger  (gl-kher),  G.  First  violin, 
leader. 

Vorhalt  (for'-halt),  G.  i.  Suspension. 
Vorhaltslosung  (la-zoongk).  Its 
resolution.     2.   Syncopation. 

vorher  (for-har),  G.  Before,  tempo 
wie  vorher,  G.  The  time  as  be- 
fore. 

vorig  (fo'-rikh),  G.  Former,  preceding. 
voriges  Zeitmass.  In  the  original 
tempo. 

Vorsang  (for'-zang),  G.     Act  of  begin- 
ning a  song.     Vorsanger  (for'-zeng- 
5r).     Precentor. 
■   Vorschlag  (for'-shlakh).    Accentuated, 
appoggiatura. 

Vorsetzzeichen,  G.     Chromatic  sign. 

Vorspiel  (for'-shpel),  (7.  Prelude;  over- 
ture. Vor' spieler  (shpe-ler).  Lead- 
er, principal  performer.  Vortan- 
zer.  Chief  dancer.  Vorsteller. 
Performer. 

Vortrag    (for'-trakh),    G.      Execution, 

interpretation,       Vortragsbezeich- 

3"      nung  (be-tslkh-noongk).     E.xpression 

mark.       vortragsstiick.       Concert- 

s      piece. 

rorwarts  (for'-varts),  G.  "  Forward," 
i.  e.,  faster. 

/orzeichnung  (tsTkh'-noongk).   i.  Sig- 
nature.    2.  Outline    of    a    composi- 
tion. 
'OX  (vox),  L.     Voice,     v.  acuta,     i. 
A  shrill  voice.     2.   In  ancient  music, 
the  highest   note  in   the   bisdiapason. 
V.  angelica,  L.    "  Angelic  voice,"  a 
4-foot   stop  of   sweet    tone,    also   v. 
virgin'ea.  "  Girlish  voice."  v.  ante- 
ce'dens.     The  antecedent,     v.  con- 
W  '  sequens.  The  consequent,  v.  grav - 
Fflii  is.  Low  voice,  v.  huma'na.  "  Human 


voice,"  8-foot  reed-stop  usually  with 
tremulous  effect,  v.  retu'sa.  'S-foot 
stop.  Plural  voces,  v.  aequales. 
Voices  of  the  same  kind,  as  male 
voices,  v.  areti'niae.  Aretinian  syl- 
lables. V.  bel'gicas.  The  syllables 
of  bocedisation. 

V.  s.     Abbr.  of  Volti  subito. 

vue  (vii),  F.  Sight,  a  premier  v. 
(a  priim-ya  vii).      At  first  sight. 

vulgans  (tibia),  Z.     A  flute-stop. 

vuide  (vwed),  F.     Open  (of  a  string). 

vuoto  (voo-6'-t6),  /.  I.  Open  (of  a 
string).     2.   Empty  (of  a  stage). 

V.  v.     Abbr.  for  violini. 


w 

Wi.  In  F.  =v.  v.,  i.e..  Vi- 
olins. 2.  Vide  the  let- 
Wachtel  (vakht'-el),  G. 
"Quail."     A  toy  pipe. 

v/ahnsinnig  (van'-zln-nlkh),  G.  Fran- 
tic. 

waits,  E.  I.  Hautboys.  2.  Players 
on  the  hautboys.  3.  Night-watch- 
men.    4.  Christmas  carollers. 

Wald  (valt),  G.  Forest.  Wald- 
flote,  G.,  or  -pfeife.  Forest-flute. 
W.-quinte.  A  stop.  W.-floten- 
quinte.  A  stop  a  fifth  higher. 
Waldhorn  (valt'-horn),  G.  "  Forest- 
horn  "  ;      a     winding- horn.       (Vide 

HORN.) 

walnika  (val-ne'-ka).  Russian  bag- 
pipe. 

wals  (wals),  Dutch.     A  waltz. 

waltz,  E.,  Walzer  (val'-tser),  G.  i. 
A  popular  modern  round  dance  in  3-4 
time,  perhaps  of  Bohemian  origin. 
The  speed  and  rhythm  vary,  the 
Landler,  or  German,  being  slow; 
the  Vienna,  or  Schleif-walzer  be- 
ing quicker  ;  the  Zweitritt,  deux- 
temps,  or  two-step,  having  but 
two  steps  to  the  measure.  2.  A  con- 
cert-piece in  triple  time,  usually  brill- 
iant. 

walynka  (va-len'-ka).  Russian  bag- 
pipe. 


304 


THE    MUSICAL    GUIDE 


Walze  (val'-tse),  G.  "Roller."  An 
undulating  figuration. 

Tvankend  (van'-kent),  G.  Wavering, 
hesitating. 

warble.     A  bagpipe  grace. 

Warme  (ver'-me),  G.     Warmth. 

Washington  Post.  In  England  a 
dance  (so  called  from  J.  P.  Sousa's 
march  of  that  name)  in  which  the 
man  dances  behind  the  woman. 

wassail.     A  convivial  song. 

Wasserorgel  (vas'-ser-6r-khei),  G. 
Hydraulic  organ. 

waste-pallet.     Vide  valve. 

water  music.  Handel's  name  for  cer- 
tain airs,  performed  on  the  water,  for 
the  King. 

water-organ.     Hydraulic  organ. 

wayghtes.     Old  E.     Waits. 

Weber  chronom'eter.  Metronome, 
inv.  by  Weber.  A  cord  divided  into 
five  inch-spaces,  with  a  weight  at  the 
lower  end.     Abbr.  Web.  Chron. 

Wechsel  (vekh'-sel),  G.  Change.  W.- 
chor  (kor).  Alternate  choir.  W.- 
gesang.  Antiphonal  song.  W.- 
note  (n5'-te).     Changing  note. 

Wehmuth  (va-moot),  G.  Sadness. 
wehmiithig  (va'-mu-tikh).  Sad,  sor- 
rowful. 

Weiberstimme  (vi'-ber-shtTm'-me),  G. 
A  female  voice. 

weich  (vikh),  G.      i.  Soft.     2.  Minor. 

weight  of  wind.     Vide  inch. 

Weihnachtslied  (vl'-nakhts-let),  G. 
Christmas  hymn. 

w^einend  (vl'-nent),  G.     Weeping. 

Weise  (vl'-ze),  G.  i.  Melody.  2. 
Manner  ;  as  a  suffix=  -wise. 

weisse  Note  (vis'-se  no'-tS),  G. 
"  White"  note  ;  half  or  whole  note. 

weit  (vit),  G.  Dispersed,  open  (of  har- 
mony). 

Welle  (vel'-le),  G.  Roller  of  an  organ. 
Wellatur  (toor').  Roller-system. 
Wellenbrett.     Roller-board. 

well-tempered.  In  equal  tempera- 
ment, as  in  Bach's  "  Well-tempered 
Clavichord,"  a  series  of  clavichord 
pieces  ranging  through  all  the 
keys.     Vide  temperament. 

Welsh-harp.     Vide  harp. 


weltlich  (velt'-likh),  G.     Secula' 

wenig  (va'-ntkh),  G.  Littk.  ein  we- 
nig.     A  little,  rather. 

Werk  (verk),  G.  i.  Work.  2.  Move- 
ment. 3.  Action.  Vide  haupt- 
WERK  and  OBERWERK.  4.  A  stop. 
5.  The  set  of  stops  belonging  to  one 
key-board. 

Wert(h)  (vert),  G.     Value,  duration. 

wesentlich  (va-zent-llkh),  G.  Essen- 
tial.  wesentliche  Dissonanz.  A 
dissonant  chord-tone,  opposed  to 
passing-note.  wesentliche  Sep- 
time.     Dominant  seventh. 

Wetter-harfe  (vet'-ter-har-fe),  G. 
"  Weather-harp."     /Eolian  harp. 

Wettgesang  (vet'-ge-zang),  G.  A 
singing-match. 

wheel.     Refrain,  burden. 

whifHer.     A  fifer. 

whipping  bow.  A  swift  and  violent 
violin  attack. 

whistle.  A  small,  shrill  wind-instr. 
blown  at  the  end,  like  an  old  English 
flute. 

whole  note,  rest,  shift,  step,  tone, 
etc.     Vide  the  nouns. 

wie  (ve),  G.  As.  wie  aus  der  Fer- 
ne.  As  from  a  distance,  "wie  oben. 
Again  as  above,  w^ie  vorher  (for 
har).     As  before. 

wieder  (ve'-dgr),  G.  Again.  W.- 
gabe  (gji'-be).  Performance.  W.- 
herstellungszeichen  (tsl'-khen), 
The  natural  sign  (11).  w.-anfangen, 
To  begin  again.  W.-holung  (ho- 
loongk).  Repetition.       W. -hoi- 

ungszeichen.  Sign  of  repetition,! 
W.-klang  (klang),  W.-schali' 
(shal).     Echo. 

Wiegenlied  (ve'-gen-let),  G.  Cradle 
song. 

wild  (velt),  G.     Wild. 

wind  (wind).     To  blow,  as  a  horn.    ., 

Wind  (in  G.  vtnt).  Air.  w.  band,  i 
A  band  of  wind-instrs.  2.  The  instrs 
or  the  music  for  them,  windchesti 
Vide  ORGAN,  w.  instruments 
general  name  for  all  instrs.  whos 
tone  is  produced  by  the  breath  or  b' 
bellows.  windtrunk.  A 
conveying   air   from    the   bellows 


DICTIONARY    OF    TERMS       305 


the  wind-chest.  Windmesser  (mes- 
ser),  C,  windgauge.  Vide  inch. 
W.-harfe,  G.  .Eolian  harp.  Wind- 
lade  (la-de),  (7.  Wind-chest.  Vide 
ORGAN.  Windstock  (shtok),  G. 
Cover  of  organ-pipes.  Windzunge 
(tsoong-e),  G.  Tongue  of  a  pipe. 
W.-harmo'nika,  G.     /Eolodion. 

winselig  (vin'-ze-likh),  G.  Plaintive. 
Winselstimme.     Plaintive  voice. 

Wirbel  (ver'-bel),  G.  i.  Peg  (of  a 
violin).     Wirbelkasten.      Peg-box. 

2.  Stopper  of  a  pipe.  3.  Drumstick. 
4.  Roll  (on  a  drum).  '  Wirbeltanz 
(tants).     A  whirling  dance. 

wogend  (vo'-gent),  G.     Waving. 

wohl  (vol),  G.  Well.  Wohlklang 
(vol'-klang),  Wohllaut  (lowt).  Har- 
mony, wohlklingend.  Harmonious. 
wohltemperi(e)rt  (v5l-tem-pe-rert'), 
G.     "  Well-tempered  "  (q.  v.). 

Wolf  (in  G.  volf).  I.  The  disagree- 
able snarling  of  two  pipes  not  quite  in 

.    perfect  tune.    2.  Vide  temperament. 

3.  In  bow-instr.  the  roughness  of  cer- 
tain tones  due  to  faulty  workmanship. 

4.  Vide  ORGELWOLF.  5.  The  12th 
and  most  troublesome  of  the  circle  of 
fifths.    Vide  temperament. 

wood-wind.     i.  The  whole  group  of 

wooden  instrs.  in  the  orchestra.     2. 

Organ-stops  of  wood. 
working-out.       Development.      Vide 

form. 
Wortklang  (vort'-klang),  G.     Accent, 

tone. 
wrest.      A    tuning-hammer,      wrest- 

pins.    In  a  piano  movable  pins  round 

which  one  end  of  the  string  is  wound  ; 

by  turning  this   the   instr.  is  tuned. 

wrestplank.      A   plank   of    several 

layers  of  wood  in  which  the  wrestpins 

are  driven. 
wristguide.     Vide  chiroplast. 
wuchtig  (vookh'-tikh).     Weighty,  em- 

W)hatic. 
iirde  (vur'-de),  G.     Dignity,     wiir- 
devoll,  wtirdig  (vUr'-dlkh).     Digni- 
fied. 
Wut(h)  (voot),  G.  Madness,  wiithend 
(vii'-tSnt),     wiithig     (tikh).       Furi- 


XyENORPHIKA  (ksan'-6r-fr- 
ka),  G.  A  piano-violin  with 
a  bow  to  each  string,  inv.  by 
Rollig,  1797  ;  he  also  inv. 
the  somewhat  similar  orphika. 
xylharmo'nica  or  -con,  Gr.  Utro's 
improvement  in  18 10  upon  his  xylo- 
siston,  inv.  1807  ;  a  euphonion  with 
wooden,  instead  of  glass,  rods. 
Xylorganon      (ksel-or'-ga-non),      Gr. 

Xylophone. 
xylophone  (zU'-6-f6n).      A  graduated 
series  of  bars  of  wood  upon  bands  of 
straw  or  cord,  played  with  wooden 
mallets,  compass  2  octaves. 


YABAL  (ya-bal),  Heb.     Trum- 
pet blast. 
yang  kin.     A  Chinese  dulcimer 
with  brass  strings. 
yo.     Indian  flute. 

yodel,  yod'ler.     Vide  jodel,  jodler. 
yue  kin.     Chinese  guitar. 


ZA  (za).  Formerly  applied  by  the 
French  to  B^  to  distinguish 
it  from  ^B  or  Si. 
zahlen  (tsa'-l^n),  6".  To  count. 
zahle.  "Count!"  Zahlzeit  (tsit). 
A  count. 

zaleo  (tha-la'-6),  Sp.    Vide  jaleo. 

zampogna  (tsam-p5n'-ya),  zampugna 
(poon'-ya),  /.  i.  Ancient  bagpipe. 
2.  A  shawm.  Vide  cornamusa  and 
chalumeau.  zampognare  (pon- 
yji'-re).  To  play  the  pipes,  zampo- 
gnato're.  A  piper,  zampognet'- 
ta  or  -ina  (p6n-ye'-na).  A  small 
bagpipe. 

za'ner.     Egyptian  bassoon. 

zanze.     Vide  ambira. 

zapateado  (tha-pa-ta -a-dho),  Sp.  A 
dance  whose  rhythm  is  emphasised  by 
stamping  the  heel. 


3o6 


THE    MUSICAL    GUIDE 


Zapfenstreich  (tsa'-pfSn-strIkh),  G. 
The  tattoo. 

zarabanda  (tha-ra-ban'-dha),  Sp.  Sa- 
raband. 

zaramel'Ia  (tsa-ra-),  /.  Rustic  double- 
reed  pipe  with  bell-mouth. 

Zargen  (tsar'-khSn),  C,  pi.  Sides  of 
violin,  etc. 

zart  (tsart),  C,  zartlich  (tsart-likh). 
Tender,  delicate.  »iit  zarten  Stivi- 
men,  with  delicate  stops.  Zartflote. 
A  very  soft  4-foot  fiute-stop. 

zarzuela  (thar-thoo-a'-la),  Sp.  A  2-act 
drama  with  music,  something  like  the 
vaudeville  ;  originating  in  the  17th 
century  at  the  royal  castle  Zarzuela. 

Zauber  (tsow'-ber),  G.  Magic.  Z.- 
lied  (let).      Magic  song. 

zefifiro'so  (tsef),  /.     Zephyr-like. 

zdhn  (tsan),  G.  Ten.  Zehnte  (tsan'- 
te).     Tenth. 

Zeichen  (tsl'-khen),  G.     Sign(s). 

Zeit  (tsTt),  G.  Time.  Z.-mass  (tsit'- 
miis),  G.  Tempo.  Zeitmes'ser. 
Metronome.   Z.-werth.   Time  value. 

z^le  (zgl),  /".,  zelo  (tsa'-l6), /.  Zeal, 
ardour.  zelo'so,  zelosamen'te. 
Zealous(ly). 

zeng  (tsgng).     Persian  cymbals. 

Zergliederung  (tsgr-glet'-er-oongk),  6^. 
Dissection,  or  analysis  of  a  subject. 

zerstreut  (tser-stroit'),  G.     Dispersed. 

z,^z&.     An  African  guitar. 

Ziehharmo'nica  (tse),  G.  The  ac- 
cordion. 

ziemlich(tsem'-llkh),  G.  Rather  ;  mod- 
erately. 

Zierathen  (tse-ra-ten),  C,  pi.  Orna- 
ments. 

zierlich  (tser-llkh),  G.    Neat,  graceful. 

Ziffer  (tstf'-fer),  G.  Figure,  Arabic 
numeral. 

ziganka  (cM-gan'-ka),  Russian.  Coun- 
try-dance. 

Zig'eunerartig  (tse-goin'-er-ar-tikh),  G. 
In  gypsy  style.  Z.-musik  (moo- 
zek').     Gipsy  music. 

zikrs.     Dances  of  Egyptian  dervishes. 

zillo  (tsll'-l6),  /.     Chirp,  chirping. 

zimbalon.     Vide  czimbalon. 

Zimbel  (tsem'-bel),  G.  Cymbal.  Z.- 
stern.     A  star  hung  with  small  bells 


in  front  of  an  organ  and  sounded  by  a 
current  of  air. 

zingana  (chen-ga-na).  Bohemian  song. 

zingarese  (tsen-ga-ra'-ze),  /.  Gipsy, 
zmgaresca  (res  -ka).  In  the  style  of 
gipsies,  zingaro  (tsen'-ga-ro).   Gipsy. 

Zinke  (tsTnk'-e),  pi.  -en,  G.  Cornetto, 
ancient  or  modern.  Zinkblaser 
(tsTnk'-bla-zer),  G.     Cornet-player. 

zith'er(in  G.  tsTt'-er).  i. The  modern  (or 
Schlagzither)  is  a  flat,  shallow  res- 
onance-box without  a  neck,  with 
about  thirty-six  strings  of  various  ma- 
terial— wire  and  gut — some  overspun. 
Under  some  of  the  strings  at  one  side 
lies  a  fretted  finger-board  ;  on  these 
the  melody  is  stopped  out  with  the 
left  hand.  These  strings,  tuned  a', 
a',  d',  g,  c,  are  plucked  with  a  plec- 
trum attached  to  the  right  thumb ; 
the  rest  of  the  strings  are  tuned  in 
fourths,  and  plucked  with  the  other 
fingers  of  the  right  hand.  It  is  made 
usually  in  3  sizes,  the  Treble  or  Prim 
(prem)  -z  ;  the  concert ;  and  elegie 
(el-e-je)  (or  Alt  or  Lieder)  -z,  which 
is  tuned  a  fourth  lower.  2.  bow- 
zither  or  Strich- zither  (strTkh), 
G.  Was  originally  heart-shaped,  but 
the  philomfele  now  resembles  a  more 
pointed  viola  with  shallow  bouts  (the 
viola-zither  having  a  still  closer  re- 
semblance). The  bow-z.  has  a  peg 
in  the  head,  which  is  rested  upon  a 
table,  the  body  being  held  in  the  lap. 
It  has  four  metal  strings,  g,  d,  a',  e". 
3.  A  cither.  4.  An  old  German  instr. 
with  a  sound-box,  a  neck,  a  fretted 
finger-board,  and  eight  or  more  strings 
tuned  in  unison  two  and  two  and 
plucked  with  a  quill.  Z.-harfe.  A 
form  of  keyed  auto-harp.  Zither- 
spieler  (shpe'-ler),  Zitherschlager 
(shla-kher),  G.  Guitar-player,  zit- 
tera  (ts!t'-te-ra),  I.     Zither. 

zitternd  (tstt'-ternt),  G.     Trembling. 

zittino  (ts!t-te'-no),  /.     Silence. 

zogernd  (tsa'-gernt),  G.     Retarding. 

zolfa  (tsol-fa),  /.     Vide  solfa. 

zoppa  (ts6p'-pa),  or  -o,  /.  Lame,  limp- 
ing, alia  z.  Syncopated  ;  used  also 
of  a  jerky  Magyar  rhythm. 


DICTIONARY    OF   TERMS      307 


zornig  (tsor'-nlkh),  G.     Angry, 
zoulou  (zoo-loo),  Z'.     "Zulu."     A  pia- 
nette. 

zour'na.     Oriental  oboe. 

zu  (tsoo),  G.     To,  at,  by,  in,  unto. 

Zufallig  (tsoo'-fel-Ilkh),  G.  Accidental 
(sharp,  flat,  or  natural). 

zufolo  (tsoo' -f 6-16), /.  Flageolet,  small 
bird-flute.  zufolone  (16 -ne).  A 
large  whistle. 

Zug  (tsookh),  pi.  Zuge  (tsii'-khe).  i. 
Draw-stop  or  register.  2.  Slide. 
Zugtrompete  (trom-pa'-te),  G. 
Slide-trumpet ;  the  trombone.  Zug- 
werke  (ver'-ke).  Tracker-mechanism. 

Zugeglockchen  (glek-khen),  G.  The 
passing  bell  ;  a  knell. 

Zuklang  (tsoo'-klang),  G.     Concord. 

Zukunftsmusik  (tsoo-koonfts'-moo- 
zek'),  G.  "  Music  of  the  future."  A 
term  applied  satirically  to  Wagner's 
work  by  L.  F.  C.  Bischoff,  1850  ;  but 
later  adopted  as  a  watchword  by  the 
Wagnerians. 

zum  (tsoom),  G.  —  zu  dem.     To  the. 

zumma'rah.  An  Egyptian  reed  instr. 
like  a  bassoon. 

zunehmend  (tsoo-na'-ment),  G.  In- 
creasing. 

Zunge  (tsoong'-e),  G.  i.  Tongue. 
Dop'pelzunge.  Vide  tonguing. 
2.  Z.-pfeife.  Reed-pipe.  Z.-blatt. 
Clarinet  reed.  Z.-stimme.  Reed- 
stop.  Z.-werk.  The  reed-stops 
collectively,  auf-  (or  durch-)  schlag- 
ende  Z.     Beating  (or  free)  reed. 

zur'na.     Turkish  oboe. 

zuriick  (tsoo-rtik'),  G.  Back.  2..-%&- 
hend  (ga'-ent),  G.  Returning  to  the 
original  tempo,  z.-halten.  To  re- 
tard, z.-haltend.  Retarding.  Z.- 
haltung  (hal-toongk).  Retardation. 
z.-tonen  (ta-nen)  or  z.-treiben  (trl- 
ben).     To  reverberate.     Z.-schlag. 

Vide    RIB.^TTUTA. 

zusammen  (tsoo-zam'-men),  G.  To- 
gether, z.-gesetzt.  Combined, 
compound  (of  time).  Z.-klang,  Z.- 
laut(lowt).  Harmony.  Z.-schlag. 
Vide  AcciAccATURA.  z.-streichen. 
To  slur.  Z.-streichung  (strl- 
khoongk).     Slurring. 


zutraulich  (tsoo-trow'-likh),  G.  Con- 
fident(ly). 

Zuversicht  (tsoo'-fer-ztkht),  G.  Con- 
fidence. 

zwanzig  (tsvan'-tsTkh),  G.  Twenty. 
Zwanzigste  (tsvan'  -  tslkh  -  ste). 
Twentieth. 

zwei  (tsvi),  G.  Two.  z.-chorig  (kha- 
rlkh).  Two-choired,  z.-fach  (fakh), 
z.-faltig  (fel-tTkh).  i.  In  two  ranks 
(organ-pipes).  2.  Compound  (of  in- 
tervals). 3.  Double  (of  counterpoint). 
z.-fiissig.  Two-foot.  Vide  pipe  and 
PITCH.  Z.-gesang.  A  duet,  z.- 
gestrichen.  Twice-marked.  Vide 
PITCH.  Z.'glied  (glet).  Sequence 
of  two  chords.  Z.-halbertakt.  2-2 
time,  z.-handige  (hent'-lkh-e).  For 
two  hands.  Z.-klang.  A  chord  of 
two  tones.  z,-mal  (tsvl-mal).  Twice. 
z.-stimmig.  For  two  parts.  Z.- 
spiel  (shpel).  A  duet.  Zweite  (tsvl'- 
te).  Second.  Zweitel  (-note). 
Half-note.  Z.-tritt.  Vide  waltz. 
Z.-unddreissigstel  (oont-drl-zikh- 
shtel).  32d  note.  Z.-viertelnote 
(fer'-tel-n6-te).  Half-note.  Z.- 
viertelpause  (pow-ze).  A  half  rest. 
Z.-vierteltakt.  2-4  time.  Z.- 
zahlighertakt  (tsa-llfkh-er-takt). 
Duple  time.  Z.-zweiteltakt  (tsvl- 
tsvl-tel-takt).      2-2  time. 

zwerchflote   (tsverkh-)   or  pfeife,   G. 

Transverse  flute. 
zwischen  (tsvTsh'-en),  G.  Between. 
Z.-akt.  Intermezzo.  Z.-gesang, 
Z.-handlung,  Z.-harmonie,  Z.- 
satz.  The  episode  (in  fugue).  Z.- 
raum  (-rovvm).  Space  between  the 
lines.  Z. -spiel.  Interlude.  Z.- 
stille  (shtil'-le).  Pause.  Z.-stim- 
me (shtlm-me).  Middle  voice.  Z.- 
ton.     Intermediate  tone. 

Zwitscherharfe   (tsvItsh-Sr),  G.    Vide 

SPITZHARFE. 

zwolf  (tsvelf),   G.     Twelve.     Z.-ach- 

teltakt    (akh-tel-takt).      12-8     time. 

Z.-saiter     (zl-ter).      "  12-stringed" 

bisse.x. 
zymbel  (tsem'-bel),  G.     Vide  cymbal. 
zzxjoanw  (shaw).    Maori,     i.    Drum. 

2.    Fife.     3.  Conclusion. 


The 


torie0 

of  the 

Operas 

told  by  Acts,   Entrances  and  Songs;    with 
the  Casts  of  the  Original   Creators 


BEETHOVEN,     LVDJVIG     VON. 

Fidelio,  oder    die   eheliche    Liebe   (fe- 

dal'-yo,  o'-der  d§    a'-e-llkh-e  le'-be). 

Fidelio,  or  Conjugal  Love. 

Two-act  opera.  Book  by  Joseph 
Sonnleithner  and  Treitschke  after  Bou- 
illy's  romance  "  Leonore,  ou  1' Amour 
Conjugal." 

Produced  in  three  acts,  Vienna,  Nov. 
20,  1805,  without  success.  Revised  by 
Breuning  and  produced  as  "  Leo- 
nore "  in  2  acts  without  success.  Re- 
vised by  Treitschke  and  produced  as 
"Fidelio,"  Vienna,  May  23,  1814,  with 
success.  For  this  work  Beethoven  com- 
posed four  overtures.  That  called  "No. 
I,"  was  composed  third,  in  1807.  The 
"  Leonore,"  or  "  No.  3  "  was  composed 
second  in  1806;  the  "No.  2"  was 
written  first,  in  1805  ;  the  "  No.  4"  or 
"  Fidelio,"  in  1814. 

CHARACTERS    AND    THEIR    CRE.\TORS. 

Don  Fernan'do, 

Minister Weinkoff,  bar. 

Don  Pizarro  (don  pe-tsar'-ro), 

Governor  of  a  State 

Prison Meier,  bar. 

Florestan  (flor'-es-tan), 

A  prisoner Demmer,  tenor. 

Roc'co, 

Chief  jailer Rothe. 

jAfiuiNo  (yak- we' -no), 

Turnkey. Cache. 

Captain  of  the  Guard Meister. 


Leonore  (la-o-no'-re), 

knozun  as  FiDELio,  wife 

of  Florestan Frl.  Milder. 

Marzelline  (mar-tsel  -le'-ne), 

Roccos  daughter Frl.  Muller. 

Act  I. — Scene.  Courtyard  of  the 
Prison.  Marzelline  ironing,  worried 
and  beset  by  Jaquino,  who  makes  love 
to  her,  with  interruptions  of  someone 
knocking.  Rocco  calls  him  and  he  goes, 
jealously  mentioning  Fidelio,  who  has 
entered  Rocco's  service  and  whom  Mar- 
zelline loves,  thinking  her  to  be  a  man. 
Left  alone  the  girl  rejoices  in  hope  that 
Fidelio  will  marry  her  (in  an  aria  "  Die 
Hoff' nung  ").  Jaquino  enters  with  Roc- 
co. inquiring  for  Fidelio,  who  enters 
in  man's  garb,  laden  with  provisions 
and  a  box  of  letters.  Rocco  and  Mar- 
zelline hint  of  marriage,  and  Fidelio  se- 
cretly expresses  her  uneasiness.  In  a 
famous  quartet  ("  Mir  ist  so  wunder- 
bar  " — in  canon-form)  their  varying  feel- 
ings find  vent.  Rocco  tells  of  the 
importance  of  money  to  wedded  bliss. 
Fidelio  asks  to  be  allowed  to  help  him  in 
his  prison  duties,  and  he  consents  that 
she  shall  have  admittance  to  all  but 
the  dungeon,  where  a  certain  wretch 
has  lain  two  years.  The  two  women 
depart  on  the  announcement  that  Pizar- 
ro is  coming.  He  enters  with  a  guard, 
and  Rocco  gives  him  the  letters.  One 
of  them  is  a  secret  warning  that  Don 
Fernando  is  going  to  make  an  unan- 
nounced inspection  of  the  prison,  having 


309 


310 


THE    MUSICAL    GUIDE 


heard  that  there  are  several  prisoners 
unjustly  held.  Pizarro  plans  to  put  his 
old  rival,  F'lorestan,  out  of  the  way.  He 
sends  an  officer  to  watch  from  a  tower 
for  Fernando's  approach  ;  then  orders 
Rocco  to  kill  F'lorestan.  Rocco  refuses, 
and  is  ordered  by  Pizarro  to  dig  the 
doomed  man's  grave,  while  Pizarro 
himself  commits  the  murder.  When 
they  have  gone,  Fidelio  enters  ;  she  has 
overheard  the  plot,  and  pours  out  her 
horror  (in  the  great  aria  ' '  Abscheulich- 
er  !  ").  Her  rage  changes  to  grief,  then 
to  hope  in  God.  When  she  has  gone, 
Marzelline  and  Jaquino  enter,  quarrel- 
ling. Rocco  appears,  rebukes  Jaquino 
for  hoping  to  marry  his  daughter,  and 
orders  him  to  release  the  minor  prisoners 
for  their  breath  of  air.  The  prisoners 
rejoice  in  the  sun,  and  Rocco  tells  Fi- 
delio that  she  may  come  and  help  him 
dig  the  grave  of  the  mysterious  prisoner 
whom  Pizarro  is  going  to  kill.  Fidelio 
is  overcome  with  horror  at  having  to  dig 
her  husband's  grave.  Marzelline  and 
Jaquino  hurry  in,  saying  that  Pizarro  is 
coming  in  a  rage.  After  them  enters 
Pizarro,  storming  at  Rocco's  letting  the 
prisoners  out.  They  are  ordered  back 
to  their  cells. 

Act  II.  —  Scene  i.  The  dungeon.  Flor- 
estan,  chained,  bemoans  his  fate  ;  he 
sees  his  wife  in  a  vision,  but  sinks  down 
exhausted  and  oblivious  of  the  entrance 
of  Rocco  and  Fidelio.  She  cannot  see 
the  prisoner's  face,  but  believes  it  is  her 
husband,  and  vows  to  save  him  in  any 
case.  She  gives  feeble  aid  to  Rocco  in 
digging  the  grave,  and  when  Florestan, 
waking,  calls  for  drink,  she  lifts  a  pitch- 
er of  wine  to  his  lips  and  gives  him  a 
crust  of  bread.  Pizarro  enters  and  or- 
ders Fidelio  away.  She  does  not  obey, 
but  when  Pizarro  starts  to  stab  Flores- 
tan she  protects  him  and  declares  herself 
his  wife.  She  draws  a  pistol  and  threat- 
ens Pizarro.  A  trumpet  is  heard.  Ja- 
quino enters,  announcing  the  coming  of 
Don  Fernando.  Pizarro  hurries  away, 
and  Rocco  follows  him,  after  pressing 
the  hands  of  the  reunited  lovers,  who 
join  in  a  rapturous  duet  ("  O  Namen- 


lose  Freude  ").  Rocco  returns,  saying 
that  all  the  prisoners  are  to  have  a  hear- 
ing, and  leads  them  out.  Scene  2.  The 
square  before  the  castle.  The  Minister 
frees  the  rejoicing  prisoners.  Rocco 
leads  in  Florestan  and  Fidelio,  for  whom 
he  pleads.  Pizarro  is  sent  away  in  dis- 
grace, and  all  join  in  praise  of  the  wife's 
fidelity. 

BELLINI,    VINCENZO. 
Norma. 

Two-act  lyric  tragedy.  Book  by  Ro- 
mani.     Produced  in  Milan,  1S32. 

CHARACTERS    AND     THEIR    CREATORS. 
POLLIO  NE, 

A  Roman  Pro-Consul,  Donzelli,  tenor. 
Flavio  (fla'-vl-o). 

His  friend tenor. 

Oroveso  (6r-o-va'-so), 

Druid  Chief bass. 

Nor  ma, 

His  daughter,  a  Druidess sopr. 

Adalgisa  (a-dal-ge'-za), 

A  young  priestess sopr. 

Clotilde  (klo-tel'-de), 

A'ormas  confidante sopr. 

Two  children  of  Norma  and  PoUione. 

Act  I. — Scene  i.  Night  in  the  Sacred 
Druid  Forest  in  Gaul ;  in  the  centre  the 
Oak  of  Irminsul.  The  Druids  enter  in 
religious  procession.  Oroveso  bids  them 
strike  the  bell  thrice  when  the  moon  ap- 
pears. They  wait  for  Norma  to  cut  the 
sacred  branch,  and  give  the  signal  for 
the  defeat  of  the  Roman  invaders. 
When  they  have  passed  on  Pollione  and 
Flavio  steal  in.  Pollione  confesses  that, 
though  he  has  loved  Norma,  who  has 
broken  all  her  vows  and  borne  him  two 
children,  he  has  tired  of  her,  and  loves 
Adalgisa,  a  priestess  vowed  to  virginity. 
He  tells  of  a  dream  {"  Meco  all'  altar 
di  Venere  ")  in  which  Norma  blights  his 
vision  of  joy  with  Adalgisa.  The  sa- 
cred shield  resounds,  calling  the  Druids 
back,  and  the  two  Romans  slip  away, 
Pollione  vowing  to  wipe  out  their  reli- 
gion.    The    Druids  welcome    Norma, 


STORIES    OF  THE   OPERAS     311 


I 


who  enters  with  a  retinue  of  priestesses, 
but  in  place  of  calling  them  to  fight  the 
impious  Romans,  she  rebukes  their 
wrath  and  bids  them  keep  peace  ("  Se- 
diziose  voci  "),  saying  that  Rome  will 
perish  from  its  own  vices.  She  cuts 
the  sacred  mistletoe,  and,  kneeling,  calls 
on  the  moon's  "chaste  goddess"  ("Casta 
diva  ")  to  shed  peace  upon  them.  They 
demand  Pollione's  life,  and  she  prom- 
ises them  revenge,  but  aside  confesses 
her  love  for  him  ("  Ah  bello  a  me  ri- 
torno").  When  the  Druids  have  left, 
Adalgisa  appears,  dreaming  of  her  love 
for  PoUione  ("  Sgombra  e  la  sacra  sel- 
va").  In  contrition  she  kneels  before 
the  altar  she  has  forgotten.  Pollione, 
appearing,  reproaches  her  for  praying  to 
the  god  ("  Va,  crudele  "),  and  begs  her 
to  go  to  Rome  with  him  {"  Dove  e 
amor "),  and  she  consents.  Scene  2. 
Norma's  dwelling.  Norma  and  Clo- 
tilde  speak  of  the  two  children  of  her 
secret  and  forbidden  love.  Hearing 
someone  approach,  she  has  Clotilde 
conceal  the  children.  Adalgisa  appears 
and,  prostrating  herself,  confesses  her 
unholy  love.  Norma  grants  her  forgive- 
ness and  then  asks  her  lover's  name. 
Adalgisa  points  to  Pollione,  who  ap- 
pears. Norma,  in  her  rage,  has  no  blame 
for  Adalgisa,  but  covers  Pollione  with 
reproaches,  and,  hearing  the  temple  bell, 
leaves  him.  Adalgisa  also  repulses  him. 
Act  II. — Scene  i.  Norma's  dwelling. 
Her  children  are  asleep  on  a  couch. 
She  enters  with  a  dagger  to  kill  her 
children  in  revenge  on  Pollione.  But  a 
revulsion  of  motherly  feeling  leads  her 
to  embrace  them.  She  sends  Clotilde 
to  bring  Adalgisa,  who  enters  and  is 
asked  to  take  the  children  to  Pollione 
("  Deh,  con  te  li  prendi  ")  and  become 
his  wife,  while  Norma  kills  herself. 
Adalgisa  pleads  with  Norma  to  seek  her 
own  happiness  ("  Mira,  O  Norma"). 
Adalgisa  and  Norma  pledge  friendship. 
Scene  2.  A  solitary  place  where  the  Gauls 
chant  of  war.  Oroveso  says  that  Pol- 
lione is  to  return  to  Rome  and  be  re- 
placed by  a  still  more  cruel  pro-consul  ; 
he  counsels  delav,  however,  before  they 


take  up  arms.  Scene  3.  Temple  and 
altar  of  Irminsul.  Norma  is  hopefully 
waiting  Adalgisa's  mission  begging  Pol- 
lione to  return  to  the  mother  of  his  chil- 
dren. Clotilde  comes  to  say  Pollione 
has  refused,  and  even  vows  to  take 
Adalgisa  by  force  from  the  temple. 
Norma,  in  high  frenzy,  strikes  the  shield 
of  Irminsul  three  times,  and  the  Druids 
and  Gallic  warriors  assemble  excitedly. 
Norma  cries  for  immediate  war  on  the 
Romans  {"  Guerra,  guerra  !  ").  Clo- 
tilde runs  in  to  say  that  a  Roman  warrior 
has  been  caught  in  the  temple.  Pollione 
is  brought  in,  and  Norma  is  given  the 
sword  to  kill  him  for  his  impiety.  Her 
hand  trembles,  and  she  begs  all  to  with- 
draw while  she  questions  the  culprit. 
Alone  with  Pollione,  she  tells  him  his 
life  is  in  her  power  ("  In  mia  mano  al- 
fino  tu  sei  ").  She  says  Adalgisa  will  be 
burned  for  breaking  her  vows.  He 
kneels  and  prays  that  she  be  spared. 
Norma  summons  the  Druids  back  and 
says  that  one  of  the  priestesses  has 
broken  her  vows  and  must  be  burned 
alive.  The  Druids  demand  her  name. 
Pollione  implores  mercy,  and  is  dumb- 
founded when  Norma  announces  herself 
as  the  guilty  one.  In  a  sudden  recru- 
descence of  his  old  passion  he  climbs 
the  funeral  pyre  with  her  ("Qual  cor 
tradisti ").  Her  last  prayer  is  that  her 
father  protect  her  children  ("  Deh,  non 
volerli ").  The  Druids  throw  over  her 
the  black  veil,  and  she  and  Pollione 
look  forward  to  bliss  beyond  this  life. 

BELLINI,    VINCENZO. 

La  Sonnambula  (la-s6n-nam'-boo-la). 

The  Somnambulist. 

Two-act  opera.  Book  by  Felice 
Romani,  after  a  vaudeville  by  Scribe. 
Milan,  March  6,  1831. 

CHARACTERS  AND  THEIR  CREATORS. 

Elvino  (^l-ve'-no), 

A  rich  fanner Rubini,  tenor. 

Rodol'fo, 

A  young  lord  incognito, 

Mariano,  bar. 


v^ 


THE    MUSICAL    GUIDE 


^''Tpeasafit,  in  love  with  Lisa  . .  .bass. 
Amina  (a-me -na),        ^ 

-^«-^^-«'^^''"^i;Tpasta.sopr. 

Teresa  (ta-ra'-sa) 

The  miller's  wife m.-sopr. 

A  ct  I  —Scene.   In  front  of  a  mountain 
inn      The    peasants   gather,  singing  a 
welcome  to  the  bride  Amina.    Lisa,  who 
roves  Elvino,  the  bridegroom,  alone  is 
ellous  amidst  the  joy  ("  Tutto  e  g.o- 
r')      Her  lover,  Alessio,  cannot  quiet 
£r  envy,  though  he  speaks  of  his  ov^ 
aDoroaching  marriage  with  her.     Alter 
Sa  of  Switzerland  C  In  Elvezia  non 
v'ha  r'osa").  Amina  enters,  grateful  for 
Jh^welcoL    and    her,  serene    future 
("  Come  per  me  sereno     and      Soxra  u 
ienlamanmiposa").     She  embraces 
her  foster-mother  and  the  grudging  Lisa. 
The   notary   comes,  and  then    Elvino, 
iSo  had  stopped  to  implore  the  Virgin 
to   send   his  wife    perfect  vir  ue.     He 
g°ves  her  the  ring  e'Prendi.l'annel  U 
Tono  •')  and  violets.      He  invites  every- 
body to   be  present  at  the  wedding  at 
S  the  next  morning.     The  noise  of 
post-horses  is  heard,  and  Rodolfo  en- 
ters to  ask  the  way  to  the  castle.     He 
recalls  the  familiar  scenes  (  '  M  rawiso 
ofuoghi  ameni"),  but  he  is  not  recog- 
nised^ bv  the   others.     He   flatters  the 
bride's  bright  eyes  (" 7^,^°^  ^fj^\ 
quel  begli  occhi "  ,  and  Elvino  feels  a 
^ang  of  jealousy.     The  sunset  makes  it 
dangerous  to  proceed  up  the  mountam 
to  the  castle,  and  Rodolfo  is  ^yarned  of 
the  phantom  that  appears  at  mght  (    A 
fosco  cielo").     He  decides  to   stop  at 
Lisa's  inn.    Vhen  he  has  gone,  Elvino 
jealously  rebukes  Amina.     She  tnes  to 
Llm  his  jealousy  ("  Son  geloso  dd  ze- 
firo  amante"),   and    they  are   tenderly 
reconciled  ("  Mai  piu  dubbi   ).      _ 
'  \ct  11  --Scene  i.    A  bedroom  in  the 
inn .     Lisa  comes  to  welcome  the  Count 
whom  she  has  recognised.    She  slips  into 
a  cabinet  on  hearing  someone  approach, 


but  leaves  her  shawl  behind  her.   Amina 
enters  in  a  nightdress,  walking  m  her 
sleep      Rodolfo  realises  her  condition, 
but  Lisa,  seeing  her,  hurries  away  scan- 
dalised     Amina   lies  down  and  sleeps 
on  Rodolfo's  bed.  while  he  leaves  by 
the  window.     The  villagers    come  tip- 
toeing in  to  welcome  the  Count,  who  has 
been  away  so  many  years.     Lisa  leads 
in  Elvino  and  Teresa,  who  see  Amina 
and  believe  her  guilty.     She  wakes  and 
is   repulsed   by  Elvino.     Teresa    alone 
believes  her  innocence.      Scene  2.      A 
shaded  valley.     Peasants  pass  on  their 
way  to  the  castle  to  plead  with  the  Count 
to  clear  Amina's  good  name.     Amina 
and  Teresa  enter,   and,  later,  Elvino 
who  again  covers  her  with  scorn,  though 
he  longs  for  the  time  of   his  old  trust 
("  \h  perche  non  posso  odiarti    ). 

Act' III— Scene.  The  village  green  . 
mill  in  the  distance.    Alessio  is  pleading 
with  Lisa  not  to  love  Elvino,  but  she 
scorns  him.     Villagers  enter  to  say  that 
Lisa  is  chosen  as  bnde  to  Elvino .  he 
comes  himself  to  tell  her.     Rodolfo  ap 
pears  and  explains  Amina  s  presence  m 
his  room,  but  Elvino  refuses  to  hear  him 
Teresa  comes,  saying  that  the  distraught 
Amina   has  at  last  fallen  asleep.     She 
brings  Lisa's  shawl,  and  accuses  her  o 
vPsithig  the  Count.     The  Count  will  not 
speak  of   her  guilt,  but  persists  m  de 
fending  Amina,  who  is  seen  comnig  out 
of  the  mill.     She  is  again  walk  ng  in  her 
sleep    and  passes  across  a  plank  ovei 
he  very  mill-wheel.     All  watch  her  m 
suspense,    but    she   crosses    m    safety 
dreaming  of  Elvino's  cruelty.     He  gives 
her  back  the  ring  he  took  from  her   and 
she  wakes  in  his  arms.     She  gives  voice 
to  her  rapture  ("Ah  non  giungeuman 

pensiero"),  and  all  rejoice  with  her. 


BIZET,    GEORGES. 

Carmen  (kar-man).  . 

Four-act  opera.  Book  by  Hennj 
Meilhac  and  Ludovic  Hale%7  (after 
Prosper  Merimee's  romance). 

Produced,  Paris  Opera  Comique^ 
March  3,  I375,^^'ith  Mme.  Galh-Mane 


STORIES   OF  THE    OPERAS     313 


as  "Carmen,"  Mile.  Chapuy  as  "  Mi- 
chaela." 

CHARACTERS. 

Don  Jose  (don  zho-za  ;  in  Spanish 
hd-za), 

A  brigadier tenor. 

ZvNiGA  (tsii-ne'-ga), 

An  officer bass. 

Morales  (mo-ra'-les), 

A  brigadier bass. 

EscAMiLLo  (as-ka-mel  -yo), 

A  toreador bar. 

Il  Dancairo  (el-dan-kl'-ro),  II 

Remendado  (el  ra-raen-da-dho), 

Smugglers tenor,  bar. 

LiLLAS  Pastia  (lel'-yas  pas-te'-a), 

Innkeeper 

Carmen, 

A  cigarette  girl m.-sopr. 

MicHAELA  (me-ka-a-la ), 

A  peasant  girl sopr. 

pRAsguiTA  (fra-ske'-ta),  Mer- 
cedes (mer-tha'-des), 

Cigarette  girls m.-sopr. 

Act  I. — Scene.  A  crowded  square 
in  Seville,  in  front  of  a  cigarette  factory 
near  a  bridge.  Michaela  enters,  looking 
for  Don  Jose  ;  she  is  advised  by  Mo- 
rales to  wait  inside  the  guard-house. 
The  guard  is  relieved  ("  Noi  con  la 
gfuardia  "),  under  command  of  Zuniga 
and  Jose,  An  officer  chaffs  Jose  about 
Michaela,  and  Jose  says  none  of  the 
cigarette  girls  can  compare  with  her. 
T'le  bell  rings  for  the  noon-hour  and 
the  girls  enter  smoking  and  singing  of 
life  as  all  one  vanity  of  smoke  ("  Seguir 
I'occhio  in  aria  ").  Carmen  saunters  in, 
gay  and  impudent,  teasing  her  loving 
admirers  with  an  old  Spanish  Habanera 
(composed  by  Pradier  and  called  "El 
Aveglito")  ("Amor,  misterioso  Ange- 
lo").  The  bell  rings  and  as  the  cigarette 
girls  return  to  work,  she  tosses  a  flower 
at  the  bewildered  Jose.  Michaela  ap- 
pears and  timidly  tells  that  his  mother 
has  sent  him  by  her  a  letter,  some 
money,  and  also — a  kiss  (' '  La  madre 


tua  con  me  ").  Jose  is  moved  by  mem- 
ories of  his  mother  ("  Mia  madre  io  la 
rivedo"),  and  feels  that  her  letter  has 
saved  him  from  the  tempter  Carmen. 
He  gives  Michaela  loving  messages 
and  the  girl  goes.  A  riot  is  heard  in 
the  factory;  thither  all  rush,  in  panic, 
discussing  a  fight  between  Manuelita 
and  Carmen,  who  is  brought  out  by 
officers.  She  mocks  their  questions  and 
finally  strikes  one  of  them.  They  de- 
cide to  tie  her  hands  with  a  rope  and 
leave  Jose  to  guard  her.  On  him  she 
practises  all  her  wiles,  and  asks  him  to 
meet  her  at  Lillas  Pastia's  inn  near  the 
bastion  (a  seguidilla,  "  Pressa  il  bastion 
di  Siviglia  ").  He  at  length  unties  her 
hands,  but  she  pretends,  when  the  of- 
ficer returns,  that  they  are  still  tied. 
When  Jose  starts  to  lead  her  across  the 
bridge,  however,  she  pushes  him  down 
and  escapes. 

Act  II. — Scene.  Lillas  Pastia's  inn, 
two  months  later.  Cigarette  girls,  gyp- 
sies and  others  including  Zuniga,  are 
making  merry  and  Carmen  sings  and 
dances  with  the  rest  ("  Vezzi  e  anella 
scintillar  ").  Frasquita  brings  word  that 
the  inn  must  close  ;  Zuniga  invites  Car- 
men to  go,  but  seeing  her  sad,  tells  her 
that  Don  Jose,  who  has  suffered  impris- 
onment and  reduction  to  the  ranks  for 
conniving  at  her  escape,  is  now  free.  A 
procession  in  honour  of  the  toreador  Es- 
camillo  passes  and  the  famous  bull- 
fighter is  invited  in.  He  sings  of  the 
delights  of  the  arena  ("  Toreador,  at- 
tento ").  He  flirts  with  Carmen,  she 
banters  him,  and  Lillas  Pastia  clears 
the  inn  of  all  except  the  gipsies  and 
Carmen  and  closes  it  up.  The  two  smug- 
glers appear  and  confess  the  usefulness 
of  women  in  their  profession  (a  quintet 
"  Abbiam  in  vista").  Carmen  declines 
to  join  them,  and  they  blame  it  to  love. 
Jose  is  heard  singing  ("  Dragon  d'Alca- 
li  ")  and  they  decide  that  he  would 
make  a  good  smuggler.  Carmen  con- 
sents to  tr\-  to  win  him  over,  and  the 
others  withdraw.  Jose  enters  and  she 
levels  all  her  witcher)-  on  him,  dancing 
and   singing   ("  Voglio  danzar   per  tuo 


SH 


THE    MUSICAL    GUIDE 


placer").  He  hears  the  "retreat" 
sounded  at  the  distant  barracks,  but  her 
pouting  coquetry  restrains  him;  he  shows 
her  the  flower  she  gave  him  at  their  first 
meeting  ("  II  fior  che  avevi  ")  and  she 
pleads  with  him  to  give  up  the  army 
and  lead  a  g>^psy  life  with  her.  He  re- 
coils at  the  thought  of  being  a  deserter, 
and  is  rushing  away  when  Zuniga  re- 
turns. He  reproaches  Carmen  for  prefer- 
ring a  private  such  as  Jose  to  himself, 
an  officer  ;  and  orders  Jose  back  to  the 
barracks.  Jose,  infuriated,  defies  him 
and  draws  his  sword  ;  the  gypsies  enter, 
cover  Zuniga  with  their  pistols  and  lead 
him  away.  Jose  has  no  resource  but  to 
join  the  smugglers. 

Act  III. — Scene.  The  smugglers' lair 
in  the  mountains.  They  are  rejoicing  at 
their  luck,  but  Jose  is  restless  and  thinks 
of  his  mother.  Carmen  tells  him  he  would 
better  go  back  home.  He  threatens  her 
with  his  knife.  She  turns  her  back  on 
him  and  the  gypsies  fall  to  telling  fort- 
unes with  cards  ("  Mischiam  ;  alziam  "). 
Carmen  finds  always  Death  in  her  cards; 
she  takes  the  omen  jauntily.  The 
smugglers  move  off  followed  by  Jose. 
Michaela  enters  in  great  fear  ("  lo  dico 
no").  She  hides  when  a  gun-shot  is 
heard  and  Escamillo  enters  with  a  bullet 
hole  through  his  hat.  Jose  appears  and 
challenges  the  toreador,  who  says  he 
comes  to  find  his  sweetheart  Carmen 
who  is  tired  of  her  dragoon  lover.  The 
rivals  prepare  to  fight  with  knives,  but 
Carmen  saves  Escamillo  in  the  nick  of 
time  and  he  is  sent  away.  Michaela 
tells  Jose  that  his  mother  is  dying  with 
grief  for  him  ("  lo  ti  vengo  a  cercar"), 
and  Carmen  advises  him  to  go.  He 
jealously  refuses  at  first  to  leave  Car- 
men, but  finally  goes,  glaring  threaten- 
ingly at  the  fickle  siren,  who  hears 
with  joy  the  distant  song  of  the  bull- 
fighter. 

Act  IV.  Scene.  A  square  in  Seville 
outside  the  arena.  A  great  crowd  seethes 
about  the  place.  Dancers  whirl  ("  Dan- 
ziam.  danziam  ! ").  The  procession  of 
bull-fighters  of  all  classes  passes  into 
the  arena  with  ceremony,  and  Carmen 


accompanies  the  idolised  Escamillo. 
Frasquita  and  Mercedes  warn  Carmen 
that  Jose  is  looking  for  her,  but  she 
pluckily  waits  for  him  after  the  crowd 
has  entered  the  arena.  He  begs  her  to 
go  away  with  him  and  threatens  her 
when  she  refuses  ruthlessly.  As  she 
taunts  him  with  her  weariness  of  his 
love,  the  noise  of  the  spectators  roars 
out  from  the  arena.  She  wishes  to  enter 
but  he  blocks  the  way,  and  when  she 
throws  at  him  the  ring  he  gave  her,  he 
stabs  her  and  she  dies  without  a  word. 
The  crowd  pouring  out  of  the  arena 
find  him  kneeling  lovingly  at  her  side. 

BOITO,    ARRIGO. 

Mefistofele  (ma-fe'-sto-fa-le).  Mephis- 

topheles. 

Grand  opera  in  prolog,  four  acts  and 
epilog.  Book  and  music  by  Boito.  La 
Scala,  Milan,  1868. 

CHARACTERS. 

Mefistofele bass. 

Faust,  later  Henrico  (fowst,  §n-re'-k6), 
tenor. 

Wagner  (vakh'-n^r) tenor. 

Nereo  (na'-ra-6) tenor. 

Margherita sopr. 

Marta,  her  mother contr. 

Elena,  Helen  of  Troy sopr. 

Pan  talis contr. 

In  the  attempt  to  cover  the  scope  of 
Goethe's  whole  poem  "  Faust,"  the  op- 
era exchanges  continuity  for  picturesque 
episodes.  It  opens  with  a  "  Prologue  in 
the  Heavens,"  a  cloud-scene  in  which 
Satan  interrupts  the  songs  of  the  invisi- 
ble angel-choirs,  and  parleys  with  the 
unseen  Jehovah  for  the  soul  of  Faust, 
which  he  boasts  he  can  win. 

Act  I. — Scene  i.  Holiday  street-scene 
in  Frankfort.  The  Elector  passes  with 
retinue.  Faust  and  his  friend  Wagner 
stroll  about,  followed  by  Mefistofele, 
disguised  as  a  gray  friar,  whom  Faust 
dreads,  but  Wagner  ridicules.    Scene  2. 


STORIES   OF   THE    OPERAS     315 


Faust's  laboratory.  The  gray  friar  con- 
ceals himself  in  an  alcove  ;  Faust  enters 
and  begins  to  read  his  Bible,  the  dread 
of  which  betrays  Mefistofele,  who  de- 
clares himself  and  assumes  the  form  of 
a  knight.  He  bargains  for  Faust's  soul, 
offering  him  all  earthly  pleasures.  Faust 
accepts,  and  steps  on  Mefistofele's  cloak 
to  be  spirited  away. 

Act  II. — -Scene  I.  The  garden  of  Mar- 
gherita,  who  engages  in  amorous  dal- 
liance and  promise  with  her  lover,  Faust 
(Enrico),  while  her  mother,  Marta, 
flirts  ludicrously  with  Mefistofele.  Scene 
2.  The  wild  gorge  of  the  Brocken,  where 
evil  spirits  of  all  sorts  hold  the  varie- 
gated orgy  appropriate  to  the  witches' 
Sabbath.  Faust,  under  the  guidance 
of  Mefistofele,  is  shown  a  vision  of  the 
betrayed  Margherita's  sorrow,  and  .Me- 
fistofele pictures  the  world  in  a  declama- 
tion over  a  globe  of  glass. 

Act  III. — Scene.  The  prison  where 
Margherita,  who  has  killed  the  child  of 
her  shame,  is  awaiting  her  execution. 
Faust  appears  and  begs  her  to  fly  with 
him.  With  her  dying  breath  she  refuses, 
and  as  the  day  breaks  he  is  haled  away 
by  Mefistofele,  who  declares  Margherita 
doomed.  But  the  angelic  chorus  (given 
to  the  orchestra)  declares  her  to  be  for- 
given and  saved. 

Act  IV. — Scene  i.  The  moonlit  banks 
of  the  river  Peneus,  on  "  The  Night  of 
a  Classical  Sabbath."  Pantalis  and  the 
sirens  sing  of  the  moon,  and  Helen  of 
Troy  describes  the  capture  and  pillage 
of  the  old  Homeric  city.  Faust  wakens 
from  slumber  and  appears  on  his  rest- 
less  pleasure  hunt,  and,  watched  by  Me- 
fistofele, finds  in  Helen  a  quick  re- 
sponse to  his  ardor.  Scene  2.  F'aust's 
laboratory,  in  which  he  muses  on  his  dis- 
mal hunt  for  earthly  pleasure,  and  longs 
for  Heaven.  Mefistofele  tries  to  per- 
suade him  to  continue  the  hunt,  but  the 
heavenly  music  is  heard.  Mefistofele 
invokes  seductive  sirens  to  counteract 
the  better  influence,  but  Faust  clings 
to  his  Bible,  and,  praying  and  redeemed, 
dies  in  a  shower  of  roses,  which  scorch 
and  foil  Mefistofele. 


CHARPENTIER,    GUSTAV. 
Louise. 

Four-act  opera.  Book  by  the  com- 
poser. Produced,  Opera  Comique, 
Paris,  February  2,  1900.  [The  story 
of  this  opera,  by  Annie  C.  Muirhead.] 

PRINCIPAL   CHARACTERS   AND   THF.IR 
CREATORS. 
JULIEN, 

An  artist Marechal,  tenor. 

The  Father Fugere,  bar. 

Louise, 

Mdlle.  Marthe  Rioton,  dram.  sopr. 
The  Mother, 

Mme.  Deschamps-Jehin,   mez.-sopr. 

Other  Characters  {all  with  singing 
parts). 

Men. 

j  The  Night  Walker  and 

\  Master  of  the  Revels. 

An   old   Bohemian.     A    Song-writer. 

F^irst  Philosopher.    Second  Philosopher. 

A  painter.     A  sculptor.    A  young  poet. 

A    student.     A    ragpicker.  '  A  jack-of- 

all-trades.       First    policeman.     Second 

policeman.     An   apprentice.     A   street 

urchin. 

IVonten. 
Irma,         "j 

Camilla,     I  c      •         •  1 
Gertrude,  f  Sewmg-girls. 
Elise,         j 

Dressmaker's  apprentice. 
Dressmaker's  forewoman. 
Blanche,       "v 
Suzanne,  ,      .  , 

Marguerite,  h^vork-g.rls. 
Madeleine,  j 
A   ragpicker.     A  street-sweeper.     A 
milk-girl.     A    newspaper-girl.     A  ciga- 
rette-gatherer. 

The  street-cries  :  Sellers  of  chick- 
weed,  green  peas,  potatoes,  brooms, 
barrels,  old  clothes. 

Place  of  action  :  Paris.  Time  :  the 
present  day. 

Act  I. — Scene.    Room  in  a  tenement. 


3i6 


THE    MUSICAL    GUIDE 


Louise  at  the  window  talking  with  Ju- 
lien  outside.  He  urges  her  to  elope, 
since  her  parents  prevent  their  marriage. 
She  refuses  to  grieve  them  so.  She  asks 
how  he  fell  in  love  with  her.  He  tells. 
The  mother,  entering,  listens  angrily  to 
their  mutual  confidences,  then  pulls 
Louise  back  and  dismisses  Julien.  A 
violent  scene  follows  between  Louise 
and  her  mother,  who  talks  of  Julien's 
alleged  bad  character.  The  father  en- 
ters, holding  a  letter,  and  tenderly  greets 
Louise.  While  he  reads  the  letter,  which 
is  from  Julien,  Louise  anxiously  scans 
his  face  ;  they  embrace  without  a  word 
(the  orchestra,  during  this  pantomime,  is 
notably  expressive).  The  family  sup, 
the  father  talking  contentedly  of  his 
lot,  the  mother  making  bitter  allusions 
to  artists  and  idlers.  After  supper, 
the  parents  discuss  the  letter.  The 
father  sympathises,  the  mother  fiercely 
opposes.  Then  the  father  reasons  with 
Louise  about  her  inexperience  and  Ju- 
lien's bad  reputation.  He  asks  whether 
she  has  ever  spoken  with  him.  Louise 
says  no.  The  mother  ironically  mimics 
the  talk  she  heard  between  the  lovers. 
The  father  makes  Louise  promise  to 
have  no  more  dealings  with  Julien  ;  says 
she  will  soon  get  over  her  pain,  and 
sets  her  to  reading  aloud  the  newspa- 
per. She  breaks  down  at  the  word 
"  Paris." 

Act  II. — Orchestral  Prelude.  "  Paris 
awakening."  Scene  i.  On  the  Hill  of 
Montmartre.  All  sorts  of  workers  be- 
ginning their  day's  toil.  The  Night- 
walker  enters  and  talks  beguilingly  to 
the  girls.  He  throws  off  his  cloak,  ap- 
pearing garbed  as  Spring  ;  explains  that 
he  represents  the  Pleasures  of  Paris, 
and  runs  off,  knocking  over  an  old  rag- 
picker as  he  goes.  This  old  man  tells, 
weeping,  how  his  daughter  was  formerly 
tempted  away  by  the  Nightwalker.  An 
old  street-sweeper  tells  how  she  once  was 
rich  and  gay^t  was  paradise.  An  ur- 
chin asks  for  the  address  of  her  para- 
dise. She  points  to  Paris.  Julien 
enters  with  Bohemian  friends,  and  de- 
scribes how  he  means  to  abduct  Louise. 


The  young  men  sing  gaily  of  love  and 
a  free  life.  Julien,  left  alone,  sings  pas- 
sionately of  his  love  and  wonders  whence 
help  will  come.  As  he  pauses,  the 
street-cries  of  Paris  are  heard.  He  list- 
ens with  growing  emotion  ;  then  breaks 
out  in  praise  of  city  life.  Work-girls 
pass  chattering.  Julien  hides.  Louise 
and  her  mother  appear  and  separate 
for  the  day's  work.  Julien  waylays 
Louise  and  entreats  her  to  go  with  him, 
but  she  refuses.  He  sorrowfully  de- 
parts. Street  -  cries  resound  on  all 
sides.  Scene  2.  Interior  of  dressmaker's 
shop.  Girls  sewing,  and  quarrelling. 
Louise  sits  among  them,  pensive.  The 
others  note  her  sadness  and  talk  among 
themselves,  telling  how  severely  her 
parents  treat  her,  even  striking  her. 
Then  they  teasingly  accuse  her  of  being 
in  love.  Gertrude,  an  old  maid,  talks 
sentimentally  (hurdygurdy  in  the  dis- 
tance). Camille  moralises  on  the  strong 
attraction  of  men  for  girls.  Irma  de- 
scribes enthusiastically  the  charms  of 
city  life.  Sounds  of  street-music  are 
heard.  The  girls  fiock  to  the  window 
and  recognise  Julien  singing  to  his  gui- 
tar. Each  girl,  thinking  the  serenade 
is  for  her,  is  loud  in  praise,  till  Julien, 
missing  Louise,  breaks  his  strings  im- 
patiently and  sings  in  sadder  vein  ;  then 
the  girls  feign  boredom.  The  pathos 
of  the  singer  moves  Louise's  heart.  She  ^^ 
rises  to  go,  pleading  illness.  As  the : 
girls  watch  from  the  window,  they  see 
Louise  walking  away  with  Julien. 

Act  III. — Scene  i.  Julien  and  Louise 
in  the  garden  of  a  little  house  on  the 
summit  of  Montmartre.  Panorama  of 
Paris  in  the  background.  Twilight, 
Louise  rejoices  that  her  happiest  dream 
has  come  true.  She  regrets  nothing — 
at  home,  her  father  treated  her  as  a 
child,  her  mother  with  blows.  Julien 
calls  them  Mother  Routine  and  Father 
Prejudice.  Louise  tells  how  they  wished 
her  to  be  guided  by  their  experience  in- 
stead of  by  her  heart.  Julien  declaims 
against  experience.  He  asserts  that 
everyone  has  a  right  to  freedom  and 
love.     Louise  asks  whether  anyone  has 


! 


STORIES    OF    THE    OPERAS     317 


the  right  to  break  another's  heart.  He 
answers  that  her  parents'  selfishness 
must  be  met  with  selfishness.  He  says 
her  character  has  been  developed  by 
city  life.  They  join  in  a  rhapsody 
over  Paris.  The  city  begins  to  light  up. 
The  lovers  exult  in  a  pa;an  of  liberty, 
echoed  by  voices  from  the  city.  Then 
they  sing  ecstatically  of  love  and 
life.  Scene  2.  A  crowd  of  their  Bo- 
hemian friends  arrive,  and  with  danc- 
ing and  ceremonies  crown  Louise  "Muse 
of  Montmartre."  The  mother  suddenly 
appears.  At  her  sad  aspect,  the  revel- 
lers scatter  in  dismay.  She  comes 
humbly  to  tell  of  the  Father's  illness, 
and  beg  Louise  to  return  home.  The 
old  ragpicker  passes  by,  alluding  to  his 
lost  daughter.  Julien,  touched,  lets 
Louise  go  on  the  promise  of  her  re- 
turn. 

Act  IV. — Scene  same  as  Act  I.  A 
summer  evening.  The  father  seated, 
broken  down  and  sombre,  gradually 
rouses  to  talk  bitterly  of  the  injustice  of 
Fate  ;  of  rearing  children  only  to  suffer 
from  their  ingratitude.  Louise  at  the 
window  merely  looks  out  into  the  night. 
Her  Mother  calls  her  to  help  in  the 
kitchen  and  argues  with  her,  while  the 
Father  eagerly  listens,  hoping  she  will 
be  convinced.  Louise  recalls  their 
promise  that  she  should  be  free.  The 
Mother  refuses  to  let  her  return  to  a  life 
of  sin.  Louise  bids  her  father  good- 
night coldly.  He  draws  her  passion- 
ately to  him  and  rocks  her  on  his  knee 
like  a  child,  in  forced  gaiety  singing  a 
lullaby,  promising  that  if  the  child  will 
be  good,  she  shall  have  wiiatever  she 
wants.  Louise  answers  that  if  they 
want  her  to  be  happy  they  must  let  her 
go  to  her  lover,  and  repeats  Julien's 
words  of  the  individual's  right  to  free- 
dom of  choice.  Joyous  voices  heard 
from  the  town  increase  her  longing. 
She  declares  Paris  calls  her.  The  Father 
becoming  infuriated  chases  her  from  the 
house  ;  then  immediately  repents  and 
calls  her  back — in  vain.  He  shakes  his 
fist  at  the  city,  ejaculating  bitterly  "  O 
Paris ! " 


DELIBES,  LEO. 
Lakm6  (lak-ma). 

Three-act  opera.  Book  by  E.  Gon- 
dinet  and  Ph.  Gille. 

Produced,  Opera  Comique,  April  14, 
1883. 

CHARACTERS    AND   THEIR    CREATORS. 

Gerald  (zha-ral), 

English  officer  engaged 

to  Ellen M.  Talazac,  tenor. 

Frederic  (fra-da-rek), 

English  officer M.  Barre,  bar. 

NiLAKANTHA  (nc-la-kSn-ta), 

A  devout  Brahman, 

M.  Cobalet,  bass. 
Hadji  (ad-zhe), 

A  servant Chenneviere,  2d  tenor. 

Lakme  (lak-ma). 

Daughter  of  Nilakantha, 

Mile.  Van  Zandt,  sopr. 

Ellen contr. 

Rose Mile.  Remy,  sopr. 

Mistress  Bentson.  .Mile.  Mole,  2d  sopr. 
Mallika, 

A  servant..  .  Mile.  Frandin,  m.  sopr. 

Act  I. — Scene.  A  garden  in  India  at 
dawn.  A  chorus  in  morning  homage 
to  Brahma.  Nilakantha  appears  and 
invokes  maledictions  on  the  English 
conquerors,  Lakme  joins  the  prayers. 
Her  father  tells  her  he  must  go  to  an- 
other temple  for  the  day,  and  leaves 
Lakme  in  charge  of  Mallika  and  Hadji. 
Lakme  lays  her  jewels  on  a  table,  sings 
of  the  beauty  of  the  stream,  and  sets 
forth  with  Mallika  in  a  little  boat.  The 
English  enter  laughing  and  chattering. 
They  talk  of  the  Hindus  and  of  Lak- 
me 's  beauty,  and  force  their  way 
through  the  hedge.  Frederic  explains 
that  in  trespassing  on  the  garden  of  a 
Brahman  they  commit  sacrilege,  and  are 
liable  to  a  deadly  revenge.  The  women 
hurry  away,  leaving  Gerald  to  copy  the 
design  of  Lakme 's  jewels.  He  hides  as 
Lakme  returns.  She  muses  on  love  and 
seeing  Gerald  gives  a  cry.     The  servants 


3<8 


THE    MUSICAL    GUIDE 


enter  hastily  but  she  says  it  was  nothing 
and  sends  them  away.  She  upbraids 
Gerald  when  they  have  gone,  but  he 
wins  her  love  by  his  flattery.  Seeing 
her  father  return,  she  makes  him  steal 
away  unseen.  Her  father  finds  the 
hedge  broken,  however,  and  vows  re- 
venge on  the  trespassers. 

Act  II. — Scene.  A  market-place  full 
of  people.  The  English  enter,  much 
bothered  by  the  merchants.  The 
bell  for  closing  sounds  ;  and  soldiers 
clear  the  market-place.  A  fete  begins, 
and  bayaderes  dance.  Nilakantha 
and  Lakme  pass,  he  clothed  as  a  peni- 
tent. Frederic  tells  Gerald  that  their 
regiment  moves  at  dawn  to  put  down  an 
uprising.  The  English  leave,  and  Nila- 
kantha explains  to  Lakme  that  he  is  dis- 
guised searching  for  revenge.  A  crowd 
gathers  and  Lakme  sings  to  them  a 
legend  of  Vishnu  and  a  Hindu  maid. 
The  English  ofiflcers  return.  Nilakan- 
tha recognises  them  and  orders  Lakme 
to  sing  the  legend  again.  Gerald  recog- 
nises her,  but  she  pretends  not  to  know 
him.  The  English  soldiers  pass  and 
the  officers  go.  Nilakantha  plots  with 
the  other  Hindus,  leaving  Lakme  with 
Hadji.  Gerald  returns.  They  exchange 
vows  ot  love.  The  crowd  returns  for  the 
Brahmin  rites,  but  soon  withdraws  again. 
Nilakantha  stabs  Gerald  and  disappears. 
Lakme  bends  over  him  and  seeing  that 
he  is  not  mortally  wounded  calls  the 
faithful  Hadji  to  her  aid. 

Act  III. — Scene.  The  heart  of  a  for- 
est. Gerald  asleep,  watched  by  Lakme. 
Songs  of  lovers  are  heard  in  the  distance, 
Lakme  goes  to  bring  him  sacred  water. 
Frederic  appears  ;  he  has  followed  Ge- 
rald by  the  drops  of  blood.  He  re- 
minds him  of  his  betrothal  to  Ellen  and 
makes  him  promise  to  return  to  her. 
He  leaves,  and  when  Lakme  returns 
with  the  consecrated  water  in  a  cup 
she  notes  a  change  in  Gerald's  manner. 
He  hears  the  soldiers  singing  in  the  dis- 
tance, and  she  eats  the  leaf  of  a  poison 
plant.  Nilakantha  returning  finds  them 
embracing.  Lakme  tells  her  father  that 
Gerald,    having   drunk   of    the    sacred 


water,  is  consecrated.     She  offers  her- 
self as  a  sacrifice  in  his  place  and  dies. 

DONIZETTI,   GAETANO. 

La    Favorita    (la   fa-v6-re'-ta).     The 

Favourite. 

Four-act  opera.  Book  by  Royer  and 
Waetz  (based  on  the  play  "  Le  Comte 
de  Commingues"). 

Produced,  Paris,  Dec.  2,  1840. 


CHARACTERS    AND   THEIR    CREATORS. 

Alfonso,  King  of  Castile bar. 

Baldassare  (sa-re) Baroelhst,  bass. 

Fernando Duprez,  tenor. 

Don  Gaspare  (gas-pa'-re) 

Leonora  (la-o-no'-ra),  Mme.  Stolz,  sopr. 

Ines  (e'-nes) contr. 

Act  I. — Scene  i.  Interior  of  a  mon- 
aster>-.  Chorus  of  monks  passing.  Fer- 
nando, in  distraction,  tells  Baldassare 
that  he  has  fallen  in  love  with  a  maid- 
en, an  angel  of  heaven  ("  Una  vergine, 
un  angel  di  dio  ").  Baldassare  is  horri- 
fied and  bids  him  begone  ("  Deh, 
vanne  !  ").  Scene  2.  A  flowery  island. 
Ines  and  other  women  gathering  flowers. 
A  boat  arrives  with  Fernando,  blind- 
folded. His  bandage  is  removed,  but 
his  questions  are  not  answered.  At 
length  Leonora  enters,  and  the  lovers 
have  a  rapturous  reunion.  She  shows 
him  a  parchment  which  will  lead  him  to 
glory  provided  he  gives  her  up.  He  re- 
fuses passionately.  Ines  enters  to  say 
that  the  King  .-Mfonso  has  arrived.  Le- 
onora, in  agitation,  gives  Fernando  the 
parchment  and  hurries  away.  Ines 
warns  him  to  be  cautious.  Left  alone, 
he  finds  the  parchment  to  be  a  commis- 
sion with  a  title,  and  he  welcomes  his 
chance  for  military  fame  ("  Si,  che  un 
tuo  solo  accento"). 

Act  II. — Scene.  The  Palace  of  the  Al- 
cazar. The  King  is  rejoicing  with  Don 
Gaspaic  in  the  victory  over  the  Moors, 
giving  the  credit  to  the  brave  Fernando, 


STORIES    OF    THE    OPERAS     319 


whom  he  is  now  waiting  to  load  with 
honours.  An  attendant  announces  a 
message  from  the  chief  churchman,  and 
Gaspare  retires.  The  King  broods  over 
the  plots  of  his  courtiers,  but  swears 
they  shall  never  separate  him  from  Le- 
onora, his  favourite  ("  Vien,  Leonora, 
a'piedi  tuoi").  Don  Gaspare  returns, 
and  is  sent  to  invite  the  court  to  the 
fete.  Leonora  enters  with  Ines,  who  is 
sent  away.  The  King  pours  out  his 
love  ("Ah,  I'alto  ardor"),  but  Leonora 
reproaches  him  with  betraying  her 
and  decoying  her  from  home  on  false 
promises.  He  tries  vainly  to  console 
her  with  her  rich  surroundings.  The 
court  gathers.  Don  Gaspare,  in  much 
agitation,  gives  the  King  an  intercepted 
love-letter  to  Leonora.  The  King  de- 
mands the  lover's  name,  which  Leonora 
withholds.  Baldassare  is  led  in.  He 
bears  a  mandate  from  the  Pope,  ordering 
Alfonso  to  put  away  Leonora  and  return 
to  his  queen.  The  King  refuses  fiercely, 
but  Baldassare's  threats  of  excommuni- 
cation terrify  him,  and  Leonora  flees. 

Act  III. — Scene.  A  room  in  the  palace. 
Fernando,  dreaming  only  of  Leonora, 
sees  the  King  and  Don  Gaspare  enter. 
The  King  has  decided  to  yield  to  the 
Pope,  and  sends  for  Leonora.  He  wel- 
comes Fernando  and  offers  him  whatever 
he  may  ask.  He  asks  for  Leonora.  Leo- 
nora enters,  and  the  King  reproaches 
her  ("A  tanto  amor"),  but  demands 
that  she  marry  Fernando  at  once.  Le- 
onora, left  alone,  is  enraptured,  and  can- 
not believe  the  truth  ("  Fia  dunque  ve- 
ro?")  that  she  is  to  possess  her  lover 
("O  mio  Fernando"),  but  she  thinks  it 
dishonourable  for  her,  disgraced  as  she 
is,  to  wed  him,  and  decides  to  die.  She 
leaves  Ines  to  tell  him  the  whole  truth. 
When  she  is  gone,  Ines  is  arrested  and 
led  away.  The  courtiers  gather.  The 
King  gives  Fernando  a  title  and  the 
hand  of  Leonora,  who,  thinking  Ines 
has  told  Fernando  of  her  past,  consents 
and  is  led  to  the  altar.  The  courtiers, 
overcome  with  the  shame  of  making  the 
unknown  Fernando  a  nobleman,  and 
then  marrying  him  off  to  the  King's  dis- 


carded mistress,  treat  him  with  contempt 
on  his  return  from  the  altar.  He  is  in- 
furiated, and  challenges  Gaspare.  Bal- 
dassare enters  to  make  peace,  and  Fer- 
nando embraces  him.  Baldassare  tells 
Fernando  the  truth,  and  he,  in  wild 
rage,  rebukes  the  King,  who  returns 
with  Leonora.  Baldassare  declares  the 
marriage  null,  and  Fernando  refuses  to 
keep  his  title  and  decorations.  The 
King  orders  him  intoe.xile,  and  Leonora 
learns  that  Ines  is  under  restraint. 

Act  IV. — Scene  (composed  in  four 
hours).  Convent  cloisters.  Monks  dig- 
ging their  graves  and  chanting  ("  Sca- 
viam  I'asilo  ").  Fernando,  in  dejection 
returns  to  the  monastery.  Baldassare 
welcomes  him,  then  leaves  to  console  a 
youth  who,  he  says,  has  just  come  as  a 
novice.  Fernando,  alone,  bewails  his 
trust  in  hope,  the  gentle  zephyr  ("  Spirto 
gentil").  He  is  led  into  the  chapel. 
Leonora,  clad  as  a  monk,  appears  when 
he  has  gone,  and  scans  the  faces  of 
the  other  monks.  She  has  come  to  im- 
plore Fernando's  forgiveness.  Inside 
the  church  he  is  heard  taking  his  vows. 
She  sinks  before  the  cross,  and  he,  re- 
turning, finds  her  and  bids  her  leave 
("  Ah,  va,  t'invola  ").  She  tells  him  the 
truth  and  begs  his  forgiveness  ("  Cle- 
mente  al  par  di  Dio  ").  He  takes  her  in 
his  arms  ("  Vieni,  ah,  vieni  ")  and  offers 
to  fly  the  cloisters  once  more  with  her. 
She  dreads  such  a  step,  and  dies  be- 
seeching him  to  be  faithful  to  his  vows. 
The  monks,  entering,  are  bidden  to  pray 
for  the  dead  young  novice. 

La  Figlia  del  Reggimento  (la  fel'-ya 
del  rgd-jl-men'-to),  /.,  La  fille  du 
Regiment,  F.,  Marie,  die  Tochterdes 
Regiments,  G.  The  Daughter  of  the 
Regiment. 
Two-act  opera.    Book  by  Bayard  and 

St.  Georges. 

Produced,  Paris,  February  ii,  1840. 

CHARACTERS. 

Maria,  created   by   Mme.    Anna 

Thillon sopr. 


320 


THE    MUSICAL    GUIDE 


Marchesa  di  BiRKiNFELD  (or  Mag- 

giorivoglio) m.-sopr. 

To'nio, 

A  young  Swiss tenor. 

Orten'sio, 

S/c7i'ard  to  the  Marchesa bar. 

Caporale bass. 

SuLPizio  (sool-pe'-tsl-6), 

A  sergeant. . . , bass. 

Pesa'no. 

Act  I. — Scene.  The  Tyrolese  moun- 
tains during  the  French  occupation. 
Peasants  gather  for  war  ;  women  pray 
to  the  Virgin.  The  Marchioness  and 
Ortensio  are  an.\iously  waiting  news. 
Peasants  enter  to  say  the  enemy  are  re- 
treating. All  withdraw.  Sulpizio,  a 
French  sergeant,  enters,  followed  by 
Maria,  the  "daughter"  of  the  Regi- 
ment and  its  vivandiere.  She  rejoices 
in  having  first  seen  the  light  of  day  on  a 
battle-field  ("  Apparvi  alia  luce  sul  cam- 
po  guerrier  ").  Sulpizio  proudly  claims 
credit  for  finding  her  on  the  battle-field 
and  adopting  her.  He  speaks  of  the  letter 
he  found  with  her ;  she  speaks  of  the 
young  Swiss  who  saved  her  life  and 
whom  she  has  learned  to  love.  This 
very  Swiss  now  enters  as  a  captive. 
The  French  are  about  to  kill  him,  but 
she  saves  him  and  he  joins  in  a  toast. 
Maria  sings  the  song  of  the  Regiment, 
which  has  no  equal  as  "  everybody  says 
and  knows  "  ("  Ciascun  lo  dice  ;  ciascun 
lo  sa  ").  A  drum  calling  to  roll-call  is 
heard  and  the  soldiers  hurry  away,  tak- 
ing Tonio  under  guard.  He  returns, 
however,  having  eluded  the  others. 
Maria  and  he  are  on  cordial  terms, 
she  welcoming  his  ardent  vows  ("A 
voti  cosi  ardente  ").  They  stroll  away 
together  and  Sulpizio  and  the  Marchio- 
ness appear.  She  is  reading  the  letter 
found  with  Maria  many  years  before. 
It  is  addressed  to  her  'by  the  child's 
father,  and  she  recognises  Maria  as  her 
daughter  by  an  early  secret  marriage 
with  Captain  Roberto.  But  she  tells 
Sulpizio  that  Maria  is  her  niece.  The 
soldiers  return  and  Tonio  enters,  having 


decided  to  enlist  with  the  French  for 
Maria's  sake.  He  asks  the  Regimental 
fathers  for  her  hand,  and  they  grant  it. 
But  Sulpizio  tells  them  that  her  aunt 
has  appeared  to  claim  her.  Maria  bids 
her  friends  a  fond  farewell  ("  Convien 
partir "),  to  the  disgust  of  the  Mar- 
chioness. 

Act  II. — Scene.  A  salon.  Sulpizio 
wounded.  Maria  dressed  as  becomes 
her  new  station,  is  mutinous  against  her 
training.  The  Marchioness  makes  her 
sing  a  romance  by  Caffariello("  Sorgeva 
il  di ")  but  Sulpizio  prefers  the  regimen- 
tal rataplan,  in  which  Maria  joins ; 
the  Marchioness  leaves  angrily.  Or- 
tensio calls  Sulpizio  away  to  see  a  sol- 
dier who  has  come.  Maria  hears  the 
familiar  music  and  the  Regiment  reap- 
pears, Maria  welcoming  all,  particularly 
Tonio,  now  an  officer.  The  soldiers 
are  sent  to  broach  a  cask  of  wine,  and 
the  Marchioness  finds  Maria  with  Tonio 
and  says  the  girl  is  engaged  to  the  Duke 
of  Krakenthorp.  Tonio  goes,  vowing 
he  will  have  Maria,  who  withdraws 
weeping.  The  Marchioness  reads  to 
Sulpizio  a  confession  of  her  own  secret 
marriage  and  begs  him  to  aid  her  in 
marrying  Maria  to  the  Duke  without 
telling  the  truth  to  the  world.  The 
mother  of  the  Duke  appears,  he  being 
unable  to  appear,  and  the  contract  is 
about  to  be  signed  when  Tonio  leads  the' 
Regiment  in  to  protest  against  the  bar^ 
tering  of  its  daughter  ("  Ti  rincorr 
amata  figlia  ").  Maria  avows  her  grati- 
tude to  the  soldier  who  saved  her  fron 
death  ("  Quando  il  destino  ").  Th| 
Marchioness  relents  and  gives  Maria  ' 
Tonio,  to  the  joy  of  the  Regiment. 

Lucia    di   Lam'mermoor    (loo-che' 

de).     Lucy,   The   Bride  of  Lammer^ 

moor. 

Three-act  opera.  Book,  from  Sirj| 
Walter  Scott's  novel,  by  Cammara- 
no. 

Produced,  Naples,  1835,  with  Persi-^| 
ani  as  "  Lucia  "  and  Duprez  as  "  Ed'j 
gardo." 


STORIES    OF    THE    OPERAS     321 


CHARACTERS. 

Enrico  (en-re'-ko) bar. 

Lord  He7iry  Ashlon  of  Lammer»iooy. 
Edgard'o tenor. 

Sir  Edgar  Ravenswood. 
Raimondo  (ra-e-m6n'-d5) bass. 

Raymond  Bide-the-Bcnt,  Tutor. 
Arturo  (iir-too'-ro) tenor. 

Lord  Arthur  Bucklaw. 
Norman'no tenor. 

Warrior-chief  of  Ravenszaood. 
Lucia sopr. 

Lucy,  Ashton's  sister. 
Alisa  (a-le'-sa) sopr. 

Alice,  her  maid. 

Time,  Scotland,  about  1670. 

Act  I. — Scene  I.  Avestibule.  Norman 
and  others  are  searching  the  tower. 
Henry  enters  brooding  and  tells  Norman 
that  he  has  lost  his  fortune  and  that  his 
sister  Lucy  who  can  by  marrying  Arthur 
restore  the  Lammermoor  prestige,  re- 
fuses and  spends  her  time  mourning 
her  dead  mother.  Meanwhile  his  enemy 
Edgar  triumphs.  Norman  tells  Henry 
that  Lucy  is  in  love  ;  he  tells  how  she 
was  saved  from  a  furious  bull  by  a  shot 
fired  by  Edgar,  whom  she  now  loves. 
At  this  Henry  is  insane  with  rage 
("  Cruda  funesta  smania  ").  A  chorus 
of  hunters  enter  and  tell  ("  Come  vinti 
da  stanchezza  ")  how  they  had  seen  a 
mysterious  horseman  stealing  from  the 
tower.  It  was  Edgar.  Henry  threat- 
ens revenge  ("  La  pietade  in  suo  fa- 
vore").  Scene  2.  A  Park.  Lucy  and 
Alice.  Lucy  is  longingly  awaiting  Edgar 
("  Regnava  nel  silenzio").  Edgar  en- 
ters to  say  he  is  ordered  to  France  as 
an  ambassador.  He  tells  how  Henry  has 
killed  his  father  and  robbed  him  of  his 
heritage  ;  he  had  sworn  revenge  on  his 
father's  tomb  ("Sulla  tomba  che  rin- 
serra " ),  but  Lucy's  love  has  changed 
his  ideal.  The  act  ends  in  a  love- 
duet. 

Act  II. — Scene.  A  room  in  the  castle. 
Henry  and   Norman   are   waiting    for 


Lucy.  They  speak  of  intercepting  Ed- 
gar's letters  and  poisoning  Lucy's  mind 
against  him.  Henry  asks  Norman  for 
the  forged  letter  and  bids  him  sum- 
mon Arthur.  As  Norman  goes,  Lucy 
enters.  Reproached  for  her  gloom,  she 
accuses  him  of  cruelty  ;  he  shows  her 
the  letter  and  she  believes  Edgar  false  ; 
he  begs  her  to  marry  Arthur,  who  is  even 
now  coming  with  nuptial  splendour. 
They  quarrel  in  a  duet  ("  vSe  tradirmi 
tu  portrai  ")  and  he  threatens  to  kill 
Edgar  if  she  persists.  She  prays  for 
death.  She  leaves  as  Arthur  enters 
with  a  great  crowd,  but  is  led  back  by 
Henry  ;  intimidated  by  threats  he  utters 
under  his  breath,  she  signs  the  marriage 
contract.  Suddenly  Edgar  appears  and 
there  are  mutual  reproaches  in  a  power- 
ful sextet  ("  Chi  mi  frena").  Raymond 
pleads  that  there  be  no  bloodshed. 
Edgar,  seizing  the  marriage  contract, 
furiously  upbraids  Lucy  for  her  faith- 
lessness and  will  not  listen  to  her  ex- 
planation. 

Act  III. — Scene  i.  A  room  in  the 
Castle  on  Wolf's  Crag.  Edgar  alone 
rejoices  in  the  storm.  Henry  enters 
and  the  men  confront  each  other  ;  they 
agree  to  fight  at  dawn,  and  pray  for  the 
sun  to  rise  (in  a  duet  "  O  sole,  piu  ra- 
pido  ").  Scene  2.  The  chorus  sings  a 
song  of  jubilant  victory  ("  D'immenso 
giubilo").  Raymond  bids  them  cease 
their  mirth,  he  tells  how  he  had  heard  a 
groan  from  the  bridal-chamber  ("  Dalle 
stanze  ove  Lucia ")  and  entering  had 
found  Arthur  dead  and  Lucy  with 
his  bloody  sword  in  her  hand  ;  she 
had  gone  insane.  The  mad  girl  now 
appears,  thinking  she  is  about  to  wed 
Edgar.  She  sings  the  famous  mad-song 
("  O  gioja^  che  si  senti ").  Henry  enters 
and  sees  her  frenzy  with  bitter  remorse. 
Scene  3.  Outside  the  castle  at  night. 
Edgar  alone  before  the  tomb  of  his  an- 
cestors begs  for  speedy  death  from  his 
sorrows  ("  Tombe  degli  avi  miei"). 
People  enter  to  say  that  Lucy  has  gone 
mad  :  he  determines  to  see  her  ;  Ray- 
mond enters  with  the  news  that  she  is 
dead,  and  Edgar  stabs  himself. 


322 


THE    MUSICAL    GUIDE 


GLUCK,    CHRISTOPH   VON. 

Orfeo  e  Euridice   (or  -fa-5  a  a'-oo-re- 

de  -che),  /.,  Orpheus  et  Eurydice,  F. 

Orph'eus  and  Eur>'d'ice. 

Three-act  opera.    Book  by  Calzabigi. 

Produced,  Vienna,  October  5,  1762,  in 
two  acts.  Revised  and  extended.  Paris 
Academie,  August  2,  1774  (with  the  role 
of  Orfeo  transposed  for  the  tenor  Le- 
gros.  In  1859  restored  by  Berlioz  for 
the  alto  Viardot-Garcia). 

CHAR.^CTERS. 

Orfeo  (Orpheus) alto. 

L'Ombra  Felice  (  The  Happy  Shade) 

(lom'bra  fa-le'che) sopr. 

L'Amore  (la-mo'-rg).     The  God  of 

Love sopr. 

Euridice sopr. 

Act  I. — Scene  i.  A  lonely  wood  with 
the  tomb  of  Eur}'dice  and  a  statue  of 
Hymen.  Rustics  and  nymphs  dance 
about,  calling  on  Eurj-dice  to  come 
back  to  life  and  her  inconsolable  hus- 
band, Orpheus.  Orpheus,  lost  in  sor- 
row, bids  them  leave  him  to  his  grief 
("  Chiamo  il  mio  ben  cosi  ").  He  muses 
on  his  great  loss  ("Euridice!  ombra 
cara  ").  At  length  the  God  of  Love  enters 
and  offers  his  aid.  Even  Jupiter  has  been 
moved  to  grant  Orpheus  the  privilege 
of  descending  into  the  abode  of  the 
dead  to  bring  back  his  wife,  provided 
he  promises  not  to  look  back  at  her  till  he 
has  safely  led  her  to  the  upper  world. 
The  god  bids  Orpheus  restrain  his  ar- 
dour ("  Gli  sguardi  trattieni ")  and  all 
will  be  well.  The  god  vanishes  and 
Orpheus  sets  forth  boldly  on  his  quest. 

Act  II. — Scene  i.  The  gfetes  of  In- 
ferno. Demons  and  furies  gather  and 
the  sound  of  Orpheus'  lyre  sets  them  to 
dancing  and  crying  out  with  wrathful 
amazement  at  the  hardy  wanderer  in 
Erebus  ("Chi  mai  dell'  Erebo  ").  The 
barking  of  the  three  -  headed  hound 
Cerberus  is  hinted  in  the  orchestra. 
Orpheus  begs  them  to  be  calm  ;  he  tells 
them  of  the  thousand  pangs  that  rend 


his  heart  ("  Mille  pene ")  ;  and  the 
furies  melt  before  him.  They  order  the 
gates  to  open  and  the  minstrel  enters. 
Scene  2.  Elysium  and  the  blessed  shades, 
who  wreathe  a  blissful  dance  under  the 
leadership  of  one  of  them.  As  they 
withdraw  Orpheus  enters  rejoicing  in 
the  pure  sky  and  peace  of  the  region 
("Che  puro  ciel  I ").  When  he  cries 
out  for  Eurydice,  the  happy  shades  tell 
him  she  is  there,  and  bid  him  come  to 
the  realm  of  repose  ("  Vieni  ai  regni  del 
reposo  ").  They  lead  in  Eurydice,  veiled. 
Act  III. — Scene.  A  cavernous  egress 
from  Inferno.  Orpheus  enters  leading 
Eurydice.  She  rejoices  at  the  reunion, 
but  is  distressed  at  his  an.xiety  and  his 
refusal  to  look  at  her.  She  is  angered 
at  his  mysteriousness,  and  deeply  grieves 
("Che  fiero  momento").  At  length  he 
turns  and  looks  at  her.  She  falls  down 
lifeless,  and  Orpheus  in  despair  at  the 
thought  of  losing  her,  cries  "  What  can 
I  do  without  Eurydice  !  "  ("  Che  faro 
senza  Euridice").  He  determines  to 
kill  himself  that  he  may  join  her  eter- 
nally. The  God  of  Love  entering  stay? 
his  hand  and  restores  Eurydice  to  Ufe. 
The  two  embrace  amidst  a  chorus  oi 
rejoicing  at  Love's  triumph  ("  Trionfi 
amore  "). 

GOUNOD,    CHAS.    FRANCOIS. 

Faust  (fowst ;  in  F.  fost),  in  German; 

this  opera  is  called  Margarete  (mar 

ga-ra-te),    in     Italy,    Faust    e    Mar 

gherita  (a  mar-ga-re'-ta). 

Five-act  opera.  Book  from  Goethe' 
poem.  Part  1,  by  Jules  Barbier  an^ 
Michel  Carre. 

Produced,  Theatre  Lyrique,  Paris; 
March  19,  1859. 

CH.\RACTERS    AND    THEIR   CREATORS. 

Faust,  An  old  scholar. . .  .  Barbot,  teno 
Mefistofele      (ma-fe-sto-fSl),      Mephi 

TOPHELES, 

T/u-  Evil  Spirit Balanque,  bas. 

V.\LENTiN  (vai-an-tan),    Valentine, 
Brother  of  Marguerite .  .Regnal,  ba' 


J 


STORIES    OF    THE    OPERAS     323 


Wagner  (vag-nSr), 

[in  the  German  version, 

Brander] tenor. 

SiEBEL  (sT-eb-el), 

A  youth  in  love  with  Marguerite, 

Mile.  Faivre,  m.  sopr. 
Marguerite  (mar-gu-ret), 

A  village  beauty, 

Mme.  Miolan-Carvalho,  sopr. 
Martha  (mar-ta). . .  Mme.  Duclos,  alto. 

Act  I. — Scene  i.  The  study  of  the  de- 
crepit scholar  Faust,  who  soliloquises 
on  the  vanity  of  research  ("  Interrogo 
invano ") ;  he  decides  to  kill  himself 
and  pours  out  poison.  Bursts  of  song 
heard  from  peasant  girls  and  men  pass- 
ing by,  embitter  his  reflections  on  old 
;  age,  and  in  his  rage  he  calls  on  Satan, 
I  who  to  his  amazement,  appears  and 
bargains  for  his  soul,  Faust  asking  for 
youth  and  pleasure  ("  lo  voglio  il  pia- 
cer").  When  Faust  has  signed,  Meph- 
:  istopheles  shows  him  in  a  vision  Mar- 
guerite at  her  spinning-wheel.  Faust 
drinks  to  her,  and  is  transformed  to  a 
richly  dressed  youth,  who  hurries  away 
with  the  Evil  One. 

Act  II. — Scene.  A  Fair,  or  Ker- 
messe.  Students,  soldiers,  etc.,  sing  of 
wine,  old  men  sing  of  peace,  and  young 
girls  of  love.  Valentine  enters  wearing 
a  medallion  ("O  santa  medaglia  ")  given 
by  his  sister  ;  he  is  about  to  go  to  the 
wars  and  commends  Marguerite  to  the 
charge  of  Siebel.  As  Wagner  is  singing 
a  ballad  of  an  old  rat,  Mephistopheles 
appears  and  joins  the  fun  with  a  song  of 
the  calf  of  gold  ("  Dio  del'  or").  He 
tells  fortunes,  saying  that  Wagner  will 
,fall  in  battle,  and  that  every  flower  Siebel 
touches  will  wither  ;  he  draws  wine  from 
the  sign  of  the  inn  and  as  the  goblet  flares 
up,  he  drinks  to  Marguerite.  Valentine 
indignantly  knocks  down  the  glass,  and 
they  draw  swords.  Mephisto  draws  a 
circle  about  him  and  Valentine's  blade  is 
shattered.  When,  however,  the  soldiers 
hold  up  their  sword-hilts  as  crosses  ("  Tu 
.puoi  la  spada  frangere ")  the  Evil  One 
icowers  while  they  pass.     Faust  arrives 


and  asks  to  see  Marguerite  ;  a  bevy  of 
students  and  girls  waltz  in  ("  Come  la 
brezza")and  Marguerite  appears.  Sie- 
bel moves  toward  her  but  is  kept  away 
by  Mephisto,  while  P'aust  offers  her 
his  arm  ;  she  declines  it  with  meek- 
ness and  passes  on.  Faust  and  Mephis- 
to follow  her. 

Act  III. — Scene.  The  garden  of  Mar- 
guerite. Siebel  is  plucking  a  bouquet  for 
his  beloved  Marguerite  ("La  parlate 
d'amor ") ;  each  flower  withers  at  his 
touch  till  he  dips  his  fingers  in  holy  wa- 
ter ;  as  he  passes  on  in  his  search,  Faust 
and  Mephisto  look  in  and  see  him  place 
the  flowers  at  Marguerite's  window. 
When  he  has  gone,  Faust  apostrophises 
the  pure  and  lowly  dwelling  of  his  love 
("  Salve !  dimora  casta  e  pura,"  or 
"  Salut,  demeure  !  ").  Mephisto  reap- 
pears with  a  casket  of  jewels  which  he 
places  on  the  steps,  then  draws  Faust 
back  into  the  shrubbery.  Marguerite 
enters  alone;  she  is  humming  a  folk-song 
("  Cera  un  re  di  Thule  " — "  Es  war  ein 
Konig  im  Thule  "  in  Goethe's  Faust) 
which  she  intermits  with  memories  of 
Faust.  She  spins  awhile,  then  rises 
wearily  and  sees  Siebel's  nosegay,  but 
drops  it  in  ecstasy  over  the  jewels,  in 
which  she  decks  herself  ("  Ah,  e  strano 
poter").  Martha,  an  old  neighbour, 
enters  and  tells  her  they  were  doubtless 
left  by  a  suitor.  Mephisto  and  Faust  ap- 
pear and  Mephisto  by  flirting  desperate- 
ly with  the  giddy  crone  leaves  Faust  a 
chance  to  woo  Marguerite,  who  tells 
of  her  loneliness,  the  absence  of  her 
brother  ("  Al  campo  e  il  fratel"),  and 
the  death  of  her  little  sister.  Siebel  ap- 
pears and  Martha  drives  him  away  and 
goes  home.  Mephisto  watches  the 
crescent  passion  of  the  lovers  ("  Sem- 
pre  amar  ").  As  night  falls  Marguerite 
begs  Faust  to  be  gone,  and  enters  her 
home.  Mephisto  drives  Faust  back,  and 
when  she  opens  her  window  to  tell  her 
love  to  the  night-wind  ("  Ei  m'ama  "), 
Faust  takes  her  in  his  arms,  while 
Mephisto  chuckles  in  the  shadow. 

Act  IV. — Scene  i  (often  omitted).  A 
room  in  Marguerite's  house.     The  be- 


324 


THE    MUSICAL    GUIDE 


trayed  and  deserted  girl,  taunted  by 
passers-by,  reflects  that  her  shame  is  due 
to  love  alone  ("  Nascose  eran "),  but 
when  Siebel  tries  to  console  her  with 
promise  of  revenge  ("  Quando  a  te 
lieta  ")  she  determines  to  go  to  the  church 
and  pray  for  her  false  lover  and  for  her 
unborn  child.  Scene  2.  The  square 
before  the  cathedral.  The  soldiers  re- 
turned from  war  chant  of  victory  and 
peace  ("  Deponiam  il  brando  ").  Valen- 
tine greets  Siebel  cordially,  but  is  met 
only  with  embarrassment  and  evasion, 
and  at  last  a  plea  that  he  forgive  Margue- 
rite. The  soldiers  pass  on  and  Valen- 
tine gloomily  enters  his  house.  Faust 
appears  full  of  remorse  ;  Mephisto  tries 
sardonically  to  win  her  forth  with  a  bur- 
lesque serenade  to  "  Catterina  "  ("  Tu 
che  fai  I'addormentata ").  Valentine 
comes  out  and  demands  the  cause  of  the 
serenade,  sends  Mephisto's  mandolin 
flying  with  his  sword,  and  falls  to  fight- 
ing with  the  reluctant  Faust.  Valen- 
tine throws  away  disdainfully  his  sister's 
medallion  and  Faust  with  Mephisto's 
aid  wounds  him  mortally  and  flies.  The 
citizens  gather  excitedly  and  finally  Mar- 
guerite, on  whom  the  dying  Valentine 
invokes  maledictions  ("  Stammi  adas- 
coltar").  When  his  body  is  borne  away 
she  prays  for  heavenly  mercy,  but  Meph- 
isto taunts  her  with  despair  and  claims 
her  while  a  chorus  of  monks  combat 
with  a  chorus  of  demons. 

Act  V. — Scene  i  (often  omitted).  The 
Walpurgis  revel  in  the  Brocken,  with  a 
vision  of  Marguerite  shown.  Scene  2. 
A  prison.  Marguerite  lying  asleep  in  a 
heap  of  straw.  Faust  and  Mephisto 
enter  and  Mephisto,  who  has  procured 
the  keys,  urges  Faust  to  waken,  the  girl 
and  make  her  fly  with  him.  Faust  is 
torn  with  repentance  and  blames  him- 
self for  Marguerite's  fall  and  for  the 
madness  in  which  she  killed  her  new- 
born child  ("  Penetrato  e  il  mio  cor  "). 
She  wakes  and  greets  him  as  her  res- 
cuer ("  Pur  fra  il  riso  beffardo"). 
Her  mind  wanders  and  she  lives  over 
their  first  meetings.  Mephisto  tries  to 
drag  Faust  away  before  the   dawn   be- 


trays his  presence,  and  Faust  tries  to 
lead  Marguerite  with  him,  but  seeing 
the  Evil  One,  she  falls  on  her  knees 
and  prays  (' '  O  del  ciel  angeli ").  She  re- 
pulses Faust  with  her  dying  breath  and 
a  chorus  of  angels  welcomes  her  re- 
deemed soul  to  heaven.  A  tableau 
(often  omitted)  shows  her  in  Paradise  ; 
Faust,  seeing  her,  prays  and  Mephisto 
falls  beneath  an  Archangelic  sword. 

Rom6o    et   Juliette    (r6m-a-6  a  zhiil- 
yet),  F.,  Romeo  e  Giulietta  (ro'-ma-o 
a  jool-yet'-ta),  /.     Romeo  and  Juliet. 
Five-act  grand  opera.     Book  by  Bar- 
bier  and  Carre,  after  Shakespeare. 

Produced,  Theatre  Lyrique,  Paris, 
April  27,  1867. 

Characters  as  in  Shakespeare  with  the 
addition  of  Stephano,  Romeo's  page 
(played  by  a  mezzo-soprano),  and  Gre- 
gorio,  a  watchman. 

Act   I. — Scene.     The  masked  ball  at 
Capulet's  palace.     Romeo  disguised 
a  pilgrim  meets  and  makes  love  to  thef 
young   Juliet,    who   later    confides   heri 
ecstasy  in  a  famous  waltz-song  to  h« 
nurse.      Her    cousin    Tybalt    recognii 
ing   the    presence  of  his  family  eneni 
Romeo,   is  only  restrained    from   intei 
rupting  the  festivity  by  Capulet  himseli 

Act  II. — Scene.  Juliet's  balcon] 
where  Romeo  finds  her,  and  though 
terrupted  by  the  impatience  of  the  nurse 
and  the  tour  of  Gregorio  and  his  watch^ 
men,  plights  his  troth. 

Act  III. — Scene  i.  The  cell  of  Fria 
Laurence  (or  Lorenzo)  who  marries  tb 
young  runaways.  Scene  2.  Street 
fore  Capulet's  palace.  Stephano  in  i 
flippant  serenade,  provokes  a  str 
brawl  between  the  retainers  of  the 
families,  in  which  Tybalt  kills  Romeo'i 
cousin  Mercutio.  Romeo  coming  fro 
the  church  wishes  to  avoid  a  duel  wit' 
Tybalt,  now  his  kinsman,  but  taunt 
into  a  fight,  kills  him.  Capulet  appeal 
ing  cries  for  "justice"  from  the  Duk< 
who  enters.  Romeo,  to  his  wild  grief,  ~ 
banished,  but  determines  to  see  Juliet.; 


STORIES    OF    THE    OPERAS     325 


Act  IV. — Scene  i.  Juliet's  chamber  at 
daybreak.  Her  husband  Romeo  is 
bidding  her  farewell.  When  he  has 
stolen  away,  her  father  Capulet  enters 
with  Friar  Laurence  and  declares  that 
Juliet  must  marry  Paris  at  once.  The 
Friar  secretly  gives  her  a  potion  to  keep 
her  as  one  dead  till  Romeo  can  be  sum- 
moned to  spirit  her  away.  Scene  2 
(usually  omitted).  The  wedding  cele- 
bration, in  the  midst  of  which  Juliet 
swoons  and  is  thought  to  have  died. 

Act  V. — Scene.  The  tomb  of  the  Cap- 
ulets,  where  Juliet  lies  in  state.  Romeo, 
ignorant  of  the  plot,  has  come  to  die  at 
her  side  and  takes  poison.  She  wakens 
to  see  him  perish  in  helpless  regret  and 
kills  herself  with  his  dagger. 

HUMPERDINCK,    ENGELBERT. 

Hansel  und  Gretel (hen'-zel  oont gra- 

tel). 

Fairy  opera  in  Three  "  Pictures." 
Book  by  the  composer's  sister,  Frau 
Adelheid  Wette. 

Produced,  Weimar,  1893. 

CHARACTERS. 

Peter  (pa'-ter), 
A  brootn-maker bar. 

Gertrud  (ger-troot), 

His  -wife m.-sopr. 

Hansel, 

Their  son  (played  by  a  girl),  .m.-sopr. 

Gretel,   Their  daughter sopr. 

Die  Knusperhexe  (knoos'-per-hex-e), 
A  witch m.-sopr. 

Sandm^nnchen  (zant'-men-khen). 

The  sandman,  or  sleep-fairy ..  .so'pr. 

Tausendm-innchen  (tow'-z5nt-men- 
khen),  The  dew  man,  or  dawn- 
fairy  sopr. 

Based    on    one  of  Grimm's    stories, 

this  graceful  opera  imports  Wagnerian 

ideas  into  the  nursery. 

Act  1. — Scene.     The  home  of  Peter. 

';    I  His  hungry   children  left  alone  bewail 

'i^  ■  their'poverty,  then  fall  to  frolic.     Their 


mother  finding  them  idle,  in  her  eagerness 
to  punish  them  knocks  over  the  only  jug 
of  milk  in  the  house.  She  sends  them  to 
the  woods  to  pick  berries  for  supper  and 
falls  asleep.  Her  husband  returns  slight- 
ly tipsy  but  burdened  with  provisions. 
On  learning  of  the  errand  of  the  children 
he  is  terrified  lest  they  fall  into  the 
clutches  of  the  Witch  who  lives  on  the 
Ilsenstein  in  a  honey-cake  house  and 
bakes  into  gingerbread  all  the  children 
she  can  capture.  Peter  and  Gertrud 
rush  out  to  rescue  their  children. 

Act  II. — Scene  i.  The  depths  of  a  fir- 
forest  near  the  Ilsenstem.  The  chil- 
dren, at  first  delighting  in  the  woods 
and  their  liberty,  suddenly  realise  as  it 
grows  dark  that  they  are  lost.  At  length 
they  fall  asleep  under  the  spell  of  the 
Sandman  after  they  have  said  their 
prayers  invoking  the  fourteen  angels, 
who  appear  coming  down  a  Jacob's  lad- 
der to  guard  the  children. 

Act  III. — Scene.  The  Witch's  House. 
The  angels  and  the  forest  have  van- 
ished, and  the  Dew-fairy  appearing 
wakens  Gretel  by  sprinkling  her  with 
dew  from  a  bluebell.  She  wakens  Han- 
sel by  tickling  him.  They  discover  the 
Witch's  House  with  its  oven  and  cage, 
and  a  fence  of  gingerbread.  They  are 
nibbling  bits  of  this  when  the  Witch 
appears,  takes  the  children  captive  and 
gallops  about  on  her  broomstick  weav- 
ing incantations.  She  prepares  the 
oven  and  tells  Gretel  to  crawl  in  and 
see  if  the  cakes  are  ready.  The  shrewd 
Grete',  however,  has  already  used  the 
Witch's  wand  to  release  Hansel  from 
the  spell,  and  now  pretending  stupidity, 
begs  the  Witch  to  show  her  the  way. 
The  Witch  bends  over  the  oven  and 
the  children  pop  her  into  it  and  close 
the  door  on  her.  The  fire  roars  within 
at  such  a  rate  as  the  children  dance  with 
glee,  that  finally  the  oven  falls  to  pieces. 
The  gingerbread  figures  now  lose  their 
honey-crust  and  prove  to  be  children 
whom  Hansel  restores  to  life  with  the 
wand.  The  jubilation  is  increased  by  the 
entrance  of  Peter  and  Gertrud,  and  finds 
its  climax    in    the   discovery   that   the 


326 


THE    MUSICAL    GUIDE 


Witch  has  been  turned  into  a  huge 
gingerbread-cake.  A  hymn  of  gratitude 
ends  the  quaint  masterpiece. 

LEONCAVALLO,    RUGGIERO. 

I    Pagliacci  (e    pal-yat'-che),  /.     The 

Strolling  Players.     Der  Bajazzo  (der 

ba-yat'-s6),  G. 

Two-act  drama  ;  text  and  music  by 
Leoncavallo. 

Produced,  Milan,  May  21,  1892. 

CHARACTERS. 

Strolling  Players  : 

Canio  (ka'-nI-6) tenor. 

To'nio bar, 

Bep  PE tenor. 

Ned'da,  Canto's  wife sopr, 

Silvio,  A  villager bar. 

The  scene  is  in  Calabria  on  the  Feast 
of  the  Assumption,  about  1865.  It  de- 
velops a  play  within  a  play,  a  tragedy 
within  a  farce,  and  concerns  the  domes- 
tic crisis  of  a  group  of  strolling  players, 
presenting  the  venerable  story  of  Harle- 
quin, Columbine  &  Co.,  to  the  peasants 
of  Italy. 

After  a  brief  orchestral  flourish,  To- 
nio,  a  hunchback,  the  clown  of  the 
troupe,  sticks  his  head  through  the  cur- 
tain and  begs  permission  to  revive  the 
old  Greek  prologue.  He  steps  forward 
as  Prologue  and  explains  that  the  play 
is  a  draught  from  real  life,  and  shows 
that  actors  have  their  genuine,  as  well 
as  their  mimic  tragedies.  The  pur- 
port of  this  famous  number  may  be  ex- 
pressed in  an  inversion  of  Shakespeare's 
lines:  "All  the  stage  is  a  world,  and 
all  the  players  merely  men  and  women." 

Act  I. — At  Tonio's  signal  the  curtain 
opens  disclosing  a  cross-roads  with  a 
rude  portable  theatre.  The  distant 
sounds  of  a  cracked  trumpet  and  a  be- 
laboured drum  call  the  peasants  together 
and  they  greet  with  joy  the  familiar 
characters  in  whose  costumes  Canio, 
Nedda  and  Beppe  enter  in  a  donkey- 
cart.   Silencing  the  crowd  with  his  drum, 


Canio  announces  the  play  for  the  even- 
ing. Canio  descends  and  boxes  the 
ears  of  Tonio  who  loves  Nedda  and 
has  hastened  to  assist  her.  The  crowd 
laugh  at  Tonio  who  wanders  off  angrily. 
Beppe  leads  the  donkey  out  and  a  villa- 
ger invites  the  players  to  drink.  Beppe 
throws  down  his  whip  and  goes  to 
change  his  clothes.  Tonio  says  he  must 
stay  to  clean  the  donkey.  The  villager 
hints  that  Tonio  lingers  to  flirt  with 
Nedda.  Canio  takes  it  as  a  joke.  He 
says  it  is  his  place  to  play  the  hood- 
winked husband  on  the  stage,  but  off 
the  stage — the  end  of  the  joke  would  be 
different  ("  Un  tal  gioca  ").  He  loves 
his  wife.  After  kissingNedda,  he  goes 
with  the  men.  The  other  peasants  stroll 
away  to  Mass  on  hearing  the  church-bell. 
Nedda  left  alone  broods  over  the 
fierce  look  Canio  gave  her.  She  won- 
ders if  he  suspects  her.  The  sunlight 
thrills  her  with  a  vague  ecstasy,  and  she 
revels  in  the  song  and  sport  of  the 
birds  ("  Ballatella  ").  At  the  end  of. 
her  rhapsody  she  finds  that  the  hideou^ 
Tonio  is  listening.  He  makes  ardent 
love  ("  So  ben  che  difforme  " — "  I  knov 
I'm  deformed  ").  She  laughs  him  tol 
scorn  and  advises  him  to  save  his  love-j 
making  for  the  stage.  He  pursues  her,* 
however,  and  she,  picking  up  Beppe'sl 
whip,  slashes  him  across  the  face  with  it. 
He  curses  her,  swears  revenge,  andj 
stumbles  away.  Now  her  secret  lover,' 
Silvio,  a  villager,  steals  in  over  the  wall. 
In  an  ardent  love-scene  he  pleads  with| 
her  to  leave  her  hateful  life,  and  join! 
him.  She  begs  him  not  to  tempt  herj 
("  Non  mi  tentar "),  but  promises  toj 
meet  him  that  night  after  the  play 
over.  Tonio,  having  seen  them,  hurriesi 
away  and  returns  with  Canio.  Silvio, 
escapes,  however,  unrecognised  in  the 
thicket,  while  Tonio  taunts  Nedda. 
Canio  returns  and  demands  the  lover'si 
name.  He  threatens  to  kill  Nedda,  but 
she  will  not  speak.  Beppe  rushes  in 
and  disarming  Canio  implores  him  tc 
dress  for  the  play  as  the  people  are  ever 
now  approaching.  Tonio  hints  that  tht. 
lover  may   appear  at   the   play.     Lefi 


STORIES    OF    THE    OPERAS     327 


alone,  Canio  bewaus  his  bitter  fate 
sardonically,  "On  with  the  motley! 
("Vesti  la  giubba ")  the  people  pay 
and  want  to  laugh.  If  Harlequin  steal 
your  Columbine — laugh,  Punchinello, 
and  everyone  will  applaud.  Laugh  at 
your  own  frenzied  love  !  laugh  at  the 
Woe  that  is  rending  your  heart."  In 
wild  grief  Canio  gropes  his  way  into  the 
theatre. 

Act  II. — Same  scene  in  the  evening, 
Beppe  and  Tonio  beat  the  drum  and 
blow  the  horn,  and  the  people  crowd 
into  their  places.  Nedda  collects  the 
money  and  whispers  a  word  of  warning 
and  promise  to  Silvio.  The  crowd 
grows  impatient  and  at  length  the  cur- 
tain of  the  theatre  opens  showing  a  crude 
little  room.  Nedda  (as  Columbine)  is 
restlessly  waiting.  The  servant  Taddeo 
is  away  at  market.  She  hears  someone 
tuning  a  guitar  outside  and  the  voice  of 
Beppe  (as  Harlequin)  is  heard  outside 
in  a  serenade  ("  O  Columbina,  il  tenero 
fido  arlecchin ").  As  Columbine  flut- 
ters with  delight,  the  loutish  Taddeo 
(played  by  Tonio)  enters  with  a  market- 
basket  and  makes  ludicrous  love.  Har- 
lequin entering  the  window  kicks  him. 
Taddeo  finding  a  rival  generously  sur- 
renders Columbine  and  promises  to  act 
as  sentinel.  Columbine  and  Harlequin 
feast  gaily  on  the  bird  and  wine  fetched 
by  Taddeo.  He  gives  her  a  sleeping 
potion  to  mix  with  her  husband's  (Pun- 
chinello's) drink.  Taddeo  enters  to 
warn  the  lovers,  and  Harlequin  steals 
out  of  the  window.  Punchinello  (played 
by  Canio)  enters  the  door  just  in  time 
to  hear  Columbine  promise  to  meet  Har- 
lequin at  midnight.  Canio's  self-pos- 
session is  shattered  by  the  similarity  of 
these  words  with  those  he  had  heard  in 
real  life  a  few  hours  before.  He  goes 
on  with  increasing  difficulty.  Columbine 
vows  that  no  one  has  been  with  her, 
and  Taddeo  substantiates  her  story. 
:  Tonio  lays  such  an  ironic  stress  on  the 
",  ;  praise  of  Nedda's  virtue  that  Canio 
■'  ,  again  forgets  himself  and  frantic  with 
[t  j  jealous  rage  demands  the  name  of  her 
'■.»j  lover,      Nedda    tauntingly    calls    him 


Punchinello,  but  he  declares  that  he  is 
a  man  again,  not  a  puppet  ;  and  tells 
how  he  had  taken  her  up  as  a  starving 
orphan  and  loved  her.  He  breaks  down 
and  the  audience  is  much  affected  by 
the  realism  of  the  acting.  Canio  bursts 
out  again  in  furious  denunciation  of 
Nedda's  infidelity.  The  crowd  ap- 
plauds. Nedda  volunteers  to  leave,  but 
Canio  says  she  shall  not  get  to  her  lover 
so  easily,  and  again  demands  the  man's 
name.  Nedda  tries  to  resume  the  play 
with  a  flippant  air  ("  Suvvia,  cos'i  terri- 
bile  ").  Canio  shrieks  with  rage  at  her 
manner  and  once  more  demands  her 
lover's  name,  which  she  solemnly  swears 
on  her  mother's  soul  that  she  will  not 
tell.  Tonio  appears  at  the  back  of  the 
stage  restraining  Beppe.  Nedda,  de- 
termined to  escape,  dashes  toward  the 
audience,  but  Canio  seizing  her  stabs 
her.  As  she  dies,  she  cries  Silvio's 
name,  and  he  rushing  forward  is  also 
stabbed  to  death.  Canio  gasps  to  the 
horrified  crowd,  "The  comedy  is  fin- 
ished." 

MASCAGNI,    PIETRO. 

Cavalleria  Rusticana  (ka-val-le-re'-a 
roos-tl-ka-na).     Rural  Chivalry. 
One-act  melodrama.     Book  by  Tar- 
gioni-Fozzetti  and   G.   Menasci  (based 
on  a  story  by  Giovanni  Verga). 
Produced,  Rome,  May  20,  1890. 

CHARACTERS  AND  THEIR  CREATORS. 

TuRiDDu  (too-rld'-doo), 

A  peasant Roberto  Stagno,  tenor. 

Al'fio,  a  carrier bar. 

Santuzza  (san-tood'-za), 

A  peasant  girl. 

Gemma  Bellinconi,  sopr. 
Lucia  (loo-che'-a), 

Turiddiis  mother contr. 

Lola,  Alfios  wife m.-sopr. 

Scene. — A  village-square  in  Sicily  on 
Easter  Day.  Before  the  curtain  rises, 
Turiddu  is  heard  carolling  a  Siciliana 
to  Lola  whom  he  loves,     At  rise  of  th^ 


328 


THE    MUSICAL    GUIDE 


curtain  peasant  men,  women,  and  chil- 
dren enter  the  church.  There  is  a 
chorus  of  May  and  love.  The  deserted 
Santuzza  enters  and  going  to  Lucia's 
cottage  asks  where  Turiddu  is.  Lucia 
says  he  has  gone  to  Francofonte,  but 
Santuzza  says  he  was  seen  in  the  village. 
She  cannot  enter  Lucia's  house,  being 
excommunicated.  The'whip  and  bells 
of  the  carrier  are  heard  and  Alfio  ap- 
pears singing  of  the  joys  of  the  road 
("  II  cavallo  scalpita  "),  and  also  of  the 
fidelity  of  his  wife.  He  asks  Lucia  for 
wine.  She  says  Turiddu  has  gone  to 
the  next  town  to  fetch  it.  Alfio  says 
he  had  seen  him  that  very  morning  near 
his  own  cottage.  Lucia  is  curious  but 
Santuzza  signs  her  to  be  silent.  The 
Easter  h)-mn  is  sung  and  all  enter  the 
church  but  Santuzza  and  Lucia.  Lucia 
asks  why  Santuzza  warned  her  to  keep 
silent.  Santuzza  tells  her,  "  Well,  you 
know,  mother"  ("  Voi  lo  sapete,  O  mam- 
ma "),  how  Turiddu,  going  to  war  had 
plighted  troth  with  Lola,  returning  to 
find  her  wedded.  He  then  won  the 
heart  and  the  honour  of  Santuzza,  only 
to  be  reconciled  with  Lola,  leaving  San- 
tuzza to  despair.  Lucia  goes  into  the 
church  sadly.  Turiddu  comes  and 
when  asked,  says  he  has  been  to  Fran- 
cofonte. Santuzza  gives  him  the  lie, 
she  had  seen  him  at  dawn  leaving  Lola's 
house.  He  denies  that  he  loves  her, 
but  scorns  Santuzza.  Lola  is  heard 
singing  a  light  flower-ballad  ("  Fior  di 
giaggolo  ").  Lola  comes  and  finding  the 
two  together,  scornfully  enters  the 
church.  Turiddu  reviles  Santuzza  for 
awaking  Lola's  jealousy.  She  pleads 
with  him  frantically  but  vainly  ("  No, 
no,  Turiddu  ").  He  casts  her  off  and  en- 
ters the  church.  In  her  fury  she  tells 
A'.fio,  who  enters,  that  Turiddu  has  be- 
trayed him.     Alfio  swears  revenge. 

After  an  instrumental  Intermezzo, 
the  same  scene.  An  Easter  chorus  of 
people  returning  from  church.  Turiddu 
speaks  to  Lola,  but  she  is  hurrying  home 
expecting  her  husband.  Turiddu  in- 
vites all  to  join  him  in  wine  ("  Viva  il 
vino    spumeggiante ").      Alfio    comes. 


Turiddu  invites  him  to  drink  with  them. 
He  says  it  would  be  poison  to  him.  The 
women  in  alarm  lead  Lola  away.  Tu- 
riddu offers  Alfio  satisfaction  and  the 
men  embrace,  Turiddu  according  to 
custom  biting  Alfio's  ear  as  a  challenge. 
Turiddu  begs  Alfio  not  to  blame  Lola 
and  thinks  sadly  of  the  lorn  Santuzza, 
Alfio  moves  on  to  await  Turiddu,  who 
calls  his  mother  and  asks  her  blessing 
and  her  care  for  Santuzza  if  he  does  not 
return.  He  hurries  away  leaving  her 
mystified  and  anxious.  Santuzza  and 
others  appear.  Confused  voices  are 
heard,  then  a  woman  screaming,  "  Tu- 
riddu is  killed  !  "  Santuzza  and  Lucia 
swoon. 

MASSENET,  JULES  E.   F. 

Le    Cid    (lu   ced).      The   Cid   (Com- 
mander). 
Four-act   opera.       Book   (after   Cor- 

neille)    by    Messrs.    D'Ennery,    Gallet, 

and  Blau. 

Produced,  Paris,  November  30,  1885.; 

CH.4RACTERS    AND    THEIR    CREATORS. 

Chimene  (she-men). 

Daughter  of  De  Gormas, 

Mme.  Fides-Devries,  sopr^ 

The  Infanta Mme.  Bosman,  sopr 

RoDRiGUE  (rod-reg').    Son  of  Don  Diegue 

M.  Jean  de  Reszke,  tenoi; 

Don  Diegue  (don  de-eg'), 

M.  Edouard  de  Reszke,  bas 
The  King.  .  .  Melchissedec,  bar.  or  1 
The  Comte  de  Gormas  (kofit  dii  Gor-mas): 
M.  Plan9on,  bass  or  baf 
Saint  James.  ..M.  Lambert,  bass  or  bat 
The  Moorish  Envoy, 

M.  Ballerory,  bass  or 
Don  Arias  (don  a-re-as),  M.  Girard,teno 
Don  Alonzo  (don  a-16n'-z6), 

M.  Sentein,  bass 

Act  r. — Scene  i.  Hall  in  the  Comt 
de  Gormas's  palace.  The  Count  an 
his  friends  hear  a  trumpet  fanfare  sun" 
moning  them  to  be  present  at  the  knight' 


I 


STORIES    OF    THE    OPERAS     329 


ing  of  the  young  Rodrigo.     The  friends 
say  flatteringly  that  while  honours  are 
i|     in   the   air,  it    were    fitting   the    Count 
were   appointed    tutor    to    the    King's 
son.     The    Count    says   how   much   he 
should    value    the    honour.       Chimene 
cannot  contain  her   joy  at    the  rejoic- 
ings in  honour  of  Rodrigo.     Her  father 
smilingly  accuses   her   of  a    tender  in- 
terest in  the  hero  of  the  day,  and  ap- 
I     plauds  her  choice.     Chimene,  left  alone, 
j     rejoices  in  being  able  to  love  openly. 
The   Infanta,   coming  to  visit  her,  re- 
veals her  own  love    for  Rodrigo  ;    but 
seeing    Chimene's    consternation,    bids 
her  love  on  untroubled,   as  a  princess 
has  not  the  right  of  loving  whom  she 
will.     Scene  2.     Gallery    leading   from 
Palace  to  Cathedral.     Priests  and  peo- 
j    pie    intone   a   psalm    of    thanksgiving 
for  deliverance  from  the   Moors.     The 
King  announces  his  intention  to  knight 
j    Rodrigo,  though  his  valour  is  yet  un- 
j   proved,  in  compliment  to  Don  Diegue. 
Rodrigo  enters,  his  noble  bearing   ad- 
i   mired  by  the   assemblage.     The  King 
!i  !   administers  the  oath  of  knighthood  and 
I   presents  the  sword.      Rodrigo  apostro- 
j  phises  his  sword,  and  invokes  the  aid  of 
i  his  patron  St.  James,  and,  gazing  at  Chi- 
mene, of  his  guardian  angel.     Chimene 
,-:     rejoices  in  this  sign  of  his  love  for  her. 
The  King  dismisses  Rodrigo  to  the  ca- 
thedral.    As  a  further  proof  of  his  re- 
gard for  Don  Diegue,  appoints  him  tutor 
to  the  Infanta.     The  friends  of  De  Gor- 
mas  express  dissatisfaction.     The  King 
rebukes  them,  and  goes.   Diegue  returns 
to  ask  the  hand  of  Chimene  for  his  son. 
The   jealous   Count    repulses  him,  and 
,     ends  by  striking  him.     The   old  man, 
drawing  his  sword  to  avenge  the  insult, 
is  easily  disarmed  by  the  Count,  and 
is  taunted  by  the  others.     Left  alone, 
he    bewails    his    age     and    dishonour. 
Hearing  the  voice  of   Rodrigo   taking 
the  oaths  in  the  cathedral,  he  remembers 
•    that   he   has   a    champion    in   his   son. 
When  Rodrigo  appears,  he  is   told  of 
-;     the  insult,  which  he  angrily  swears  to 
jiit  at  j  avenge,    and    demands    the    offender's 
,,f  *•  name.     He    is    horrified   to  hear    the 


name  of  Chimene's  father.  She  ap- 
pears from  the  church  at  that  moment. 
His  struggle  between  love  and  filial 
duty  is  fierce,  but  duty  triumphs.  He 
joins  with  his  father  in  swearing  ven- 
geance. 

Act  II. — Scene  i.  Moonlight  street  in 
Burgos  with  the  Count's  palace.  Rod- 
rigo enters,  bemoaning  his  cruel  fate, 
and  meditating  suicide  ;  but  overcomes 
his  weakness,  meets  the  Count,  and 
challenges  him.  The  Count  disdains  so 
untried  a  foe,  but  Rodrigo  forces  him 
to  fight,  and  kills  him.  Diegue  enters 
with  friends  and  commends  his  son, 
who,  however,  is  distracted  with  grief. 
Diegue  sympathises  with  his  distress. 
Chimene  enters  and  wildly  inquires 
her  father's  murderer,  going  from  one 
to  another,  till  she  sees  by  Rodrigo's  face 
that  he  is  the  guilty  one.  She  swoons. 
A  Requiem  is  heard  chanted  within. 
Scene"  2.  Square  in  Burgos.  Scene 
of  popular  rejoicing.  The  Infanta  goes 
from  group  to  group,  distributing  alms. 
The  King  enters  and  is  received  with 
acclamation,  to  his  daughter's  joy.  Sud- 
denly Chimene  rushes  in  and  calls  ex- 
citedly for  justice  ;  followed  by  Don 
Diegue  and  his  friends  who  give  their 
explanation  of  the  Count's  death.  All, 
in  chorus,  express  varied  emotions  ;  in- 
terrupted by  a  Moorish  envoy,  who 
brings  a  defiant  message  from  the 
returning  enemy.  He  is  answered 
proudly  by  the  King  and  withdraws. 
Then  the  King  reproaches  Rodrigo  for 
having  deprived  him  of  his  best  general 
in  this  extremity.  Diegue  boldly  sug- 
gests that  Rodrigo  take  the  place  of 
leader,  and  is  seconded  by  the  crowd 
and  Rodrigo  himself,  who  begs  a  chance 
of  proving  his  valour  before  he  dies. 
The  King  consents. 

Act  III. — Scene  i.  Chimene  alone  in 
her  chamber  at  night,  mourning  her 
dead  father  and  her  lost  lover  ("  Pleurez, 
pleurez,  mes  yeux  !  ").  To  her  surprise, 
Rodrigo  enters.  They  sing  sadly  of  the 
bygone  days  of  their  happiness.  Rod- 
rigo, enraptured  to  find  that  Chimene 
Still  loves  him,  bids  farewell  before  he 


330 


THE    MUSICAL    GUIDE 


goes  to  die.  Chimene,  reproaching  him 
for  thinking  of  death,  urges  him  to  re- 
turn victorious,  so  that  his  past  may 
be  forgiven ;  then  shoci<ed  with  herself 
at  this  disloyalty  to  her  father,  tries  to 
take  it  back,  and  flees,  ashamed.  But 
Rodrigo,  glorying  in  her  love,  feels 
that  no  enemy  can  be  too  strong  for 
him.  Scene  2.  Rodrigo's  camp.  Sol- 
diers amusing  themselves.  Rodrigo 
entering  reproaches  them  for  frivolity  in 
the  face  of  death,  and  announces  that 
an  overwhelming  army  is  upon  them. 
Some  counsel  flight;  it  is  indignantly 
repudiated  by  Rodrigo,  who,  however, 
lets  the  cowards  go.  He  thanks 
the  brave  few  who  remain.  Scene  3. 
Rodrigo  praying  in  his  tent.  St. 
James  appears  and  promises  him  vic- 
tory. Scene  4.  The  battle-field  at 
sunrise.  Rodrigo  assures  his  soldiers  of 
victory. 

Act  IV.— Scene  i.  Hall  in  the  pal- 
ace at  Grenada.  The  runaway  soldiers 
tell  that  Rodrigo  has  been  overpowered 
and  slain  and  they  alone  escaped. 
Diegue  accuses  them  of  cowardice,  and 
says  he  had  rather  see  his  son  dead  than 
living  as  they.  The  ladies,  entering, 
hear  the  bad  news  and  cry  out  in  grief. 
The  Infanta  tenderly  consoles  the  old 
father,  Chimene  mourns  her  twice- 
broken  heart,  then  publicly  proclaims 
that  she  still  loves  Rodrigo,  and  is  glad 
he  knew  it  before  he  died.  The  King 
entering  inquires  the  meaning  of  their 
distress  when  the  town  is  joyful.  Sounds 
of  acclamation  are  heard,  and  Chimene 
understands  at  once  that  Rodrigo  is 
alive,  and  a  conqueror.  Scene  2.  Court 
of  the  palace.  The  King,  etc.,  enter 
and  take  their  places,  while  the  crowd 
sings  praises  of  the  Cid.  Procession  of 
soldiers,  captives,  etc.,  lastly  Rodrigo 
He  proffers  his  sword  to  the  King,  who 
tells  him  to  keep  it  and  name  his  re- 
ward. Rodrigo  sadly  answers  that  the 
only  reward  he  craves  is  not  in  the 
King's  power  to  grant.  The  King,  un- 
derstanding, bids  Chimene  answer,  and 
is  echoed  by  the  people.  Chimene  com- 
plains that  she  should  be  asked  to  reward 


her  father's  murderer,  and  the  people 
fear  she  means  to  sentence  him  to 
death  ;  but  she  can  neither  condemn  nor 
forgive.  Rodrigo,  to  relieve  her,  pre- 
pares to  kill  himself,  but  t^himene  just 
in  time  prevents  him,  and  confesses  her 
love.     General  rejoicing.  j 

MEYERBEER,    GIACOMO.  \ 

L'Africaine  (laf-rl-ken),  F.,  Die  Afri-    i, 
kanerin  (de  af-rl-ka'-nSr-In),  G.     The    ]. 
African. 
Five-act  opera.   Book  by  Scribe.  The    ! 

Academic,  Paris,  April  28,  1865. 

CHARACTERS    AND   THEIR    CREATORS. 

Selika  (sa-le'-ka).  An  African 
queen  in  slavery, 

Mme.  Marie  .Sa.xe,  sopr.  ; 
Inez  (e-ngs).  Daughter  of  Don  I 

Diego. . .  .Mile.  Marie  Batte,  sopr. 
Anna, 

Her  attendant contralto. 

Vasco  Di  Gama  (ga -ma), 
Portuguese  naval  officer, 

Naudin,  tenor.  , 
Nelusko  (na-loos'-ko),  { 

A  slave Faure,  bass,  j 

Don   Pedro  (pa'-dro),  President  j 

of  the  Royal  Council.      Bel  val ,  bass. ; 

Don   Diego  (de-a'-go),   Member  of 

the  Council  and  Admiral..  .  .  .bass.! 
Don  Alvar',  Member  of  the 

Council  and  Admiral bass.l 

Gran    Sacerdote    di    Brama    (sa- 
ch^r-do'-tg),  //igh  Priest  of 

Brama Obin,  bass] 

Grande  Insuisitore  (gran'-d^  en- 
kwez-a-to'-re)  and  Inquisitors. 

Begun  in  1838  the  opera  was  not  finj 
ished  till  1863,  nor  produced  till  twi 
years  after  Meyerbeer's  death. 

Act  I. — Scene.      Royal  Council  chan:! ; 
ber.       Inez  and   Anna    appear  ;    Ine;i 
who  loves  the  absent  Vasco,  has  bee] 
summoned  by  her  father,  who  comes 
tell  her  that  she  is  to  marry  Don  Pedrc' 
He  tells  her  that  Vasco  is  lost  at  se;' 


STORIES    OF    THE    OPERAS     331 


and  she  hurries  away.  The  council  as- 
sembles to  discuss  further  explorations. 
Vasco  appears.  He  has  escaped  alone 
from  the  shipwreck  at  the  Cape  of 
Storms,  but  begs  a  new  ship  to  try  the 
passage  again,  explaining  that  he  has 
bought  in  Africa  two  slaves,  members 
of  a  race  not  conquered  by  the  Span- 
iards. Selika  and  Nelusko  are  brought 
in.  Questioned  as  to  their  country, 
they  refuse  to  tell.  Vasco,  persisting 
in  his  request  for  a  ship,  is  arrested,  and 
is  condemned  for  impiety. 

Act  II. — Scene.  The  prison  of  the 
Inquisition  at  Lisbon.  Vasco  asleep. 
Selika  declares  her  love  for  him,  but 
hides  as  Nelusko  enters  to  kill  him  as  a 
.Christian  and  enemy.  She  intervenes 
and  pleads  for  him,  but  is  forced  to 
wake  him,  whereupon  Nelusko  conceals 
his  dagger  and  leaves.  Vasco  studies 
his  map  and  she  warns  him  against 
dangerous  capes.  He  expresses  his 
gratitude,  just  as  Don  Pedro  and  Inez 
enter  with  his  pardon.  Inez  suspects 
that  Vasco  loves  Selika  ;  to  allay  her 
suspicions  he  presents  Selika  to  her  as  a 
slave.  Don  Pedro  announces  that  he 
has  won  the  royal  commission  to  make 
the  exploration  Vasco  planned.  He 
also  announces  that  he  is  to  wed  Inez, 
who  has  consented  in  order  to  secure 
Vasco's  freedom.  The  treacherous 
Nelusko  is  to  go  as  Pedro's  pilot.  Vasco 
is  left  alone  in  despair. 

Act  III. — Scene.  The  "between- 
decks"of  a  ship.  Sailors'  chorus  and 
prayer.  Inez,  now  Pedro's  wife,  is  with 
him.  Nelusko  appears  and  gives  com- 
mands. Accused  of  treachery,  he  de- 
nies it,  but  gleefully  sings  of  Adamastor, 
the  god  of  the  typhoon,  whom  he  trusts 
to  destroy  the  Portuguese.  A  strange 
ship  is  sighted  and  a  boat  puts  out. 
Vasco  comes  aboard  and  tells  Pedro  that 
he  is  drifting  into  the  same  trap  he  him- 
self fell  into  ;  that  the  ship  will  fall  prey 
to  the  storm  and  to  a  horde  of  savages 
from  the  shore.  Pedro  scornfully  orders 
him  to  be  tied  to  a  mast  and  shot.  Se- 
lika threatens  to  stab  Inez  if  Vasco  is 
not  released,     She  is  hoodwinked,  over- 


powered and  ordered  to  be  scourged. 
But  now  the  hurricane  dashes  on 
them,  and  in  the  panic,  the  ship  is  in- 
vaded by  savages  who  overpower  the 
crew. 

Act  IV. — Scene.  Space  between  an 
Indian  temple  and  a  palace.  The  cor- 
onation ceremony  of  Selika.  All  the 
Portuguese  have  been  condemned  to 
death  except  Vasco,  who  had  been 
found  in  chains.  When  all  have  de- 
parted, Vasco  enters,  guarded.  He  is 
overcome  with  the  beauty  of  the  place, 
an  earthly  Paradise.  The  Brahmans 
and  soldiers  are  about  to  kill  him,  when 
Selika  appears  and  rescues  him,  declar- 
ing that  she  has  been  plighted  to  wed 
him.  Nelusko  is  overcome  with  grief 
at  losing  his  beloved  Selika.  Vasco,  in 
loving  gratitude,  consents  gladly  to  the 
marriage,  and  the  rites  begin,  when  the 
mournful  wails  of  Inez  and  her  women 
are  heard  in  the  distance.  He  attempts 
to  rush  to  her  rescue,  but  the  brides- 
maids surround  him  and  hale  him  to  the 
altar. 

Act  V. — Scene  i.  The  queen's  gar- 
dens. Inez,  under  guard,  is  upbraided 
by  the  enraged  Selika,  because  Vasco 
has  found  his  way  to  her.  Inez  con- 
fesses that  she  and  Vasco  are  lovers 
still,  and  begs  to  be  killed  ;  but  Selika's 
anger  subsides  into  anguish,  and  when 
Nelusko  enters  with  soldiers,  she  orders 
Inez  and  Vasco  to  be  put  on  board  a 
ship  and  sent  home.  Scene  2.  A  prom- 
ontory on  which  is  a  large  tree — the 
manchineel,  whose  perfume  produces  an 
ecstasy  ending  in  death.  The  lone  Se- 
lika appears  and,  inhaling  the  odour, 
breaks  into  a  rapturous  delirium  of  love 
for  Vasco,  as  she  falls  asleep.  The 
sound  of  a  distant  cannon  awakens  her. 
Nelusko  enters  joyfully  announcing  that 
Vasco  has  sailed.  With  a  despairing 
cry  her  soul  departs,  and  Nelusko  dies 
of  grief  at  her  feet. 

Les  Huguenots  (la-zUg'-no),  F.,  Gli 
Ugonotti  (le  oo-go-not'-te),  /.,  Die 
Hugenotten  (de  hookh'-e-not-ten),  C, 
The  Huguenots, 


332 


THE    MUSICAL    GUIDE 


Four-act  opera.     Book  by  Scribe  and 
Deschamps. 

Academic,  Paris,  February  29,  1836. 

CHARACTERS   AND   THEIR    CREATORS. 

Valentine  (val-an-ten), 
Daughter  of  St.  Bris, 

Mile.  Fal9on,  sopr. 
Marguerite  de  Valois  (du  val-wa), 
Betrothed  to  Henry  I V. , 

Mme.  Dorus-Gras,  sopr. 
Urbain  (ur-ban). 

Her  page,  Mile.  Flecheux,  sopr.;  now 
a  contr.  role. 
Comte  de  St.  Bris  (san-bre), 

Governor  of  the  Louvre Leda. 

Comte  de  Nevers  (koht  dii-nu- 

ver) Derivis. 

Raoul  de  Nangis  (ra-ool  dii  nan- 

zhe),  A  Protestant.  .Nourrit,  tenor. 
Marcel  (mar-sel). 

His  servant Levasseur,  bass. 

Maurevert  (mo-ru-var). 
Tavannes  (ta-van). 
De  Retz. 
Meru  (mu-rii). 

.  Act  I. — Scene  i.  A  feast  at  the  cas- 
tle of  De  Nevers.  The  revellers  per- 
suade Raoul  to  tell  of  a  beautiful  stran- 
ger he  had  once  rescued  from  a  crowd 
of  boisterous  students,  and  had  since 
loved  though  he  does  not  know  her 
name.  His  servant,  a  stern  old  Protes- 
tant soldier,  appears  and  is  persuaded 
to  sing  an  anti-Popery  song,  which  the 
Catholic  noblemen  take  good-naturedly. 
A  servant,  followed  by  Valentine,  heav- 
ily veiled,  whispers  to  De  Nevers,  who 
leaves  with  the  veiled  woman.  Raoul 
recognises  her  as  his  mysterious  love. 
De  Nevers  returns.  The  page  Urbain 
appears  and  with  much  flourish  delivers 
to  Raoul  a  letter,  which  he  passes  about ; 
though  not  signed,  it  is  recognised  as 
Marguerite's  writing  and  is  an  invi- 
tation to  come  blindfolded  to  Court. 
The  noblemen  shower  the  puzzled  Raoul 
with  congratulations.  Scene  2.  The 
chateau   and    gardens   of    Marguerite. 


Surrounded  by  her  attendants,  she  is 
rhapsodising  over  lo^■e,  "  A  questa  voce 
sola."  Valentine  enters.  She  has  be- 
come a  favourite  of  Marguerite  and  at 
her  request  has  asked  De  Nevers  to 
absolve  her  from  the  promise  of  mar- 
riage arranged  by  her  father.  Urbain 
laughingly  announces  that  a  cavalier 
with  eyes  blindfolded  is  waiting.  Raoul 
is  led  in.  Marguerite  bids  him  remove 
the  veil,  and  he  is  overcome  by  her  beau- 
ty. She  exacts  of  him  a  promise  to  do 
as  she  bids.  The  Gentlemen  of  the 
Court,  including  Valentine's  father,  St. 
Bris  and  De  Nevers  enter.  She  makes 
them  all  take  an  oath  of  peace  and 
friendship.  Marguerite,  who  is  eager 
to  reconcile  the  Catholics  and  Protes- 
tants, who  are  already  drifting  toward 
the  St.  Bartholomew  massacre,  an- 
nounces that  Raoul  is  to  wed  a  lady  of 
her  choice.  St.  Bris  brings  in  his  daugh- 
ter, and  Raoul  recognising  her  as  the 
veiled  woman  who  had  called  on  De 
Nevers,  suspects  her  honesty,  and  firmly 
declines  to  wed  her.  De  Nevers  and 
St.  Bris  swear  revenge,  and  Valentine  is 
overcome  with  humiliation. 

Act  II. — Scene.  Two  inns  and  a 
chapel  on  the  bank  of  the  Seine.  Cath- 
olic students  at  one  tavern  and  Hugue- 
not soldiers  at  the  other  are  making 
holiday.  A  bridal  procession  appears, 
leading  De  Nevers  and  Valentine, 
and  St.  Bris  and  Maurevert.  Valen- 
tine remains  at  the  chapel  to  pray.  De 
Nevers  leaves.  Marcel  enters  and  de- 
livers a  letter  to  St.  Bris,  who  finds  in 
it  a  challenge.  He  plots  with  Maure- 
vert to  assassinate  Raoul,  and  is  over- 
heard by  Valentine,  who  warns  Marcel 
and  leaves.  St.  Bris  and  Raoul  arrive 
and  prepare  for  the  duel,  when  Marcel 
seeing  Maurevert  appear  with  soldiers, 
summons  the  Huguenot  soldiers  from 
the  inn.  The  Catholics  hasten  from 
theirs  and  a  riot  is  brewing.  Margue- 
rite and  Urbain  appear,  and  the  com-, 
batants  begin  recrimination.  Valentine 
appears  and  Marguerite  explains  to 
Raoul  the  purpose  of  Valentine's  visit 
to  De    Nevers.      He  learns  with  grief 


STORIES    OF    THE    OPERAS 


333 


that  she  has  now  become  the  wife  of 
De  Nevers,  who  appears  in  a  barge  and 
takes  her  away. 

Act  III. — Scene.  The  chateau  of  De 
Nevers.  Valentine,  alone,  bemoans  her 
lot ;  wedded  to  De  Nevers,  loving 
Raoul.  Raoul  appears.  She  conceals 
him  behind  a  curtain  just  before  the  en- 
try of  St.  Bris,  De  Nevers  and  others, 
who  have  met  to  plan  the  annihilation 
of  all  the  Huguenots.  There  is  an  im- 
pressive scene,  "  The  Blessing  of  the 
Poignards."  De  Nevers  refuses  to  stoop 
to  assassination  ;  he  breaks  his  sword 
and  is  led  away.  St.  Bris  bids  them 
await  the  signal  of  the  bell  for  the  gen- 
eral massacre.  Monks  enter  with  a 
basket  of  white  scarves.  They  bless 
the  swords.  When  all  have  gone,  Raoul 
steps  out,  eager  to  warn  his  friends  and 
slay  the  conspirators.  Valentine  pleads 
with  him  not  to  go  lest  her  father  and 
her  husband  perish.  She  clings  to  him 
lovingly  and  he  echoes  her  passion  till 
the  distant  bell  announces  the  slaugh- 
ter ;  they  look  out  into  the  street  and 
see  the  St.  Bartholomew  massacre  in 
full  course.  She  faints  with  terror  for 
him  and  he  leaves  by  the  window.  [The 
performance  usually  ends  here.] 

Act  IV.— Scene.  A  cemetery  and 
church.  Within  the  church  are  Hugue- 
not women  and  children  preparing  to 
die  for  the  faith.  Raoul  meets  Marcel, 
who  falls  wounded.  Little  remains  to 
them  but  to  die  bravely.  De  Nevers 
has  been  killed  for  interceding.  Valen- 
tine appears,  dishevelled  and  breathless. 
She  begs  Raoul  not  to  die  but  to  live 
for  her.  Her  husband  is  dead.  Mar- 
cel will  Join  them  in  marriage.  The 
religious  hymns  from  the  church  are 
interrupted  by  sounds  of  musketry  and 
the  fury  of  the  assassins.  After  a  silence 
the  three  begin  to  sing  Protestant 
hymns.  The  Catholics  appear,  St. 
Bris  leading  a  company  of  soldiers. 
Though  Valentine  tries  to  restrain  him, 
Raoul  declares  that  he  is  a  Huguenot. 
Valentine  and  Marcel  cry,  "  And  we 
also."  St.  Bris  gives  the  command  to 
fire,  not  seeing  his  daughter.     She  dies 


declaring  that  she  will  intercede  for  her 
father  in  heaven. 

[In  some  versions  there  is  a  scene  in 
which  Raoul  makes  wild  but  vain  ap- 
peals to  Marguerite  to  put  a  stop  to  the 
massacre.] 

Le  Prophete  (lu.pro-fet),  F.,  II  Prof  eta 
(el  pro-fa'-ta),  /.,    Der   Prophet  (der 
pro-fat),  G.     The  Prophet. 
Five-act  opera.     Book  by  Scribe. 
Produced,  Paris,  April  i6th,  iS49,with 

Mme.    Viardot-Garcia    as   Fides,    and 

Roger  as  the  Prophet. 

CHARACTERS. 

Jean  de  Levden  (zhon  dii  led-an), 

An  innkeeper.  The  Prophet . .  .tenor. 
CoMTE  d'Oberthal  (koht  d'6-ber- 

tal). 
Gio'na,  Ma'thisen,  Zacca'na, 

Three  Anabaptist  Leaders  of 
the  Revolt. 
Fid\s  (fe-des), 

Mother  of  Jean alto. 

Berta, 

His  betrothed. sopr. 

Note. — The  hero  of  the  opera  is  John 
of  Leyden,  an  historical  personage,  who 
led  a  religious  revolt  that  succeeded  for 
a  time  in  Holland,  1534. 

Act  I. — Scene.  Dordrecht.  Peas- 
ants and  millers  are  at  breakfast.  Berta 
and  Fides  meet.  Berta,  a  poor  orphan, 
is  to  be  wed  to  Jean  ;  the  bridegroom 
even  row  waits  her.  Berta  says  she 
cannot  wed  without  the  consent  of  Ober- 
thal,  the  lord  of  the  domain.  They 
start  to  ask  this,  but  meet  with  three 
Anabaptists,  who  enter,  and  by  talk  of 
liberty  arouse  the  peasants  to  attack  the 
Castle.  Oberthal  appears  at  the  gates 
and  scornfully  reviles  Giona  as  his  late 
thievish  cellar-keeper.  This  cools  the 
mob's  fury.  Berta  and  Fides  interrupt 
to  ask  Oberthal's  consent  to  the  girl's 
marriage,    but    he,    smitten    with    her 


334 


THE    MUSICAL    GUIDE 


beauty,  refuses  it,  and  has  her  and 
Fides  dragged  into  the  Castle.  In  the 
distance  the  hymn  of  the  Anabaptists  is 
heard. 

Act  ll.^^Scene.  Jean's  inn  at  Ley- 
den.  A  soldier  and  peasants  drinking. 
Jean  serves  them,  but  dreams  of  Berta's 
return.  The  three  Anabaptists  enter. 
They  are  struck  by  Jean's  likeness  to 
the  image  of  the  patron  saint  of  the  city 
of  Mi'inster.  They  learn  from  a  peasant 
that  he  is  also  brave  and  versed  in  the 
Scriptures.  Left  alone  with  Jean,  they 
question  him.  He  tells  them  of  dreams 
that  have  disturbed  him  by  showing 
the  people  kneeling  and  hailing  him 
king,  while  he  reads  in  blazing  letters  a 
warning  against  drawing  the  sword  ; 
then  a  sea  of  blood  envelops  him  and  as 
he  tries  to  climb  to  the  throne  it  is 
swept  away  ;  demon-voices  roar  round 
him,  but  give  way  to  a  soft  voice  whis- 
pering "  Mercy."  They  hail  him  as 
their  leader,  but  he  prefers  Berta  and 
lowly  peace,  and  they  leave  him.  A 
sound  of  horses  is  heard  and  Berta 
rushes  in  in  terror,  hiding,  just  before 
Oberthal  and  soldiers  hasten  after  her. 
Oberthal  demands  the  delivery  of  Berta, 
and  vows  otherwise  to  take  the  life  of 
Fides,  who  is  dragged  in  and  threatened 
with  a  soldier's  axe.  Jean  turns  toward 
Berta,  who  comes  from  concealment, 
but  cannot  see  his  mother  killed,  and  in 
despair  surrenders  Berta  to  Oberthal, 
who  drags  her  away  swooning.  Fides 
pours  out  her  gratitude  (in  a  famous  air 
"Ah,  mon  fils"  or  "O  figlio  mio ") 
and  leaves  him  to  his  misery.  The  Ana- 
baptists enter  and  offer  him  the  crown 
and  sword.  He  accepts  with  fire,  but 
when  they  tell  him  he  must  give  up  all 
his  family  ties  and  depart  without  seeing 
his  mother  again,  he  wavers  ;  at  length, 
however   he  follows  them. 

Act  III. — Scene  i.  The  Anabaptist 
Camp,  near  a  frozen  lake  in  Westphalia. 
A  battle  is  heard  in  the  distance,  and 
Anabaptist  soldiers  drag  in  a  monk  and 
other  prisoners  whom  they  and  their 
women  taunt.  A  band  of  skaters  ar- 
rive  with  food,  for  which  the   soldiers 


barter  spoils.  Zaccana  sends  the  vis- 
itors away  and  sends  the  soldiers  to 
sleep.  Scene  2.  Zaccana's  tent.  He 
and  Mathisen  meet.  They  decide  to 
assault  Mlinster  at  once  before  Ober- 
thal's  father  can  bring  up  reinforce- 
ments. Oberthal  is  brought  in  as  a 
prisoner.  He  is  not  recognised  in  the 
dark  and  offers  to  join  them,  swearing 
to  help  destroy  the  abbeys  and  the  no- 
bility. They  declare  that  he  must  help 
destroy  his  father,  and  he  consents. 
Giona  strikes  a  light  gaily  and  they  all 
recognise  Oberthal.  They  order  him  at 
once  to  the  gallows,  as  Jean  enters.  He 
is  determined  to  see  his  mother,  and 
Zaccana  says  she  will  be  killed  if  he  at- 
tempts it.  Oberthal  is  led  past,  but 
Jean  demands  his  safety  and,  left  alone 
with  him,  learns  that  Berta  had  leaped 
into  the  river  to  save  her  honour,  and 
had  escaped  to  Munster.  A  mutiny  is 
threatened  now  by  the  soldiers  chafing 
at  Jean's  inaction,  till  he,  after  prayers 
and  e.xhortation  and  the  seeing  of  a 
heavenly  vision,  sets  forth  with  them  to 
the  assault. 

Act  IV. — Scene  i.  A  square  in  Mlin- 
ster. The  citizens  are  paying  tribute 
of  gold  to  the  victorious  Anabaptists 
and  secretly  cursing  the  impostor  Proph- 
et, who  is  to  be  proclaimed  Emperor  of 
Germany.  Fides  enters,  disguised  as 
a  beggar.  The  citizens  give  her  alms 
and  depart ;  Berta  enters  as  a  Pilgrim. 
Recognising  Fides  by  her  voice,  she 
tells  of  her  flight  from  Oberthal,  her 
rescue  by  a  shepherd,  her  return  to  the 
inn,  where  she  learned  Jean  and  Fides 
had  gone  to  Munster.  Fides  says  that 
Jean  is  dead  ;  she  had  found  blood 
stained  clothes  of  his  and  she  believed 
the  mysterious  Prophet  had  killed  him 
Berta  vows  to  kill  the  Prophet  in  re- 
venge. Scene  2.  Interior  of  the  Ca- 
thedral. The  coronation  procession  of 
Jean  passes  across.  Fides  kneeling, 
has  not  seen  him  and  prays  for  his  de- 
struction, unwitting  who  he  is.  Jean 
re  enters  as  all  kneel,  and  takes  the  crown. 
Fides  and  he  recognise  each  other 
Mathisen  tells  him  that  if  he  acknowl- 


SrORIES    OF     I  HE    OPERAS     335 


edges  her,  she  dies,  and  he  disavows 
her.  When  she  proclaims  herself  his 
mother,  he  says  she  is  insane.  She  is 
about  to  be  killed,  but  he  intervenes, 
saying  she  has  lost  her  reason.  He  then 
declares  that  if  she  still  calls  him  her 
son,  his  followers  must  kill  him.  Faced 
by  this  crisis,  Fides  denies  him,  and  he 
is  hailed  as  a  miracle-worker  for  restor- 
ing the  reason  of  Fides,  who  is  made 
prisoner. 

Act  V. — .Scene  i.  Prison  in  Miinster 
Palace.  The  three  Anabaptists  meet ;  and 
learning  that  the  true  Emperor  is  march- 
ing on  the  town  to  recapture  it,  discuss 
a  paper  sent  offering  them  clemency  if 
they  surrender  Jean.  Soldiers  lead  in 
Fides,  who,  left  alone,  broods  bitterly 
over  her  son's  faithlessness  to  her.  Jean 
enters,  and  she  makes  him  kneel  to  im- 
plore her  pardon.  She  demands  that  he 
renounce  his  power  and  repent.  He 
consents.  An  offici-r  enters  to  announce 
that  the  city  is  betrayed  to  the  Emperor, 
and  that  a  frantic  woman  was  found 
trying  to  set  fire  to  the  palace.  Berta 
is  dragged  in.  I  earning  Jean's  identity, 
she  is  revolted  by  his  bloody  ambition, 
and  cursing  him,  stabs  herself.  Jean 
sends  his  mother  away  to  safety,  and 
determines  to  revenge  himself  on  the 
traitors.  The  scene  changes  to  2.  The 
Banquet  Hall.  Jean  after  sending  two 
officers  secretly  to  close  the  gates  as  soon 
as  the  Emperor's  forces  enter,  joins 
wildly  in  the  revel.  The  three  Ana- 
baptists now  rush  in,  leading  the  hostile 
troops.  They  claim  Jean  as  their  pris- 
oner. He  cries  that  they  are  his.  A 
great  explosion  rends  the  wall  and  all 
perish  in  the  flames.  Fides  rushes  in  to 
forgive  her  son,  and  dies  with  him. 

Robert  le  Diable  (ro-bar  lu  dl-Xbl), 
F.,  Roberto  il  Dia'volo,  /.,  Robert 
der  Teufel  (toi-fel),  C,  Robert  the 
Devil. 

Five-act  opera.  Book  by  Scribe  and 
Delavigne. 

Produced,  Paris,  Academie,  Novem- 
ber 21.  1831. 


CHARACTERS    AND   THEIR    CREATORS. 
Robert, 

Duke  of  Normandy,  Nourrit,  tenor. 
Bertram  (bSr-traii), 

his  friend Levasseur,  bass. 

Raimbaut  (riii-bo), 

A  Norman  peasant.  .  .Lafont,  tenor. 
Albert, 

A  knight bar. 

ISABELLE, 

Princess  of  Sicily, 

Mme.  Cinti-Damoreau,  sopr. 
Alice, 

A  Norman  peasant.  Mile.  Dorus,  sopr. 
The  Abbess Signora   Taglioni. 

[Next  to  Die  Zauberflote,  probably 
the  worst  libretto  in  existence.] 

Act  I. — Scene.  A  tented  space  near 
the  port  of  Palermo.  The  Sicilian 
knights  are  drinking.  Robert  intro- 
duces himself  and  joins  the  chorus.  A 
Norman  minstrel  (Raimbaut)  appears 
and  being  asked  to  sing,  tells  the  his- 
tory of  Robert  the  young  duke  ("  Reg- 
nava  un  tempo  ").  According  to  this 
the  Princess  Bertha  was  won  and  wed- 
ded by  a  fiend  in  human  disguise  ; 
their  son  was  Robert  called  "the 
fiend."  Robert  in  rage,  declares  him- 
self the  subject  of  the  song,  and  orders 
his  servants  to  hang  the  minstrel  ;  he 
spares  the  man's  life,  however,  when  he 
learns  that  Raimbaut's  betrothed  has  a 
message  for  him.  Alice  is  shown  in, 
Robert's  heart  softens  toward  her  and 
he  orders  the  boisterous  knights  away. 
Alice,  his  foster-sister,  tells  him  his 
mother  is  dead,  and  dying  had  told  her 
to  go  to  her  son  ("  Vanne,  disse,  al  fig- 
lio  mio ")  and  beg  him  to  reform  his 
ways,  and,  on  the  day  he  felt  worthy,  to 
read  the  scroll  which  Alice  shows : 
Robert  feels  unworthy  to  read.  He 
tells  Alice  he  has  fallen  in  love  with  the 
Princess  Isabelle,  and  in  attempting  to 
carry  her  ofT,  was  set  upon  by  the 
knights  of  the  court,  and  only  saved  by 
Bertram.      Alice  advises  him  to  write  to 


33^ 


THE    MUSICAL    GUIDE 


the  Princess,  whom  he  has  not  since 
seen.  He  dictates  a  letter  and  gives  it 
to  Alice  to  deliver,  promising  to  consent 
to  her  marriage  with  Raimbaut.  As 
she  goes,  she  meets  Bertram,  who  terri- 
fies her  by  his  resemblance  to  a  picture 
of  Satan  she  had  seen.  Robert  con- 
fesses to  Bertram  he  thinks  his  influ- 
ence evil,  but  is  persuaded  to  join  the 
gambling  knights,  singing  a  Sicilian 
luck -song  ("  Sorte  arnica").  He 
loses  everything  he  possesses  in  the 
game  and  receives  only  jeers  from  the 
others. 

Act  II. — Scene.  Alone  the  Princess 
muses  on  her  ill-fated  love  ("  Dell' 
umana  grandezza  ").  Alice  and  others 
enter  with  petitions,  and  Alice  gives  the 
Princess  Robert's  letter,  which  she  re- 
ceives with  delight  ("Ah,  vieni "). 
She  leaves  just  as  Robert  and  Bertram 
enter.  Robert  has  challenged  the 
Prince  to  a  bout  at  arms.  A  herald  an- 
nounces that  the  Prince  desires  the 
combat  to  be  mortal  ;  he  leads  Robert 
away  to  the  forest.  Isabelle  and  the 
King,  Bertram,  Alice,  Raimbaut,  and 
others  assemble.  After  dances  and 
song,  the  herald  announces  to  Isabelle 
that  the  Prince  wishes  her  to  arm  him. 
She  gives  his  squires  the  arms,  but  se- 
cretly wishes  Robert  success.  Bertram 
aside  gloats  over  the  fact  that  Robert 
is  lost  in  the  woods  and  will  not  come. 
The  others  wait  anxiously  for  him,  but 
he  does  not  appear,  and  the  procession 
moves  away. 

Act  III. — Scene  i.  A  gloomy  place 
with  a  ruined  temple,  a  cavern  and  a 
cross.  Raimbaut  has  come  to  meet 
Alice  here,  but  Bertram  appears  and 
giving  him  gold  advises  him  not  to  be 
hasty  about  marrying  Alice.  The  min- 
strel goes  away  in  doubt.  Bertram 
alone  gloats  demon-like  over  the  ap- 
proaching doom  of  Robert,  who  is  ac- 
tually his  son.  The  chorus  of  fiends  is 
heard  ("  Demoni  fatali,"  the  "  Valse 
Infernale")  and  Bertram  enters  their 
fiery  cave.  Alice  comes  down  the 
mountain  dreaming  of  Normandy 
("  Nel  lasciar  la  Normandia  ").     She  is 


terrified  by  the  sounds  from  the  cavern, 
but  hearing  Robert's  name  called  she 
stops,  embraces  the  cross  and  swoons. 
Bertram  enters  in  confusion ;  the  de- 
mons have  warned  him  that  if  he  does 
not  win  Robert's  soul  before  midnight, 
he  loses  him  forever.  Seeing  Alice, 
he  threatens  her  and  her  betrothed  and 
all  her  friends  with  death  if  she  dis- 
closes what  she  has  heard.  Robert 
comes  gloomily  and  Bertram  orders  her 
away.  She  goes  reluctantly,  and  Ber- 
tram tells  Robert  she  is  agitated  with 
jealousy  of  Raimbaut  ;  he  tells  Robert 
that  the  Prince  has  used  sorcery  and  must 
be  met  with  it.  Scene  2.  Mysterious 
vaults.  Bertram  entering  calls  statues 
of  nuns  to  life  and  bids  them  entice 
Robert  when  he  comes,  and  make  him 
pluck  the  branch  of  magic  power.  When 
he  withdraws,  the  nuns  dance  a  wild 
Bacchanale  and  surround  Robert,  who 
enters,  but  in  terror  seeks  to  fly.  After 
the  ballets  of  "Intoxication,"  and 
"  Gaming,"  and  "  Love,"  he  seizes  the 
branch. 

Act  IV. — Scene.  Isabelle  is  in  her 
apartments  surrounded  by  bridesmaids ; 
she  is  to  marry  the  Prince.  As  he  en- 
ters, Robert  appears  and  with  his  mag- 
ic branch  puts  all  to  sleep,  then  awak- 
ens.Isabelle.  She  rebukes  him  for  not 
being  present  at  the  combat,  and  pleads 
with  him  to  throw  off  the  infernal  influ- 
ence ("  Roberto,  o  tu  che  adoro,"  or 
"Robert,  toi  que  j'aime ").  He  con- 
sents, breaks  the  branch,  and  kneels  at 
her  feet.  The  court  awakens  from  its 
sleep  and  Robert  is  seized  and  dragged 
away.  Alice  prays  for  him  and  the 
Princess  swoons. 

Act  V. — Scene.  Cloisters.  A  chorus 
of  monks.  Robert  enters,  dragging 
in  the  reluctant  Bertram.  Bertram 
promises  him  success  after  all  if  he  will 
sign  a  scroll.  As  he  is  about  to  do  so, 
he  hears  a  hymn  sung  in  the  chapel, 
and  his  childhood  faith  wakes  in  him. 
Bertram  tries  to  win  him  away  to  de- 
spair, and  at  last  declares  himself  Rob- 
ert's father.  Alice  enters  and  struggles 
for  Robert  with  the  fiend-father  ;  as  he 


STORIES    OF    THE    OPERAS     337 


finally  produces  a  parchment  and  a  sti- 
letto, Alice  presents  the  mother's  will ; 
in  it  Robert  reads  a  warning  not  to  trust 
the  counsels  of  the  tiend.  As  he  still  hesi- 
tates, the  clock  strikes  twelve.  Bertram 
i  vanishes  in  despair  and  a  chorus  of  an- 
gels and  men  sing  a  hymn  of  joy. 

MOZART,  WOLFGANG  AMADEUS. 

II  Dissolu'to  Puni'to ;  ossia  il  Don 
Giovanni   (don  j5-van'-ne),  /.,  Don 
Juan  (don  hwan  in  Sp.,   in  F.  doh- 
zhwaii,  in  E.  dan  joo'-iin). 
Two-act  opera  buffa.     Book  by  To- 

renzo  da  Ponte  (from  Tirso  de  Molina's 

story,     "El    combidado    de    piedra "). 

Composed  in  great  haste  and  produced, 

Prague,  October  29,  1787. 

CHARACTERS    AND    THEIR    CREATORS. 


.Baghoni,  tenor. 
Luigi  Bassi,  bar. 


Don  Otta'vio.  .  . 

Don  Giovanni,  .  , 
Leporel'lo, 

//is  servant.  .  .Felice  Ponziani,  bass. 
Don  Pedro  (pa'-dro),  ^ 

//  Commendatory  {in  Ger-  J 

man,  Der  Komthur),  the  >  Loli,  bass. 

Commandant  of  Seville. 
VIaset'to,  a  peasant.  J 

Donna  Anna, 

Daughter  of  Don  Pedro, 

Signora  Teresa  Saporitti,  sopr. 
Donna  Elvira  (el-ve'-ra)  . ,  Micelli,  sopr. 
iERLiNA  (tser-le'-na) Bondini,  sopr. 

Act  I. — Scene  i.  Seville  Square  be- 
ore  the  Commendatore's  palace  at 
light.  Leporello  complains  of  working 
or  his  master  night  and  day  ("  Notto  e 
jiorno  faticar").  Don  Giovanni  now 
mters  ;  he  has  attempted  outrage  upon 
Donna  Anna,  and  being  frustrated  is 
aking  flight ;  she  clings  to  him  to  dis- 
cover who  he  is  and  calls  for  help.  Her 
ather,  the  Commendatore,  hurrying  to 
ler  rescue,  is  killed  by  Don  Giovanni, 
vho  slinks  away  undiscovered,  followed 
oyhis  disgusted  and  terrified  servant. 


Ottavio,  Anna's  fiance,  enters  with  ser- 
vants and  torches.  He  and  Donna 
Anna  swear  revenge  against  the  murder- 
er ("  Fuggi  crudele  "  ;  Schwur-Duett). 
Scene  2.  A  street.  Don  Giovanni  en- 
ters hastily.  Leporello  protests  against 
his  master's  mode  of  life,  but  is  threat- 
ened and  cajoled,  and  told  of  a  new 
amour.  Donna  Elvira  is  seen  coming 
and  the  men  withdraw  to  one  side, 
while  she  bewails  her  lost  honour  and 
Don  Giovanni's  perfidy  ("Ah  chi  mi 
dice  ").  Not  recognising  her,  the  Don 
comes  forward  flirtatiously,  only  to  be 
bitterly  rebuked.  The  Don  referring 
her  to  Leporello,  steals  away.  Leporello 
tells  her  that  she  is  only  one  of  a  long 
list  of  victims  to  the  Don's  gallantry  ; 
he  unrolls  a  catalogue  of  them  ("  Ma- 
damina,  il  Catalogo  "  ;  Register-Arie), 
a  thousand  or  more  of  all  countries, 
ages  and  conditions.  When  he  has 
gone,  she  breaks  out  into  a  prayer  for 
revenge  ("  Mi  tradi  quell'  alma  ingra- 
ta").  Scene  3.  The  country  near  the 
Don's  palace.  Zerlina  and  Masetto, 
about  to  be  married,  make  merry  with 
the  other  peasants  ("  Giovenette,  che 
fate  ").  The  Don  and  his  servant  ap- 
pear, and  the  Don  questions  Zerlina 
and  orders  the  others  to  his  palace  for 
refreshment.  Masetto,  in  spite  of  his 
jealous  dread,  is  dragged  away  by  Le-: 
porello.  The  Don  promises  the  terri- 
fied girl  that  he  will  marry  her,  and 
after  some  fluttering  she  accepts  the  de- 
coy (in  a  duet,  "  La  ci  darem  ").  They 
are  confronted  by  Donna  Elvira,  who 
leads  the  girl  away  from  danger.  Ot- 
tavio and  Anna  in  deep  mourning  enter. 
The  Don  now  attempts  to  play  the  gal- 
lant to  Anna,  and  pretends  he  does  not 
know  the  cause  of  her  mourning.  El- 
vira returns  and  denounces  him  ("  Non 
ti  fider,  O  misera  "),  whereupon  he  de- 
clares that  she  is  insane.  Ottavio  and 
Anna  are  deceived  for  the  moment,  but 
when,  after  inviting  them  to  his  palace, 
he  follows  Elvira  away,  Anna  tells  Ot- 
tavio that  she  believes  Don  Giovanni  to 
be  the  mysterious  man  who  had  entered 
her  room  at  night,  and  in  his  flight  had 


338 


THE    MUSiCAL    GUIDE 


killed  her  father.  She  describes  the 
scene  in  detail  and  declaring  to  Otta- 
vio  "  Now  you  know  the  villain  "  ("  Or 
sai  che  I'indegno "),  she  bids  him  re- 
venge her.  When  they  have  gone, 
Leporello  enters,  deciding  to  quit  his  dis- 
tasteful service,  and  when  Don  Giovan- 
ni enters,  he  tells  him  how  he  has  filled 
Masetto  and  the  others  with  food  and 
drink  only  to  have  Zerlina  return  with 
Elvira,  who  had  told  the  company  of  the 
Don's  misdeeds.  Leporello  tells  how 
he  finally  got  her  out  of  the  house,  and 
the  Don  decides  that  a  carousal  with 
the  peasants  will  please  him  ("  Finche 
dalvino").  Scene  4.  A  garden.  Zer- 
lina is  tr}'ing  to  console  the  indignant 
Masetto,  finally  crying,  "  Beat  me, 
beat  me  "  ("  Batti,  batti  ").  Just  as  he 
is  won  over,  the  Don's  voice  is  heard  ; 
Masetto  and  she  hide  and  the  Don  en- 
ters with  the  peasants  ;  they  pass  on 
and  the  Don  discovers  Zerlina  ;  as  he 
pleads  with  her,  he  also  descries  Ma- 
setto and  with  presence  of  mind  invites 
him  to  join  them  at  the  feast.  When 
they  have  gone  Ottavio  enters  with 
Anna  and  Elvira,  all  three  in  dominoes 
and  masks.  In  the  "  Mask-Trio"  they 
disclose  their  plan  to  learn  the  true 
character  of  the  Don  who  with  Lepo- 
rello appears  and  invites  them  in. 
Scene  5.  A  great  ball-room.  The  peas- 
ants are  revelling  in  the  hospitality 
of  the  Don,  and  the  attentiveness  of  his 
servant.  Both  master  and  man  flirt 
outrageously,  and  Masetto  is  in  tor- 
ment, as  the  Don  drags  Zerlina  away. 
Her  voice  is  heard  crying  for  help,  and 
the  three  masked  people  entering  realise 
the  Don's  blackness  of  heart.  Zerlina 
escapes  and  throws  herself  on  their  pro- 
tection. The  Don  tries  to  throw  the 
blame  on  Leporello,  but  the  three  re- 
move their  masks  and  denounce  his 
crimes.  Thunder  is  heard  foreboding 
his  doom,  but  the  Don  laughs  at 
fate. 

Act  n. — Scene  i.  A  street  at  even- 
ing. Leporello  is  trying  to  get  away 
from  his  master,  who  finally  bribes  him 
with  money  to  carr)-  out  his  plot.     He 


exchanges  cloaks  and  hats  with  the  re- 
luctant servant,  and  when  the  love-lorn 
Elvira  appears  at  a  window,  the  Don 
from  concealment  implores  her  to  for- 
give him  and  come  down.  .She  is  over- 
whelmed with  joy  at  his  return  and  de- 
scends. Lepoiello  imitates  his  master's 
voice,  and  n.akes  such  love  to  her  that 
when  the  I  on  n  akes  a  noise  as  if  kill- 
ing someone,  she  flees  hastily  with  Le- 
porello. 1  he  coast  is  now  clear  for  the 
Don's  plot  against  Zerlina,  and  he 
sings  a  serenade  to  bring  her  to  the 
window  (■' L'eh  vieni  alia  finestra "). 
But  .Masetto  enters  with  his  friends 
armed  with  cudgels  and  guns.  Think- 
ing the  Don  to  be  the  servant,  he  tells 
his  plan  to  kill  the  libertine  ;  the  Don 
sends  the  villagers  on  a  wild-goose 
chase,  beats  the  stupid  Masetto  and  gets 
safely  away.  Zerlina  entering  tries  to 
appease  her  distracted  and  aching  lover 
by  her  tenderness  ("  Vedrai  carino"). 
Scene  2.  Portico  of  Donna  Anna's 
palace.  Leporello  and  Elvira  enter,  he 
wondering  how  to  get  rid  of  the  tena- 
cious  servants  and  torches.  Ottavio  is 
trying  to  comfort  Anna.  Leporello  in 
eluding  Elvira  comes  upon  Masetto  and 
Zerlina,  but  after  pleading  for  pardon 
escapes  by  running.  Ottavio  declares 
himself  convinced  of  the  Don's  guilt, 
and  promises  to  console  Anna  "his 
treasure"  ("II  mio  tesoro ")  with 
speedy  revenge.  Scene  3.  A  square 
with  a  statue  of  the  Commendatore. 
The  Don  and  Leporello  groping  along, 
meet  in  the  dark.  The  Don  laughing- 
ly tells  of  an  amorous  encounter  he  had 
with  some  strange  woman  who  thought 
him  to  be  Leporello.  The  statue  speaks 
warningly.  Leporello  is  terrified,  but 
the  Don  only  mystified  ;  he  has  Lepo- 
rello read  the  inscription  "On  the  im- 
pious wretch  who  caused  my  death, 
here  I  wait  revenge."  He  laughs  and 
says  :  "  Tell  the  old  buffoon,  that  I  ex- 
pect him  to  dinner  to-morrow  even- 
ing "  ;  he  is  greatly  amused  at  Lepo- 
rello's  terror,  and  asks  the  statue  itself,  jj 
"Will  you  come  to  dinner?"  The  jj 
statue   answers   "Yes,"  and  the  Don,  <J 


STORIES    OF    THE    OPERAS 


339 


amazed,  drags  the  trembling  Leporello 
home.     Scene  4.     A  garden.     Ottavio 
is  trying  to  pacify  Donna  Anna  with 
:  hopes  of  speedy  revenge,  but  when  he 
talks  of  love  she  bids  him  wait  ("  Non 
mi  dir").      Scenes.     Banquet-hall    in 
Don     Giovanni's     palace.       Musicians 
play  while  the  Don  eats,  served  by  Le- 
porello,   who    steals    many    mouthfuls 
meanwhile.       (In     this    scene    Mozart 
alludes  to  and  parodies  an  aria  from  his 
; rival  Martin's  opera,  "  La  Cosa  Kara," 
and  later  parodies  his  own    "  Non  piu 
andrai  "  from  "  Le  Nozze  di  Figaro.") 
Elvira  enters  to  plead   with  him  to  re- 
ipent.  the  last  proof  of  her  love   ("  L'ul- 
;tima  prova  "),  but   he  ridicules  her  and 
jshe  leaves  him.     As  she  goes,  she  gives 
la  scream   of   terror.     The    Don    sends 
JLeporello  to  learn  the  cause.      He  cries 
{out  and  fastens  the  door.     The  musi- 
;cians  take  flight,  and  Leporello  explains 
as  he  shivers,  that  the  statue  has  come. 
Its  knock  is  now  heard,  and   the   Don 
ijoes  to  the  door  while  Leporello  crawls 
ander  the  table.     The   Don  ushers  in 
:he  statue  and  orders  Leporello  to  bring 
pirn  food,  but  the  statue  says  he  does 
lot  feed  on  mortal  food  ;  he  has  come 
:o  invite  the  Don  to  sup  with  him.     In 
ipite  of   Leporello's  pleading,  the  Don 
auntily  accepts.     The  statue  takes  his 
Hand,  and  in  this  chill  clutch  the  Don 
jearns  fear  for  the  first  time.     He  re- 
luses  the  statue's  pleading  that  he  re- 
j)ent,    however,    and    is    enveloped    in 
jlames  and   haled  by  demons  down  to 
Iternal  punishment. 


-e  Nozze  di  Figaro  (la  nod'-ze  de 
fe'-ga-ro),  /.,  Die  Hochzeit  des  Figaro 
(de-hokh'-tsTt  d^s  fe'-kha-r5),  C,  Le 
Mariage  (or  Les  Noces)  de  Figaro 
(lu  mar-I-azh  (or  la  nos)  du  F.),  F. 
The  Marriage  of  Figaro. 

Four-act  opera  buffa.^    Book  by  Lo- 
;nzo  da   Ponte  (after  the   comedy  by 

^eaumarchais). 

j  Composed,    December,    1785 — April, 
786.     Produced,  Vienna,  May  i,  1786. 


CHARACTERS    AND    THEIR    CREATORS. 

CoNTE  Almaviva  (kon'-ta  al'-ma-ve-va), 
Mandini,  bar. 
Figaro, 

I/is  valet Benucci,  bass. 

Dr.  Barto  lo Occheley,  bass. 

Basilio  (ba-se'-lI-6), 

A  siiiging-niaster .  .  .  .Bussani,  tenor. 
Antonio, 

Gardener bar. 

Don  Curzio  (don  koor'-tst-6), 

A  magistrate tenor. 

Cherubino  (ka-roo-be'-no), 
The  Count's  page, 

Signora  Mandini,  sopr. 
La  Contes'sa, 

The  Countess  (in  German  Die 
Grafin)  (de  gra'-fin), 

Signora  Storace,  sopr. 
Susan'na, 

Her  fnaid Signora  Laschi,  sopr. 

Marcellina  (mar-chel-le'-na), 
Dr.  Bar  told' s  housekeeper, 

Signora  Bussani,  m.-sopr. 
Barbarina  (bar-bji-re'-na), 
Antonio's  da  ugh  te  r , 

Frau  Gottlieb,  sopr. 


[The  story  is  really  a  sequel  to  that  in 
Rossini's  "  Barber  of  Seville."] 

Act  I. — Scene.  A  half-furnished  room 
in  the  Count's  castle  near  Seville.  Fi- 
garo and  Susanna  talk  of  their  coming 
marriage.  He  thinks  the  room  very 
convenient  ;  "  ding-ding  !  "  he  can  soon 
answer  his  master's  bell  ;  ' '  dong-dong  !  " 
she  can  soon  answer  that  of  her  mis- 
tress. Susanna  suggests  that  the  bell 
may  send  him  three  miles  away  while 
the  Count  comes  in  his  place.  She  tells 
the  jealous  Figaro  of  the  Count's  atten- 
tion to  herself.  She  is  called  away  and 
he  fumes  and  threatens  to  lead  the 
Count  a  dance  he  will  not  like.  When 
he  has  gone,  Bartolo  and  Marcellina 
enter,  she  with  a  document,  Figaro's 
former  agreement  to  marry  her.  She 
is  planning  to  break  up  the  match  be- 
tween Susanna  and  Figaro,  so  that  she 


340 


THE    MUSICAL    GUIDE 


can  marry  him  herself ;  Bartolo,  in  love 
with  Susanna,  seeks  revenge  ("  La  Ven- 
detta ")  on  his  successful  rival.  He 
goes  and  Susanna  enters.  The  two 
women  cast  aspersions  on  each  other 
ironically,  and  Marcellina  leaves.  Che- 
rubino  the  page  enters,  and  says  the 
Count  has  threatened  to  discharge  him 
for  flirting  with  Barbarina  ;  he  is  really 
in  love  with  the  Countess,  and  the  Count 
is  jealous  of  him.  He  says  that  he  is  a 
madman  over  love,  and  has  written  a 
poem  (he  sings  "  Non  so  piu  cosa 
son ").  The  Count  is  heard  coming 
and  he  has  just  time  to  hide  behind  a 
great  chair.  Basilio  is  next  heard  and 
Susanna  just  manages  to  conceal  the 
Count  behind  the  chair  and  Cherubino 
in  it.  Basilio  retails  a  deal  of  gossip 
about  the  page  and  the  Countess  till 
the  Count  rises  angrily.  Susanna  pre- 
tends to  swoon,  and  the  two  men  sup- 
port her  with  great  solicitude.  The 
Count  tells  how  he  discovered  the  page 
hiding  under  the  table  at  Barbarina's. 
In  illustration  he  lifts  the  cloth  Susanna 
had  thrown  over  Cherubino,  and  again 
discovers  the  page.  The  Count  is  first 
consternated,  then  angry.  Peasants 
come  in  to  deck  the  bridal-chamber,  and 
the  Count  declares  that  he  will  send 
Cherubino  to  the  war  with  a  commission 
as  Captain.  Figaro  gloats  over  the  ter- 
rified boy,  "  No  more  you'll  flit,  amor- 
ous butterfly,"  etc.  ("  Non  piu  an- 
drai  "). 

Act  II. — Scene.  The  Countess's  cham- 
ber. She  is  alone  and  sings  a  sad 
love-wail  ("  Porgi,  amor").  Susanna 
enters,  then  Figaro,  who  tells  a  plan 
to  torment  the  Count  with  jealousy  by 
sending  him  a  warning  letter.  He  leaves 
and  Cherubino  appears.  He  shows  his 
commission  ;  they  make  him  sing  his 
poem,  "  Vou  who  know  what  love  is" 
("Vol  che  sapete  ").  They  then  dress 
him  in  women's  clothes,  Susanna  bid- 
ding him  kneel  ("  Venite  inginocchia- 
tevi ").  Suddenly  the  Count  is  heard 
outside.  Cherubino  flies  to  the  closet. 
The  Count  is  suspicious  and  shows  his 
letter  ;  he  hears  the  page  in  the  closet. 


but  his  wife  will  not  unlock  the  door. 
He  makes  her  go  with  him  while  he 
hunts  a  crowbar.  While  they  are  gone 
Cherubino  steals  forth  and  jumps  out 
of  the  window  and  Susanna  takes  his. 
place  in  the  closet.  As  the  Count  is 
about  to  break  the  door  in,  the  Count- 
ess  confesses  that  Cherubino  is  there  and 
is  overcome  with  grief.  Susanna  walks 
out  to  the  astonishment  of  all.  The 
Countess  taunts  the  apologetic  Count, 
and  tells  him  Figaro  wrote  the  letter. 
Figaro  enters  and  is  accused  of  the  let- 
ter, but  denies  it.  The  gardener,  half- 
drunk,  enters  complaining  that  some 
man  had  jumped  out  of  the  window  and 
ruined  his  flowers,  then  run  away. 
Figaro  says  it  was  he,  in  terror  of  the 
Count.  The  gardener  says  that  he 
dropped  some  papers,  among  them  Che- 
rubino's  commission.  This  is  recog- 
nised and  the  Count  is  frenzied.  To 
complete  Figaro's  discomfiture,  MarceU 
lina  enters  with  his  document  promising 
to  marry  her.  Bartolo  and  Basilio 
witnesses.     All  ends  in  confusion. 

Act  an. — Scene  i.  A  large  room 
decorated  for  a  wedding.  The  Count, 
alone,  plans  to  compel  Figaro  to  marry 
Marcellina.  Susanna,  overhearing,  pre- 
tends to  have  come  for  the  Countess's 
smelling-salts  ;  she  says  she  has  over- 
heard the  Count's  scheme,  but  consents 
to  meet  him  in  the  garden  at  night.  He 
starts  to  go,  and  she  tells  Figaro,  whc 
enters,  that  he  has  won  his  cause.  Thej 
hurry  out ;  the  Count,  who  has  over- 
heard her,  ponders  suspiciously  ;  ht 
miserably  asks  "  Shall  I  behold,  while 
sorrow,  my  servant  happy?"  ("Vedro: 
mentr'  io  sospiro").  Don  Curzio  en 
ters  with  Figaro,  Marcellina,  and  Bai 
tolo.  He  says  that  Figaro  must  marr 
Marcellina  or  pay  her  a  forfeit.  Figar 
proves  that  he  is  of  good  birth, 
shows  a  mark  on  his  arm  by  which  Ma: ' 
cellina  recognises  him  as  her  own  so 
by  Dr.  Bartolo*  They  are  all  embrai 
ing  when  Susanna  enters  with  the  mone ; 
to  buy  Figaro's  liberty.  Her  indign.]! 
tion  is  soon  assuaged  and  all  leavi 
Scene  2.     The  Countess  enters  alon! 


STORIES    OF    THE    OPERAS     341 


musing  over  the  plan  to  disguise  her- 
self as  Susanna  and  meet  the  Count  in 
the  garden;  she  bewails  the  lost  de- 
votion of  her  husband  who  had  wooed 
her  so  ardently  (see  Rossini's  opera 
"  The  Barber  of  Seville  ").  She  moans 
"Where  now  are  those  blessed  mo- 
ments" ("  Dove  sono  i  bei  momenti"). 
Susanna  enters  and  the  Countess  dic- 
tates to  her  a  letter  (in  a  duet  "  The 
Zephyr"),  telling  the  Count  to  meet  her 
where  the  zephyr  breathes  in  the  pines. 
Cherubino  enters  in  girl's  clothes,  and  a 
chorus  of  country  girls  present  the 
Countess  with  flowers.  Antonio  and 
;the  Count  enter  and  recognise  Cheru- 
bino. Figaro  tries  to  calm  the  Count, 
the  Wedding  March  is  heard  ;  Figaro 
;ings  ("  Ecco  la  Marcia")  and  all  leave 
except  the  Count  and  Countess,  who  re- 
main and  wait  coldly  till  the  double 
yedding-procession  returns  with  Figaro 
ind  Susanna  and  Bartolo  and  Marcel- 
ina.  Susanna  (observed  by  Figaro) 
dips  the  note  to  the  Count,  who  bids  all 
nake  merry. 

Act  IV.— Scene.  The  garden.  Ba- 
iilio  and  Bartolo  ponder  the  Count's  du- 
plicity and  the  folly  of  love.  Basilio 
:ells  how  "  in  those  years  when  inexpe- 
•ienced  "  ("  In  quegli  anni  "),  love  had 
nade  him  mad,  till  finally  age  and  ex- 
perience protected  him  with  the  skin  of 
m  old  ass.  They  withdraw  and  Figaro 
■ntering  grieves  over  Susanna's  treach- 
.■ry  and  woman's  frailty  ("Ah,  che  il 
idarsi  a  donna  ").  He  hides,  but  is  ob- 
served by  Susanna,  who  enters  with  the 
Countess  and  Marcellina.  To  torment 
Figaro  Susanna  sings  "  Come,  love,  do 
lot  delay  "  ("  Deh,  vieni  non  tardar"), 
md  leaves  ;  Cherubino  enters  in  regi- 
nentals  looking  for  Barbarina  ;  he  sees 
he  Countess  in  Susanna's  garb  and 
hinking  her  to  be  actually  Susanna  tries 
0  flirt  with  her.  He  escapes  into  the 
mvilion  on  the  left  as  the  Count  enters, 
ieeing  Figaro,  the  Count  whispers  the 
•upposed  Susanna  to  hide  with  him  in  a 
)avilion  on  the  right.  Susanna  enters 
n  the  Countess's  gown  and  explains  her- 
elf  to    the    delighted    Figaro.      The 


Count  reappears  and  seeing  Figaro 
kneeling  before  the  supposed  Countess 
is  infuriated  and  calls  the  servants. 
Figaro  and  Susanna  escape  into  a  pa- 
vilion on  the  left.  Basilio  and  others 
enter  with  torches.  The  Count  entering 
the  pavilion  on  the  left  unearths  Cheru- 
bino and  Barbarina,  Marcellina  and  Bar- 
tolo, and  Susanna,  who,  pretending  still 
to  be  the  Countess,  hiding  her  face, 
pleads  for  pardon,  which  the  Count  will 
not  grant.  The  Countess  herself  now 
appears  and  the  Count  kneeling  begs 
her  forgiveness.  She  grants  it  and  a 
chorus  of  general  contentment  ("  Ah, 
tutti  contenti ")  cuts  the  Gordian  knot 
of  complications. 

Die  Zauberflote  (de  tsow'-ber-fla-tS), 

II  Flauto  Magico  (el  fla'-oo-to  ma-je'- 

ko).     The  Magic  Flute. 

Two-act  opera.  Book  by  Emanuel 
Schickaneder.     Composed,  1791. 

Produced,  Vienna,  September  30, 
1 79 1,  under  the  management  of  the 
librettist,  who  also  played  the  role  of 
Papageno. 

CHARACTERS    AND    THEIR    CREATORS. 

Sarastro  (sa-ras'-tro), 
High-Priest  of  his. , 

Schickaneder,  sr.,  bass. 
Papageno  (pa-pa-ga'-no), 
A  bird-catcher. 

Schickaneder,  jr.,  bass. 
Tamino  (ta-me-no), 

A  fisher Schack,  tenor. 

MONOSTATOS, 

A  Auiian prince Gorl,  tenor. 

Bamboloda, 

I/is  slave. 
Manes  (ma'-nas), 

And  other  priests  of  /sis. 
KoNiGiN  DER  Nacht  (ka'-nlkh-CH 
der  nakht).  Queen  of  Night 

Frau  Hofer  sopr. 
Pamina  (pa-me'-na), 

//cr  daughter,  a  net-worker, 

Frl.  Gotlieb,  sopr. 


342 


THE    MUSICAL    GUIDE 


PaPAGE  NA, 

Sliivc  of  M^ottostalos. .  .Yr2i.\x  Gorl,  — 
Three  Fairies, 

Disguised  as  'women  and  guides. 

Note. — The  opera  is  sadly  compli- 
cated by  the  vanity  and  gaucheiie  of 
the  librettist  and  his  desire  to  drag  in 
certain  allusions  to  Freemasonry,  in 
which  he  and  Mozart  were  enthusiasts. 

Act  I. — Tableau  i.  A  rocky  path 
past  a  fairy  cavern.  Tamino  in  the 
toils  of  a  serpent  (or  in  some  versions 
Gnomes)  calls  for  help  just  as  he  falls 
asleep  under  the  spell.  The  Fairies  res- 
cue him  and  discuss  how  he,  a  tisher, 
played  his  sweetheart  such  sweet  tunes 
that  the  Queen  of  Night  herself  loved 
him.  As  her  love  is  fatal,  they  plan  to 
save  him  by  getting  him  into  the  Tem- 
ple of  Isis.  They  retire  as  Papageno 
runs  in  ;  he  meets  Papagena  and  tells 
her  who  he  is  ("  Der  Vogelf anger  bin 
ich  ja,"  or  "  Sono  un  gaio  uccellator  ") ; 
she  tells  him  she  is  in  the  power  of  Mon- 
ostatos.  Tamino  wakes  as  from  a 
dream  and  asks  the  way  to  the  Tem- 
ple ;  he  tells  of  his  beloved  Pamina 
and  shows  a  miniature  of  her  ("  Dies 
Bildniss  ist  bezaubernd  schon  " — "  O 
cara  immagine  ").  Papagena  tells  him 
that  Monostatos  has  just  bought  Pamina 
as  a  slave.  They  decide  to  hunt  for 
her,  but  cannot  find  the  path  ;  as  they 
look  for  it,  the  Queen  of  Night  appears 
to  Tamino  and  sings  to  him  a  love-song, 
"  Oh,  fear  not,  dear  youth  "  ("  O  zittre 
nicht,  mein  lieber  Sohn  " — "  (Jiovane 
amato,  non  temer").  She  pledges  him 
to  rescue  her  daughter  Pamina  and  van- 
ishes. The  three  F"airies  offer  to  show 
the  lost  ones  the  path  ;  but  the  price 
must  be  the  power  of  speech  or  that  of 
memory.  Papagena  loses  memory  and 
Papageno  is  rendered  dumb,  but  later  re- 
stored on  swearing  never  to  lie  again,  and 
given  a  magic  bell,  while  Tamino  is  given 
a  flute  of  magic  power.  They  are  then 
shown  the  path,  after  a  quintet  known  as 
the"  Padlock."  Tableau  2.  The  Harem 
of  Monostatos.  Bamboloda  drags  Pap- 
agena in  ;  in  her  absence    Pamina  has 


escaped.  Monostatos  enters  and  the 
recaptured  Pamina  is  brought  in  and 
chained.  Papageno  appears  and  fright- 
ens iMonostatos  away.  They  sing  a 
duet  of  love's  power  ("  Bei  Mannern, 
welche  Liebe  fiillen " — "Del  cor  gli 
arfanni  ")  ;  he  shakes  his  bell,  the  gates 
open  and  they  escape.  Tableau  3. 
An  Avenue.  The  Fairies  tell  that  Pa- 
mina has  fallen  in  .Sarastro's  power ; 
appearing  to  Tamino  disguised  as 
Guides,  they  point  him  a  path  and  leave 
him.  He  is  warned  by  voices  and  by 
Manes,  who  tells  him  that  he  is  moved 
by  desire  for  revenge  on  Sarastro,  and 
refuses  to  tell  him  where  Pamina  is. 
Tamino  plays  on  his  flute  and  sirens 
gather  round  ;  he  wanders  sadly  away, 
searching.  Papageno  enters  with  Pa- 
mina and  answers  Tamino's  distant 
flute  with  his  own  ;  encountering  Monos- 
tatos and  slaves,  he  compels  them  to 
dance  away  to  his  magic  bell.  Saras- 
tro enters  with  retinue,  and  welcomes  the 
two  to  his  Temple.  Monostatos  drags 
in  Tamino,  who  embraces  Pamina.  Sa- 
rastro orders  Monostatos  to  be  flogged 
and  Tamino  and  Papageno  to  be  veiledi 
and  led  in. 

Act  II.— Tableau  4.    The  Hall  of  In-I 
itiations.     Sarastro  and  the  Priests  in-' 
voke    Isis    and    Osiris   ("  O     Isis   undj 
Osiris  !  " — "  Possenti  Numi  ").    Taminc 
and  Papageno  are  brought  in  and  asked 
if  they  will  undergo  the  rites  ;  they  arf 
advised    by  two   priests   to  avoid  falsti 
beauty  and  they  are  left  alone  and  find 
that    their    flute    and    bell    have    beei  ' 
taken.     The  three  Fairies  appear   an( 
warn  them  not  to  undergo  the  rites,  bu 
they    resist    the    blandishments    of    th 
women,  whose  presence  in  the  sanctuar 
causes  the  fall  of  the  altar.     Tableau  5 
A  Tent  in  a  garden.     Monostatos  steal 
in,  guided  by  Bamboloda.      He  is   fur 
ous  at  being  beaten,  but  dreams  of  th 
beloved  Pamina  ("  Allesfuhlt  der  Lieb 
Freuden  " — "  Regna  amor").      Pamin 
is  discovered  in  the  tent  ;  he  tries  to  tak 
her  away,  and  she  escapes  only  to  t 
confronted  by  the  Queen  of  Night,  h( 
mother,  who  hates  her  for  her  devotic 


STORIES    OF    THK    OPERAS     343 


to  the  noble  Sarastro,  who  is  trying  to 
save  the  girl's  soul.  The  Queen  curses 
her  in  tremendous  fury  ("  Der  Hblle 
Rache  kocht  " — "  Gli  angui  d'inferno  "). 
Sarastro  enters  and  declares  tiiat  only 
peace  and  love  rule  in  these  sacred  pre- 
cincts ("  In  diesen  heil'gen  llallen" — 
"Qui  sdegno ").  Irle  leads  the  girl 
away  and  the  Queen  and  Monostatos 
plot  the  death  of  Famina.  When  they 
have  gone,  the  three  Fairies  enter  ; 
they  have  overheard  the  plot  but  decline 
to  aid  it.  Tamino  and  Papageno  en- 
ter ;  the  Fairies  appear  as  the  Guides 
and  restore  the  magic  talismans  in  a 
trio.  Papageno  shakes  his  bell  and 
calls  for  Papagena,  only  to  see  her  flirt- 
ing with  Bamboloda.  He  shakes  the 
bell  again  and  summons  Pamina  ;  she 
enters  and  embraces  Tamino,  but  he  is 
under  pledge  and  does  not  answer  her. 
She  sings  sadly  that  no  joy  is  for  her 
("Ach!  ich  fiihl's  es  ist  verschwun- 
den  " — "  Ah,  lo  so  ").  Sarastro  enters 
and  removing  the  pledge  reunites  the 
lovers  ;  he  bids  Tamino  hasten  across 
the  sacred  forest  to  complete  his  rites. 
There  is  a  trio  of  farewell  and  Tamino 
leaves.  Tableau  6.  The  Sacred  Forest. 
Papageno  alone  sings  a  love-song  ("  Ein 
Mjidchen  oder  VVeibchen  " — "  Colomba 
0  tortorella  ").  Papagena  enters,  she 
does  not  remember  him,  and  he  re- 
proaches her.  She  flees,  and  the  three 
Fairies  tell  him  of  Tamino's  ordeal. 
He  leaves,  and  Pamina  enters  with  a 
dagger  ;  she  would  kill  herself,  but  the 
Fairies  prevent  her.  Tableau  7.  The 
Crypt  of  the  Temple.  Tamino  is  taking 
his  final  vows ;  Pamina  is  brought  in, 
and  the  two  undergo  the  ordeal  of  fire 
and  water,  the  evil  spirits  being  chased 
by  Tamino's  flute.  He  is  hailed  by  the 
Priests  as  a  victor.  Tableau  8.  The 
Portal  of  the  Temple.  Papageno  in  de- 
spair for  Papagena  is  about  to  hang 
himself  ;  the  Fairies  advise  him  to  sum- 
mon her  with  his  bell.  She  appears 
and  they  have  a  joyful  duet  ("  Pa-pa- 
pa-pa-geno  ").  When  they  have  gone, 
the  Queen  of  Night  and  Monostatos 
steal  in  to  murder  Sarastro  before  her 


power  vanishes  with  dawn.  The  gates 
of  the  Temple  open,  revealing  the  vo- 
taries kneeling,  and  the  lovers  united 
before  Isis.  The  Queen  vanishes  in 
helpless  rage  before  the  dawn  and  the 
chorus  of  reverent  joy. 

PADEREWSKI,   IGNACE    JAN. 
Manru. 

Three-act  opera.  Book  by  Dr.  Al- 
fred Nossig.  Produced,  Court  The- 
atre, Dresden,  May  29,  1901. 

CHARACTERS    AND    THEIR    CREATORS. 

Manru, 

A  gipsy Anthes,   tenor. 

Urok  (oo'-rok), 

A  dzvarf Scheidemantel,   bar. 

Jagu  (ya  -goo), 

A  gipiy  fiddler Rains,  bass. 

Orgs, 

A  gipsy  chief Hopfl,  bass. 

Ulana  (oo-lii'-na), 

A  Galician  girl.  . .  .Frl.  Krull,  sopr. 
Hedwig  (hat'-vlkh), 

I/er  mother, 

Frl.  von  Chavanne,  m.  sopr. 
Asa  (ji'-za), 

A  gipsy  girl. .  . .  Frau  Kammer,  sopr. 

The  opera  begins  and  ends  with  a 
single  voice.  It  has  no  overture  at  all, 
and  only  seventeen  measures  of  prelude. 

The  scene  is  the  Tatra  Mountains 
between  Galicia  and  Hungary. 

Act  I. — The  widow  Hedwig  sits  be- 
fore her  hut  and  bemoans  in  a  folk- 
song the  fate  of  the  dove  that  took  no 
heed  of  the  hawk's  approach  till  she 
felt  his  sharp  claws.  The  dove  is  Hed- 
wig's  daughter,  Ulana  ;  the  hawk,  the 
heathen  gipsy  who  carried  her  off.  As 
she  sings  maidens  dance  about,  adorn- 
ing the  village  green  for  the  festival. 
The  dwarf,  Urok,  appears.  The  maid- 
ens call  him  "  dragon's-egg,  an  adder, 
monster,  wood-dwarf,  tadpole,  and 
horn-owl."  Urok  takes  these  as  a  great 
joke.     Then  he  asks  Hedwig    of    her 


344 


THE    MUSICAL    GUIDE 


daughter.  "She  is  dead  to  me,"  says 
Hedwig.  Urok  tells  of  meeting  the 
"  dead  "  Ulana.  The  maidens  greet  her 
name  with  jeers  ;  the  mother,  with  a  vow 
never  to  receive  her  until  she  gives  up 
her  gipsy.  Hedwig  returns  to  her  hut ; 
Urok  rebukes  the  maidens,  and  they 
mock  him  as  a  rejected  lover  of  Ulana. 
Ulana  herself  now  appears  in  great  de- 
jection and  the  villagers  rail  at  her. 
She  says  she  still  loves  her  gipsy,  and 
he  her.  But  they  taunt  her  with  a  pro- 
verb : 

"  Ere  the  full  moon  starts  to  wane 
Every  gipsy  goes  insane, 
Leaves  his  child  and  leaves  his  wife 
And  scoots  for  his  dear  life." 

This  jingle  reappears  all  through  the 
opera.  The  maidens  leave  Ulana  to 
her  grief.  Against  Urok's  advice,  she 
knocks  at  her  mother's  door.  Hedwig 
comes.  After  some  reproach  she  offers 
to  take  Ulana  and  her  child  back  if  she 
will  give  up  Manru.  Urok  and  Hed- 
wig insist  that  Manru  will  leave  her, 
anyway,  when  the  gipsies  come  again. 
But  Ulana  refuses.  Hedwig  shuts  her 
door  on  her.  Urok  prophesies  Manru's 
perfidy  and  proffers  his  own  love.  But 
she  prevails  on  him  to  brew  her  a  philter 
to  bring  back  Manru's  wavering  fancy. 
The  village  men  and  maidens  gather 
and  dance.  They  surround  Ulana. 
Manru  appears  and  demands  that  they 
let  her  go,  but  they  scout  him  as  a 
heathen.  Hedwig  comes  out  of  her 
hut  and  a  hush  falls  on  the  mob.  She 
bitterly  denounces  the  pair  as  lepers, 
and  the  people  fall  back  from  them. 

Act  II. — Scene.  The  curtain  rises  at 
once  on  Manru's  home  in  the  moun- 
tains, where  the  gipsy,  turned  black- 
smith, is  fighting  a  losing  battle  against 
his  Wanderlust.  Ulana  is  singing  a 
lullaby  to  her  baby  in  the  hut.  Manru 
admires,  but  cannot  imitate,  her  stead- 
fastness. In  a  frenzy  he  belabours  the 
anvil  with  his  sledge.  Ulana  hurries 
out  to  calm  his  fury,  but  whispers  un- 
easily : 

"  Ere  the  full  moon  starts  to  wane 
Every  gipsy  goes  insane," 


This  brings  down  on  her  own  head  all| 
his  violence,  and  he  is  about  to  strikej 
her  when  Urok  appears  and  stays  his] 
hand.     Both  Manru  and  Ulana  accuse] 
him  of  being  a  sorcerer,  but  he  claimsl 
only  a  knowledge  of  the  human  heartl 
and  a  few    herbs.     He  admits   that   he| 
can  evoke  a  spell  to  carry  Manru  away. 
Listen  !      In    the   distance   a    Roman; 
fiddler  is  heard.     Manru  breaks   awa' 
and  flies  toward  the  siren  music.     Uld 
na  would  run  after  him,  but  Urok  hold 
her  back,  gives  her  a  potion  for  Manru 
and  keeps  her  in  hiding  while  Manr 
returns  with  an  old  gipsy  fiddler,  Jagii 
Jagu  offers  Manru  the  leadership  of  th 
tribe.     He  refuses.    Jagu  mentions  th 
fair  Asa,  who  longs  for  Manru  butmus 
soon  wed  Oros,  his  old  rival,    Manru 
about  to  go,   sees  Ulana,  and  refuses 
ordering  the  tempter  away.    Left  alone 
Manru  and  Ulana  marvel  at  the  travel 
frenzy  that  spurs  him.     With  a  nobi 
effort  to  return  to  his  duty  he  takes  u; 
his  sledge.     But  Urok  teases  him  with, 
vivid   picture   of   Asa.     Manru     drive 
him  away  and  Ulana   brings  him  a  po 
tion,  which  he  drains.     This  rouses  hir 
to   an   ecstasy   of    love   in   which    she: 
joins. 

Act  III.  has  a  long  prelude.  The 
rise  of  the  curtain  reveals  a  summer 
landscape  of  storm  and  night.  Manru 
is  alone  and  stifling  with  restlessness. 
"  All  is  dark,"  he  cries,  "  but  I  Jed  the 
moon  which  sweeps  past  behind  the 
clouds."  Voices  of  gipsies  are  heard 
in  the  distance  and  he  sinks  down 
asleep.  There  follows  an  orchestral 
nocturne.  Now  and  then  the  full  moor 
breaks  from  the  clouds  and  Mann 
grows  restless  in  his  sleep,  till  it  i; 
veiled  again.  Gipsies  troop  in,  among 
them  Asa.  They  discover  Manru  anc 
sprinkle  his  face  with  water.  When  he 
wakes,  it  is  Asa  that  first  welcomes, 
him.  Oros  protests  angrily  that  Mann 
should  be  an  outcast  as  he  is  a  renegade 
He  quarrels  with  Asa  ;  but  Manru  in 
sists  that  he  cannot  follow  them.  Asj' 
pleads  with  him.  The  people  fall 
to  dancing  and  Asa  joins  them  to  allur* 


STORIES    OF   THE   OPERAS    345 


Manru.  Oros  protests  wrathfully  and 
the  tribe  are  won  to  his  wrath.  Then 
Jagu  enters  and  turns  the  tide  for  Man- 
'  ru,  who  is  hailed  as  a  repentant  liins- 
'  man.  Oros,  in  a  rage,  throws  down 
'  his  staff  of  office  and  goes.  The  revel 
'  begins  anew,  but  Manru  refuses  the 
:  chieftainship.  Then  the  musicians  un- 
'■  der  Jagu  try  their  skill,  and  Manru's 
''  last  scruple  melts  in  an  outburst  of  joy. 
\  Urok  appears  and  gleefully  reviles 
^'  Manru's  treason  to  his  wife  and  child. 
"_  He  is  driven  away  by  the  crowd. 
^'  Manru's  conscience  gnaws  him  again, 
i  ,  but  is  smothered  by  Romany-rapture. 
7  j  He  embraces  Asa,  and  the  tribe  march- 
'     es  away   (the   stage    remaining  empty 

*  ;  during  most  of  a  barbaric  march-tune). 
™     Ulana  follows,  crying  for  her  husband, 

*  I  and  Urok  tells  her  of  his  perfidy.  She 
'5  ;  cries  to  Manru  to  come  back.  She 
J  i  sends  Urok  up  into  the  hills  to  find  him. 
^  '  He  answers  that  he  has  gone  past  re- 

■     call.     With  a  last  shriek  she  leaps  into 

'    the    lake.      Later,    upon    a   cliff,  Asa 

and    Manru    reappear  in   each   other's 

arms.     Oros    rushes   upon  Manru  and 

crying,   "  You   rob   me   of    Asa  ;  you'd 

'     replace  me  as  chief ! "  hurls  him  into 

„,    the  gorge.     Asa  screams.     Urok  laughs 

.'fiendishly.     Oros  roars   "The  place  is 

' '    mine  !  "     [In  a  later  version  it  is  Urok 

who  hurls  Manru  over  the  cliff.] 

PUCCINI,    GIACOMO. 

La  Boheme  (la  b5-em'),  F.,  Die 
Boheme  (de  bo-ha'me),  G.  Bohemia. 
Four-act   opera.     Words   by    C  Gi- 

acosa   (after    Murger's    "  Scenes  de  la 

Vie  de  Boheme  "). 
Produced,     Regio     Theatre,     Turin, 

February  i,  1896. 

CHARACTERS. 

RuDOLPHE  (rii-dolf). 
Poet tenor. 

Marcel  (mar-sel), 

1  Is  j    Painter bar. 

pk  t  IScHAUNARD  (sho-nar), 

;iiti"  '    Musician bar. 


CoLUNE  (kii-len), 

riiilosopher bass. 

Bernard  (ber-nar), 

Landlord bass. 

Parpignol  (par-pen-yiil), 

Toy-seller tenor. 

Alcindor  (al-san-dor) bass. 

Sergeant  at  toll-house bass. 

MiMi  (me-me) sopr. 

Musette  (mii-zet) sopr. 

Place  of  action,  Paris.  Time,  about 
1830. 

Act  I. — Scene.  A  bare  and  cold  gar- 
ret. Marcel  and  Rudolphe  at  their  work. 
Rudolphe  brings  a  MS.  tragedy  of  his  to 
burn  in  the  stove  for  warmth.  Colline 
enters  and  assists.  Then  Schaunard 
comes  to  the  rescue  with  food  and  wine 
and  fuel,  which  they  enjoy.  The  landlord 
enters  to  demand  rent.  They  make  him 
drink  and  chaff  him  about  his  flirtations  ; 
then,  in  simulated  righteous  indignation, 
eject  him.  The  young  men  go  pleasure- 
seeking,  leaving  Rudolphe  to  finish  his 
writing.  Mimi,  an  embroiderer  and  fel- 
low-lodger,, enters  to  ask  for  a  light. 
As  the  door  opens  to  let  her  out  again, 
a  gust  of  air  extinguishes  all  the  lights. 
She  drops  her  key  and  they  both  grope 
for  it  in  the  dark.  Rudolphe  finds  it, 
but  promptly  pockets  it  and  continues 
groping  till  he  catches  Mimi's  hand. 
He  engages  her  in  talk,  tells  her  he  is  a 
poet,  and  she  tells  about  herself  and  her 
work.  The  others  call  impatiently  from 
below,  where  they  wait.  Rudolphe 
opens  the  window  to  answer.  The 
moonlight  streaming  in  irradiates  Mimi's 
beauty.  Rudolphe  and  Mimi  confess 
their  mutual  love. 

Act  II. — Scene.  Christmas  Eve  in 
the  Latin  Quarter.  A  throng  of  holi- 
day-makers, in  front  of  the  Cafe  Momus, 
buying,  eating,  etc.  Rudolphe,  Mimi 
wearing  a  becoming  pink  hood.  Marcel, 
Schaunard,  and  Colline  mix  with  the 
crowd.  A  waiter  brings  out  a  table  for 
the  young  men.  Rudolphe  introduces 
Mimi  and  they  sit  down  together.  Their 


346 


THE    MUSICAL    GUIDE 


orders  to  the  waiter  mingle  with  the  out- 
cry caused  by  the  entry  of  Parpignol, 
surrounded  by  eager  children,  whose 
mothers  try  to  lead  them  away.  Mu- 
sette, richly  dressed,  enters  with  the  el- 
derly and  infatuated  Alcindor.  They 
sit  at  an  adjacent  table.  She  is  indig- 
nant that  Marcel,  her  former  lover, 
takes  no  notice  of  her,  and  talks  loudly 
for  his  benefit,  while  Alcindor  vainly 
tries  to  quiet  her,  thinking  her  talk  is 
meant  for  himself.  Musette,  seeing 
that  she  has  at  last  moved  Marcel,  pre- 
tends her  shoe  hurts  and  sends  Alcin- 
dor to  buy  a  new  pair.  Then  she  and 
Marcel  embrace  and  are  reconciled. 
The  bill  is  presented,  but  none  of  the 
party  has  money.  Musette  bids  the 
waiter  add  it  to  her  bill  and  leaves  it 
for  Alcindor  to  pay.  A  military  pro- 
cession marches  across  the  scene.  The 
friends  fall  in  line  behind  and  e.xeunt ; 
Musette  having  only  one  shoe,  is  car- 
ried by  Marcel  and  Colline,  followed  by 
the  rest  keeping  step.  Alcindor  return- 
ing, is  shown  the  bill  and  sinks  horrified 
into  a  chair. 

Act  III. — Scene.  The  Barriere  d'En- 
fer.  Market-women,  etc.,  paying  toll. 
Mimi  enters,  coughing,  and  asks  for  Mar- 
cel at  the  inn  where  he  lives  with  Mu- 
sette. He  comes  out  and  she  tells  him  Ru- 
dolphe  threatens  to  leave  her,  and  asks 
in  despair  what  to  do.  As  Rudolphe  just 
then  comes  out  of  the  inn,  she  hides  be- 
hind a  tree.  Rudolphe  tells  Marcel  he 
means  to  leave  Mimi.  At  first  he  pre- 
tends it  is  on  account  of  jealousy  ;  final- 
ly he  confesses  it  is  because  he  sees  she 
is  dying  of  consumption  and,  though  he 
still  loves  her,  he  has  no  money  to  keep 
her  in  comfort.  Marcel  tries  to  lead 
Rudolphe  out  of  earshot,  but  Mimi,  la- 
menting, hears  her  death-sentence.  A 
fit  of  coughing  betrays  her  hiding-place. 
Rudolphe,  startled,  soothes  and  caresses 
her.  Musette  is  heard  within,  laughing 
and  flirting.  Marcel,  jealous,  rushes 
inside.  Mimi  bids  Rudolphe  farewell, 
telling  him  to  keep  her  pink  hood  as  a 
keepsake.  Marcel  and  Musette  emerge 
quarrelling,  and  the  four  voices  mingle 


in  contrasting  colloquies.  The  disput- 
ing lovers  go  in  again,  leaving  the  oth- 
ers to  end  their  pathetic  farewell. 

Act  IV. — Scene.    Same  as  Act  I.  Mar- 
cel and  Rudolphe  at  their  work  tell  how 
each  has  seen  the  beloved  of  the  other 
riding  in  a  carriage,  well-dressed,  etc. 
Both  express  contentment,  but  are  in- 
wardly jealous  and  cannot  work.     Mar- 
cel takes  out  a  ribbon  M  usette  gave  him, 
and  Rudolphe  presses  Mimi's  hood  to  his. 
heart,  each  concealing  his  emotion  from 
the  other.     Schaunard  and  Colline  en- 
ter with  frugal  provisions.     They  try  to' 
forget  their  woes  in  merrj'making.  Sud- 
denly Musette  enters,  saying  that  Mimi; 
is  close  behind,  and  e.\plains  that  Mimii 
has  left  her  Count  and  returned  to  Ru- 
dolphe to  die.     Mimi  enters  in  the  last, 
stage  of  consumption.     She  says  how 
much  better  she  feels  to  be  back  there, 
but  that  her  hands  are   cold    and    sh« 
would  like  a  muff.     Rudolphe  tries   tc 
warm   them   in    his.       The    others   an 
overcome   with    compassion.       Musetti 
gives  her  jewels  to  Marcel   to  sell    t( 
get  a  doctor,  etc.,  for  Mimi ;  then  de 
clares  she  must  also  get  her  a  muff,  anc 
goes  with  him.     Colline  bids  farewell  t"     >^ 
his  faithful  old  coat  and   carries  it  t\     •,». 
pawn,  taking  Schaunard  with  him  tha; 
the  lovers  may  be  alone.     Mimi,   wh 
had  apparently  been  asleep,  now  rouses 
and  the  two  renew   memories  of  thei 
happy  past.     Mimi,  rejoiced  to  see  he 
hood,   makes  Rudolphe  put  it  on  her 
The  others  return  and  Mimi  delights  ii 
the  muff.     Soon    she    falls   asleep  an! 
dies.     Rudolphe  in  despair  throws  hin- 
self  on  her  corpse. 

ROSSINI,    GIOACCHINO.  , 

II  Barbiere  di  Siviglia  (el  bar-tj, 
a'-re  de  se-vel'-ya),  /.  The  Barber  ( 
Seville.  .^K^ 

Two-act   lyric  comedy.     Book  (froj^-^*^ 
Beaumarchais's    comedy)    by    Sterbir.'" 
Composed   in  three  weeks.      Produce 
Rome,  Argentina  Theatre,  February  ' 
I8i6. 


STORIES    OF    THE    OPERAS     347 


CHARACTERS   AND   THEIR   CREATORS. 

Figaro  (fe'-ga-ro), 

A  barber Luigi  Zamboni,  bar. 

1l  Conte  Almaviva  (al-ma-ve'-va), 

A  young  count Garcia,  tenor. 

DOTTORE   BaRTo'lO, 

Rosinas  guardian . . .  Botticelli,  bass. 
Basilic  (ba-sel'-yo), 

Music-master Vittarelli,  bass. 

FioRELLo  (fe-o-rel'-lo), 

A  servant tenor. 

RosiNA  (ro-ze'-na), 

Dr.  Bartold's  ward, 

Signora  Giogi  Righetti,  sopr. 
Ber'ta, 

Her  governess  (in  Germany  Marcel- 
line) Signorina  Rossi,  sopr. 

Note. — This  opera  is  taken  from  the 


^"  j  and  Mozart's  "  Nozze  di  Figaro."  to 
' !  which  it  is  precedaneous  in  action.  It 
'j   was  originally  called  "Almaviva,  ossio 

I'inutile    precauzione,"     "The    Useless 

Precaution." 

aij      Act  I.  —  Scene   i.     Dawn   in   a    Se- 
tUl }  ville  street.     Fiorello  leads  along  sev- 
•  I  eral   musicians    for   a   serenade.       The 
Count  enters  and  sings  a  serenade  or 
aubade  under  Rosina's  window  ("  Ecco 
ridente  ilcielo").     He  pays  the  musi- 
cians  liberally  and  drives  them  away, 
vexed  at  their  profuse  thanks.     Figaro 
bustles  gaily    by  to  his  work   (singing 
"  Largo  al  factotum  "),  rejoicing  in  his 
importance  as  the  general  factotum  and 
,5 SI-    go-between   of  the   town.     The  Count 
•Stops  him,   tells  him    he  has  fallen    in 
ilove  with  the  ward  of  Dr.  Bartolo,  and 
j  is  flirting  with  her  desperately  under  the 
'     iname  of  Lindoro.     Rosina  appears  on 
I  the  balcony  to  drop  the  Count  a  note, 
but,  Bartolo  appearing,  she  pretends  it 
is  a  paper  that  has  slipped  out  of  her 
hand,  and  asks  him  to  go  down  and  get 
it.     While  he  disappears  in  the  house, 
the  Count  gets  the  note  and  lets  Figaro 
read  it.   It  reveals  a  Juliet-like  desire  to 
know  more  of  the  stranger.      Bartolo 
comes  out,  then  stops  to  call  back  in- 


structions that  none  is  to  be  admitted  to 
the  house  save  Basilic  ;  he  says  he  him- 
self will  marry  Rosina  that  very  day. 
The  Count  offers  Figaro  a  reward  if  he 
can  help  him  to  win  Rosina,  and  Figa- 
ro, always  prolific  in  schemes,  bids  him 
disguise  as  a  tipsy  soldier.  He  tells  the 
Count  how  to  find  his  shop  ("  La  bot- 
tega  ")  and  after  a  duet  on  love  ("A 
che  d'amore  ")  Figaro  enters  Bartolo's 
house  and  the  Count  hurries  away. 
Scene  2.  A  room  in  Bartolo's  house. 
Rosina  ponders  how  to  get  a  letter  past 
her  lynx-eyed  guardians  (in  the  brilliant 
air  "  A  voice  has  made  my  heart  re- 
sound," "  Una  voce  poco  fa  ").  Figaro 
enters,  but  seeing  Bartolo  coming,  post- 
pones his  message,  and  they  leave  in 
opposite  directions.  Bartolo  and  Basilic 
come  in.  Basilic  tells  the  anxious  Bar- 
tolo that  Rosina's  unknown  lover  is  the 
Count  Almaviva.  They  decide  to  efface 
him  with  calumny  ("La  calunnia "), 
whose  growth  from  a  whisper  to  a  tem- 
pest Basilic  pictures  vividly.  They  de- 
part and  Figaro  steals  in,  soon  meeting 
Rosina,  who  questions  him  about  the 
Count,  and  persuades  him  to  bear  a 
note  to  him.  She  has  it  already  written; 
he  takes  it  and  goes,  after  a  duet  ("  E 
il  maestro  ic  faccic  ").  Bartolo  comes  in 
and  cross-questions  her  as  to  the  note 
she  dropped  from  the  balcony  and  the 
one  he  suspects  she  has  given  Figaro. 
She  blames  the  ink  on  her  finger  to  a 
design  she  was  drawing.  They  go  their 
ways  and  Berta,  hearing  loud  knocking, 
enters.  The  Count  disguised  as  a  sol- 
dier bursts  in,  pretending  to  be  drunk, 
but  anxiously  looking  for  Rosina  while 
he  embraces  and  worries  Bartolo.  Ro- 
sina entering,  the  two  steal  a  few  words 
surreptitiously  ;  he  bids  her  drop  her 
handkerchief,  while  Bartolo  angrily 
hunts  a  paper  giving  him  exemption 
from  soldierly  visits.  The  Count  lets 
fall  a  note,  Rosina  drops  her  handker- 
chief on  it,  but  Bartolo  observes  the 
ruse  and  snatches  the  note,  only  to  find 
it  a  mere  list  of  names.  He  apologises, 
but  the  Count  jostles  him  about  and 
also  Basilio  and  Berta,  who  enter.     Fi- 


348 


THE    MUSICAL    GUIDE 


garo  appears  with  a  basin  and  is  amazed 
at  the  noise,  which  finally  brings  the 
police.  The  Count  shows  his  order  of 
nobility  and  avoids  arrest. 

Act  II. — Scene.  Bartolo  is  alone  in  a 
room,  and  bitterly  reflects  that  he  is  not 
safe  in  his  own  house.  The  Count 
enters  disguised  as  a  music-teacher.  He 
annoys  Bartolo  with  over-effusive  greet- 
ings and  says  Basilio  was  too  ill  to 
come,  and  sent  him.  He  lets  slip  a 
word  about  Rosina's  note,  and  to  cover 
the  slip  tells  Bartolo  that  he  has  hap- 
pened on  a  note  written  to  the  Count  by 
Rosina,  and  he  suggests  that  if  he  can 
talk  with  Rosina  he  might  convince 
her  that  the  Count  is  only  a  faithless 
rake.  Bartolo  gladly  brings  in  Rosina, 
who  recognises  the  alleged  teacher  and 
sings  for  him.  (The  music  written  for 
this  place  by  Rossini  was  lost,  and  the 
prima  donna  is  at  liberty  to  introduce 
any  song  she  prefers.)  Figaro  arrives 
to  shave  Bartolo,  who  resists,  but  finally 
sends  Figaro  to  his  room  to  get  the 
cloth,  giving  him  the  keys,  one  of  which 
Rosina  whispers  him  is  the  key  to  the 
balcony.  Now  Basilio  enters,  to  the  ex- 
quisite confusion  of  the  Count,  who 
tries  to  make  Basilio  think  he  is  ill  and 
to  send  him  home.  A  purse  opens  Ba- 
silio's  eyes  to  the  plot  and  he  goes.  As 
the  Count  and  Rosina  pretend  to  study 
music  and  really  plot  an  elopement, 
Bartolo  overhears  in  spite  of  Figaro's 
efTorts  to  keep  him  engaged.  He  dis- 
perses the  group.  Berta  enters  alone 
complaining  of  the  noisy  house  always 
in  uproar,  and  the  old  dotard's  love 
("  II  vechietto  cerca  moglie" — based  on 
a  Russian  air,  and  called  the  "Aria  di 
Sorbetto,"  because  the  audiences  chose 
it  as  a  good  time  to  eat  sherbets).  She 
leaves,  and  Bartolo  brings  on  Basilio, 
who  tells  him  that  the  music-teacher  was 
the  Count  and  there  is  to  be  a  marriage 
that  night  at  Figaro's  house.  When  he 
has  gone,  Bartolo  plans  a  bold  coup,  and 
calls  Rosina,  whom  he  tells  that  the 
Count  is  unfaithful  to  her  ;  showing  her 
the  note  she  had  written  him  as  proof. 
Rosina,  infuriated,  consents    to  marry 


Bartolo  at  once,  confessing  to  him  herlj 
plan  to  elope.  Bartolo  hurries  away  toil 
find  the  police  to  arrest  the  Count  when;|i 
he  comes.  The  Count  and  Figaro  steal) 
in  from  the  balcony  as  soon  as  he  hasi^' 
gone,  and  Rosina  is  soon  convinced  of(i 
his  love.  He  reveals  himself  as  thelj 
Count  Almaviva.  They  decide  to  elope, 
and  tip-toe  stealthily  with  a  "  Hush,; 
hush"  {"  Zitti,  zitti").  They  find  the 
ladder  gone  and  see  persons  comingii 
with  a  lantern.  They  conceal  them-j 
selves  and  Basilio  enters  with  a  notary.il 
The  Count,  by  softly  threatening  Basilic| 
with  death,  gets  himself  married  to  Ro| 
sina.  Bartolo  enters  with  soldiers,  bu' 
too  late.  He  gives  the  two  their  blessij 
ing  and  all  ends  happily. 

Guglielmo     Tell     (gool-yel'-mo    tel'jj 
Guillaume    (ge-yom),    or    Wilhek 
(vel'-helm),  or  William,  Tell. 
Three  -^(originally    five-)    act    oper 
Book  by  Etienne  Jouy,  revised  by  Hi| 
polyte      Bis,     after     Schiller's    drar 
The  Academic,  Paris,  August  3,  182^ 

CHARACTERS    AND    THKIR    CREATORS.! 

Mathilde  von  Hapsburg,    . 

Cfsskr's  daughter, 

Mme.  Damoreau-Cinti,  sopl 
Hedwig,  ; 

TeWs  wife Mile.  Mori,  m.  sop? 

Jem'my,  I 

Tell' s  son Mme.  Dabodie,  soj 

Gess'ler, 

Austrian  Governor  of  Switzerlarui, 
Prevost,  ba 

Rudolf  der  Harras Massol,   teni 

Tell Dabodie,  b. 

Walther  FiJRST Levasseur,  ba 

Melch'thal  (meltch'-tal), 

An  old  man Dupont,  bal 

Ar'nold,  |I 

His  son Nourrit,  b!i 

Leuthold  (loit'-holt),  \ 

A  peasant Prevot,  tJji 

A  Fisher tet "% 


STORIES  OF  THE  OPERAS      349 


Act  I. — Scene.  Switzerland,  thirteenth 
centur)-.      Shore    of    a    mountain-lake. 
Peasants  enjoying  a  wedding  festival  are 
joined  by  Tell,  who  bemoans  the  tyran- 
ny oppressing  his  country.   Arnold,  who 
has  loved   Gessler's  daughter  since  he 
:     saved  her  life,  promises  nevertheless  to 
,    aid  Tell  in  freeing  Switzerland.     The 
1     peasant    Leuthold    appears.       He    has 
!.    killed  an  Austrian  soldier  who  tried  to 
^  abduct  his  daughter,  and  is  now  pur- 
I    sued  by  the  soldiers.      He   begs  to  be 
}    rowed   across    the  lake,  but    the  rising 
ii    storm  dismays  the  fishermen.  Tell  takes 
;■    the  oars  and  puts  out  into  the  storm  just 
t    before  the  soldiers  enter,  led  by  Rudolf, 
:;^   who,  finding  no  one  who  will  reveal  the 
identity  of    Leuthold's    rescuer,    seizes 
old  Melchthal  as  an  inciter  of  rebellion. 
j      Act  II. — Scene.    A  forest.    Huntsmen 
''iEnd     shepherds     meet     and     disperse. 
"'  Princess     Mathilde    passes,     returning 
from  a   hunt.     She  meets  Arnold  and 
n  reciprocates  his  love.     She  leaves  him 
.1:; '  when  Tell  comes  up  with  Walther  Furst, 
1  who  tells  Arnold  that  his  father  has  been 
ii  killed  by  the  Austrian.    Arnold,  putting 
aside  his  thoughts  of  love,  joins  the  other 
.jitwo  men   in  an  oath  of  dire   revenge. 
The  deputies  of  three  cantons  appear 
isuccessively  and  Tell  persuades  them  to 
jjoin  the  oath  and  free  Switzerland. 
;,b(ifi    Act  III. — Scene    i.      A  love-duet  be- 
itween  Mathilde  and  Arnold.     Scene  2. 
„i;The  market-place  of  Altdorp.     Gessler 
'  'has  set  his  hat  up  on  a  pole  and  the  indig- 
,,i|iant  citizens  are  compelled  to  salute  it. 
iPell  and  his  son  enter  and  scorn  such 
lumiHty.       They    are    seized    and    the 
ather   ordered    to   prove    his   vaunted 
irchery  by  shooting  an  apple  from  his 
■on's  head.  After  an  anxious  prayer,  he 
.  .ccomplishes  this.     Gessler  seeing  that 
.  le  has  another  arrow,  asks  what  it  is 
or.  Tell  declares  that  if  he  had  missed 
^  lig|he  apple  and  hurt  his  son,  his  second 
-°"    irrow  would  have  been  shot  at  Gessler. 
,    j'^or  this  defiance  he  is  fettered,  despite 
.^''"jlathilde's  plea.     Scene  3.     The  Swiss 
isvolutionists  meet  in  a  storm,  Mathilde 
'V'iMsks  to  be  admitted  to  the  band,  and 
.t^jives  her  hand  to  Arnold.     Success  fol- 


lows the  battles  of  the  Swiss,  and  Tell 
enters  ;  he  has  escaped  from  prison  and 
slain  Gessler  ;  the  country  has  now  won 
liberty,  which  is  celebrated  in  a  hymn 
of  freedom. 

SPINELLI,  NICOLLA. 

A  Basso  Porto.    At  the  Lower  Har- 
bour. 
Three-act  lyric  drama  of  the  slums. 

Book  by  Eugenio  Checchi. 

CH.'V.RACTERS. 

Mari'a, 

A  7vido2u m.  sopr. 

Sesel'la, 

//fr  daughto- sopr. 

LuiGiNo  (loo-e-je'-no), 

Maria  s  son,  a  gambler tenor. 

CiciLLo  (che-chll'-lo), 

A  govermnent  spy bar. 

Pasquale  (pas-kwa'-le), 

An  innkeeper bass. 

PiciLLo  (pe-chtl'-lo) tenor. 

Act  I.  —  Scene.  An  open  market- 
place near  the  lower  harbor  of  Naples  ; 
time  i860.  Maria  and  Sesella  are  wear- 
ily at  work  on  one  side,  on  the  other  in 
front  of  a  tavern  Luigino  is  gambling 
away  their  hard  earnings.  Maria  pleads 
with  him  but  ends  by  paying  his  gam- 
bling debts.  Cicillo  appears.  He  is 
posing  as  the  leader  of  the  Cammoristi, 
an  anarchistic  society,  but  is  really 
spying  on  them  and  trying  to  foist  on 
another  member  the  treachery  that  has 
been  betraying  them.  Luigino  hates 
Cicillo  but  Sesella  loves  him  ;  and  he  is 
plotting  to  seduce  her  ;  he  takes  an  op- 
portunity to  ask  her  to  elope  vTith  him 
since  the  Cammoristi  hate  him.  Luigino 
sees  her  kiss  him  and  tries  to  stab  him, 
but  Maria  intervenes  and  sends  her 
children  away.  She  and  Cicillo  have  a 
bitter  interview,  in  which  it  transpires 
that,  years  before,  Cicillo  had  betrayed 
Maria  and  deserted  her  for  another 
woman,  against  whom  Maria  had  con- 
spired, securing  the  arrest  of  both.  The 
girl  had  been  put  to  death,  though  Ci- 


350 


THE    MUSICAL    GUIDE 


cillo  had  escaped  to  vow  vengeance 
against  Maria,  who  meantime  had  mar- 
ried. Though  she  is  now  a  widow,  he 
still  plots  to  bring  her  son  to  the  gutter 
and  her  daughter  Sesella  to  the  streets. 
Maria  pleads  and  threatens  for  an  end 
to  the  feud,  but  Cicillo  mocks  her.  The 
Cammoristi  rush  in  in  excitement ;  an- 
other member  has  been  arrested  and 
they  swear  to  hunt  out  and  kill  the  trai- 
tor. Cicillo's  momentary  uneasiness  is 
seen  by  Maria. 

Act  11. — Scene.  A  low  tavern  filled 
with  hilarious  smugglers,  girls,  etc.  Lui- 
gino  sings  a  gay  song.  Cicillo  enters 
and  strikes  him  across  the  face.  He 
explains  that  he  believes  Luigino  to  be 
the  traitor.  He  is  to  meet  Sesella  and 
will  try  to  wring  the  truth  from  her. 
They  leave  him  alone  and  his  remorseful 
soliloquy  is  interrupted  by  Sesella's  en- 
trance. He  poisons  her  mind  against 
her  mother,  and  she  consents  to  elope 
with  him  at  midnight.  When  he  has 
gone,  Maria  enters,  and  pleads  with  her 
daughter,  finally  confessing  her  own 
past  and  proclaiming  Cicillo  a  spy. 
Sesella  is  won  back  and  determines  to 
betray  Cicillo.  She  calls  in  the  landlord 
and  the  others  and  accuses  the  absent 
Cicillo.  Luigino,  ho.vever,  is  brought 
to  trial  by  the  Cammoristi,  but  Maria 
saves  him  by  swearing  that  she  has  seen 
Cicillo  take  government  pay.  Cicillo  is 
condemned  to  die,  and  Luigino  chosen 
to  assassinate  him,  in  spite  of  Maria's 
frantic  appeals. 

Act  III. — Same  scene  as  Act  i.  Night. 
Maria,  alone,  prays  heaven  to  save  her 
children.  Cicillo  enters  and  she  warns 
him  that  she  alone  can  save  him  from 
the  Cammoristi  and  begs  him  to  give  up 
his  plot  to  ruin  her  children.  He  laughs 
at  her  and  says  that  in  a  moment  he  will 
have  the  soldiers  all  about  the  place. 
Singing  and  mandolin-playing  in  the 
distance  indicate  the  signal  to  kill  him, 
but  he  will  not  accept  her  offer,  and 
brushes  past  her  to  call  the  soldiers, 
whereupon  she  stabs  him,  to  save  her 
son  from  the  blood-guiit.  The  Cam--  o- 
risti  rush  in  as  he  dies. 


THOMAS,    AMBROISE. 
Mignon  (men-yoh). 

Three-act  opera.  Book  by  Barbie 
&  Carre  (based  on  Goethe's  "  Wilheln 
Meister  "). 

Produced,  Opera  Comique,  Paris; 
November  17,  1866. 

CH.AR.ACTEKS    AND    THEIR    CREATORS,  j] 

GuGLiELMo  (gool-yel-mo), 

in  German,  Wilhelm  Meister 

Achard,  teno; 

LoTARio  (l6-ta'-rI-6) Bataille,  bai 

Federico  (fa-de-re'-ko) teno, 

Laerte  (la-er'te) Conders,  baj 

GiARNo  (jar'-no) bi 

Antonio, 

MiGNON.  ...Mme.  Galli-Marie,  m 

FiLiNA  (fe-le'-na). . . .  Mme.  Cabel,  so] 

Act  I. — Scene.     Courtyard  of  a  Gi 
man  inn.     Townsfolk  seated  drinkir 
The    old    minstrel    Lotario  enters    i:t. 
most  distracted  with  grief  at  the  loss  it 
his   child,    who    has   disappeared,    af 
whom    seeking    he    wanders    discon?i8 
lately.     A  band  of  gipsies  appear,  aV 
dance  for  pennies,  watched  from  a  bij 
cony  by  two  actors,  Filina  and   Laer.* 
The    savage    chief    Giarno   orders   tf» 
child    Mignon    to    dance.     When    s'j 
proudly  rebels,  he  threatens  her  witli 
cudgel,   and  the  old   minstrel    tries  i 
protect  her.     He  is  pushed  aside,  It 
Guglielmo    entering    cows    the    gipj, 
Mignon  gives  flowers  to  both   of    f 
rescuers.     When  the  others  withdnf 
Filina     admiringly     sends    Laerte  f 
scrape    acquaintance    with    Guglieli| 
She   follows  soon,   and    begins  to  ■$ 
with   great    sophistication.     Gugliel'i 
gives  her  the  flowers  Mignon  gave  h"' 
F'ilina  and    Laerte   leave,  and  Mign 
seeing  that  Giarno  is  asleep,  steals 
ward  to  pour   out   her  gratitude, 
tells  Guglielmo  that   her  childhood 
mystery.     She  remembers  being  sto 
When  he  asks  her  the  name  of  her  C( 
try  she  can  only  ask,  "  Knowest  t 
the  land  where  the  citrons  bloom  '^ 
Goethe's  words,  ' '  Kcnnst  du  das  1 


STORIES  OF  THE  OPERAS      351 


wo  die  Citroneii  bliih'n  ").  lie  judges 
from  her  other  phrases  that  her  land 
must  be  Italy.  Giarno  reappearing, 
offers  to  sell  Mignon  for  what  he  paid 
for  her.  Guglielmo  enters  the  inn  to 
close  the  bargain.  Mignon  tells  the  old 
minstrel  of  her  new  freedom,  and  when 
he  says  he  must  follow  the  swallows 
northward,  she  sings  a  swallow-song 
("  Leggiadre  rondinelle  ").  They  with- 
draw and  Filina  appears,  teasing  Fede- 
rico,  her  lover.  Guglielmo  returns, 
having  bought  Mignon.  Filina  intro- 
duces him  to  Federico.  A  letter  comes 
ordering  the  troupe  of  players  to  appear 
at  the  castle  of  Federico's  uncle  ;  and 
Guglielmo  is  invited  to  go  as  poet. 
Mignon  seizes  an  opportunity  to  ask 
what  is  to  become  of  her,  and  begs  to 
follow  Guglielmo  in  disguise  as  a  page  ; 
though  the  old  minstrel  pleads  for  her, 
Guglielmo  consents  to  take  her.  She 
notes  with  a  pang  that  he  has  given  her 
flowers  to  Filina.  The  troupe  set  out 
for  the  castle. 

Act  n. — Scene   i.      The   boudoir   of 
Filina,    who    is    gaily    preparing     her 
charms  for  further  conquest  ("  A  mara- 
viglia  !  ").    Laerte,  and  later  Guglielmo, 
enter.     Laerte,  about    to    leave,    finds 
Mignon    jealously  waiting ;    Guglielmo 
treats   her  with   kindly  impatience,  and 
she  seems  to  fall  asleep  before  the  fire. 
Guglielmo  makes  love  to  Filina.     They 
leave  ;  and  Mignon,  after  brooding  mo- 
rosely,   looks    about    with    interest   and 
'alls  to  powdering  and  rougeing  her  face, 
loping  to  captivate   Guglielmo  by  her 
)eauty  ("Son  io  che  mi  specchio?"  or 
'1st das  Mignon  wohl?").  She  disappears 
ust  as  Federico  enters  at  the  window 
inging  a  Rondo-Gavotte.      Guglielmo, 
oming  back  to  seek   Mignon,  falls  to 
Itercation  with  Federico.     They  draw 
■  words,    but    Mignon    rushes    between. 
•he  is  garbed  in  one  of  Filina's  gowns, 
nd  Federico   retires  laughing.     Gugli- 
;  ,!mo  sadly  tells  Mignon  she  must   leave 
im  ("  Addio,  Mignon  ").    Filtna  enter- 
ig,  Mignon  fiercely  tears  off  the  gown 
id  rushes   away.     Laerte    announces 
latthe  play  is  about  to  begin  and  they 


leave,  Mignon  and  Federico  jealously 
watching  Guglielmo's  devotion  to  Fili- 
na. Scene  2.  The  park  of  the  castle. 
Mignon  alone  in  her  grief  is  about  to 
throw  herself  into  the  lake,  when  she 
hears  the  harp  of  the  minstrel.  He  ap- 
pears and  tries  to  console  her.  She 
frantically  wishes  that  the  fires  of 
heaven  would  consume  the  hated  castle, 
and  hurries  away.  The  half-insane 
minstrel  ponders  her  wish  and  disap- 
pears. The  guests  flock  out  from  the 
play,  "The  Midsummer  Night's 
Dream,"  and  Filina  rejoices  in  her  suc- 
cess as  Titania  ("  Io  son  Titania  bi- 
onda").  Guglielmo  searches  for  Mignon. 
She  appears,  and  the  minstrel  tells  her 
that  he  has  set  tire  to  the  castle.  She 
represses  her  horror,  and  when  Filina 
asks  her  to  get  a  bouquet  which  Gugli- 
elmo had  given  her,  and  which  she  had 
left  in  the  castle,  Mignon  goes.  The 
flames  break  forth,  while  the  old  min- 
strel chants  to  his  harp.  Guglielmo 
rushes  into  the  castle  and  rescues 
Mignon  against  her  will. 

Act  III. — Scene.  Gallery  of  a  manor- 
house.  A  chorus  of  sailors  is  heard  in 
the  distance.  The  minstrel  appears; 
later  Guglielmo,  and  Antonio  who  ex- 
plains that  all  the  other  houses  of  the 
region  are  illuminated  in  honour  of  the 
festival,  but  this  house  alone  remains 
dark  since,  ten  years  ago,  the  daughter  of 
the  count  who  owned  it  was  drowned. 
The  count  has  since  been  a  wanderer, 
and  Antonio  ofTers  to  sell  the  house  to 
Guglielmo,  who  plans  to  buy  it.  He 
tells  the  minstrel,  who,  hearing  the 
name,  seems  to  recall  a  forgotten  past, 
and  enters  a  long-sealed  door.  Gugli- 
elmo, alone,  muses  on  the  discovery  he 
has  made  that  Mignon  secretly  loves 
him  ("  Ah,  non  credea  I'afflito  ").  A  note 
comes  telling  that  Filina  is  following 
him.  He  is  not  interested.  Mignon  ap- 
pears, very  pale  and  feeble  ;  she  seems 
to  remember  her  surroundings  vaguely. 
Guglielmo  tells  her  he  has  learned  to 
love  her.  Filina's  voice  is  heard,  and 
she  is  terrified  again.  Now  the  min- 
strel enters  richly  garbed.     He  has  re- 


i 


352 


THE    MUSICAL    GUIDE 


turned  to  his  right  mind.  He  welcomes 
them  to  the  house  as  his  own.  He 
brings  out  a  casket  of  jewels  belonging 
to  his  lost  child.  In  it  is  a  Prayer  Book. 
Mignon  reads  a  few  lines  and,  letting 
the  book  fall,  recites  the  rest  of  the 
child's  prayer  by  heart.  The  Count 
recognises  her  as  his  child.  She  faints 
with  delight,  but  recovers  and  sings  with 
joy  the  last  of  the  "  Mignon's  Song  "  of 
Goethe,  "  Kennst  du  das  Land." 

VERDI,   GIUSEPPJ. 
Aida  (ji-e-da). 

Four-act  opera.  Book  by  A.  Ghiz- 
landoni,  from  de  Lode's  version  of  an 
old  Egyptian  tradition.  The  opera  was 
composed  on  a  commission  from  the 
Khedive  and  first  produced  at  Cairo, 
December  27,  1S71. 

CHAR.VCTERS. 

Aida, 

Ah  Ethiopian  princess  in  slavery, 

sopr. 
Amneris  (am-na'-res), 

Princess  of  Egypt,  in  love   -with 

Rad  AMES contr. 

Radames  (ra'-da-mas), 

Egyptian  Captain  in  love  u<ith 

Kiv>K tenor. 

AmON.\S  RO, 

Ethiopian  King,  father  of  K\v>a,  bar. 
Ramfis  (ram'-fes), 

High  Priest  of  I  sis bass. 

King  of  Egypt. 
Messenger. 

Act  I. — Scene  i.  Hall  in  the  Palace. 
Ramfis  speaks  to  Radames  of  the  hos- 
tile movements  of  the  Ethiopian  king ; 
he  hints  that  Radames  will  lead  the 
Egyptian  force.  When  he  has  gone, 
Radames  rejoices  in  the  hope  of  win- 
ning glor\',  all  for  the  sake  of  Aida  ("  Ce- 
leste Aida  ").  Princess  Amneris,  enter- 
ing, notes  his  joy  and  hopes  it  is  for  her. 
Aida  enters  and  the  Princess  greets  her 
kindly  but  suspects  her  of  being  Ra- 
dames' sweetheart.  Aida  weeps  for  the 
woes  of  her  country.     The  King  and 


retinue  appear  and  Ramfis  and  othe 
Priests  ;  a  messenger  follows  to  spoa 
of  the  Ethiopian  incursion  led  by  Amor 
asro.  The  Priest  declares  Radame 
the  leader  chosen  of  Isis,  and  after 
chorus  all  leave  except  Aida,  who 
torn  between  love  for  her  father  and  fc 
Radames  ("  Retorna  vincitor"),  endin 
in  a  prayer  ("  Numi,  pieta  ").  Scene  : 
The  Temple  of  Phthah  at  Memphi 
Priests  and  Priestesses  chant  and  dam 
before  the  altar.  Radames  enters  ar 
is  veiled  and  armed  by  Ramfis  (tv 
actual  Egyptian  themes  are  employe 
in  the  harp  music  and  the  dance). 

Act  II. — Scene  i.  Amneris'  apai 
ments.  Her  slaves  sing  while  shebroo 
on  love.  Aida  enters  and  the  slaves  i 
tire.  Amneris  wrings  from  Aida  t 
secret  of  her  love  by  saying  that  Rac- 
mes  is  dead.  She  upbraids  the  g 
with  high  fury.  The  army  is  heard  » 
turning  in  pomp  (duet  "  Alia  pompa  . 
Scene  2.  An  open  place.  The  victc- 
ous  army  returns  loaded  with  trophi 
and  is  welcomed  with  all  ceremoi. 
Aida,  cowering  at  Amneris'  feet,  s^s 
Radames  triumphant ;  among  his  c:- 
tives  she  sees  her  father,  who  whisp.s 
her  not  to  tell  his  rank  ;  but  he  decis 
to  announce  it  himself,  appealing  r 
mercy  ("  Questa  assisa  ").  The  Pries 
and  people  demand  his  death  but  1.- 
dames  wins  clemency  from  the  Ki ', 
who  releases  the  other  prisoners  but  ;- 
tains  Amonasro.  The  act  ends  wil  a 
paean  ("  Gloria  all'  Egitto"). 

Act  III. — Scene.  Shore  of  the  ^J, 
before  a  Temple  of  Isis,  wherein  le 
worshippers  are  heard  singing.  R  1- 
fis  enters  the  Temple  ;  Amneris  foll."S 
to  pray  Isis  for  Radames'  love.  /la 
steals  in,  veiled,  to  meet  Radames  ;(ie 
muses  on  the  beauty  of  the  sky  ancm 
her  far-off  home  ("  O  cieli  azzun'). 
Amonasro  appears  ;  he  tells  Aida  he  as 
discovered  her  passion  for  Radames  .le 
tells  her  she  can  see  her  home  again  id 
have  her  lover  too  ("  Rivedro  le  )r- 
este").  She  must  win  Radame;  to 
treachery,  or  at  least  learn  from  hin.he 
name  of  the  pass  by  which  his  tr  ps 


STORIES  OF  THE  OPERAS      353 


i^^t 


will  march.  When  she  protests,  he 
paints  a  wild  picture  of  the  havoc  the 
Eg)'ptians  have  wrought  in  Ethiopia 
and  threatens  her  with  his  curse.  At  the 
height  of  her  terror,  Radames  appears, 
Amonasro  hiding  near  by.  Radames 
tells  Ai'da  that  the  Ethiopians  have 
risen  again,  he  intends  to  defeat  them 
again  and  then  claim  Aida's  hand  from 
the  King.  Aida  says  Amneris  would 
seek  vengeance,  that  only  one  course  is 
open  to  their  love,  and  that  is,  flight 
("  Fuggiam  gli  ardori  ").  He  is  horri- 
fied, but  she  mentions  Amneris  and 
says  that  she  and  her  father  will  be  put 
to  death.  In  an  access  of  love  he  con- 
sents to  fly.  She  asks  him  the  name  of 
the  pass ;  he  tells  her,  and  is  over- 
heard by  Amonasro,  who  is  discovered 
by  Radames.  Amneris,  who  has  over- 
heard, charges  Radames  with  being  a 
traitor.  Amonasro  is  about  to  stab  her, 
but  is  prevented  by  Radames,  who  sur- 
renders to  Ramtis,  while  Aida  and 
.\monasro  escape. 

Act  IV. — Scene  i.  A  hall  in  the 
palace.  Amneris  alone  broods  over 
Aida's  escape  and  Radames'  trial  for 
treachery  ;  she  wishes  to  save  him.  Ra- 
dames is  led  in  ;  she  pleads  with  him  to 
love  her  and  be  saved,  but  he  is  faith- 
ful to  Aida,  though  he  learns  that  her 
father  has  been  killed.  He  will  not  re- 
nounce her  though  Amneris  demands  it 
i  ("  Chi  ti  salva  ").  He  is  led  away  and 
Amneris  gives  way  to  despair  ("  Ohime, 
Imorir  mi  sento  ").  She  sees  the  Priests 
'descending  into  the  subterranean  hall, 
then  hears  their  voices  as  they  pray  for 
divine  guidance  ;  she  hears  Ramtis  call- 
ing on  Radames  to  speak,  but  he  will 
make  no  defence,  and  they  condemn  him 
to  be  buried  alive  under  the  altar.  As 
the  priests  return,  Amneris  assails  them 
msanely.  Scene  2.  Same  as  Act  i, 
Scene  2,  save  that  the  vault  below  the 
dtar  is  also  shown.  Radames  is  in 
he  crypt,  dreaming  of  Aida.  Suddenly 
•he  appears,  saying  that  she  foresaw 
lis  doom  and  stole  into  the  crypt  unob- 
erved  to  die  with  him.  They  bid  fare- 
veil  to  life  ("  O  terra  addio  "),  while  the 


chant  of  the  Priests  and  the  dance  of 
the  Priestesses  goes  on  over  them.  Am- 
neris, in  black,  enters  the  Temple  to 
pray  Heaven  to  accept  Radames  into 
bliss. 

Otel'Io.     Othello. 

Four-act  lyric  drama.  Book  from 
Shakspere's  play  by  Arrigo  Boito. 

Produced  at  Milan,  La  Scala,  Feb- 
ruary 5,  1887. 

CHARACTERS  AND  THEIR  CREATORS. 

Otello, 

A  A/ooris/i  general  in  the  Venetian 

army Tamagno,   tenor. 

Iago, 

His  ensign Maurel,  bar. 

Cassio,  Otello  s  lieutenant. 
RoDERiGO  (ro-de-re'-go), 

A    Venetian  gentleman  in  love    with 
Desdejiiona. 
LoDovico  (lo-do-ve'-ko), 

Venetian  ambassador. 
Monta'na, 

Otello'' s  predecessor   as    Governor  of 
Cyprus. 
A  Herald. 
Desdemo'na, 
Otello'' s  wife, 

Signorina  Pantaleoni,  sopr. 
Emil'ia,  logo's  7vife. 

Act  I. — Scene.  A  stormy  quay.  All 
the  men  e.xcept  Otello  are  present  and 
watching  a  storm-tossed  ship.  It  is 
Otello's.  Women  enter,  and  pray  for 
the  ship's  safety.  The  ship  reaches  the 
harbour  at  length  ;  Otello  lands  with 
news  of  a  great  victory,  and  passes 
into  the  Castle.  A  bonfire  is  built,  and 
Iago  talks  to  Roderigo  of  Desdemona, 
saying  she  will  soon  weary  of  the  Moor  ; 
he  says  he  hates  him  for  promoting 
Cassio  over  him.  The  soldiers  rejoice 
in  the  tire  ("  Fuoco  di  gioia  ")  and  in 
wine.  Iago  plies  Cassio  with  wine  and 
talks  of  Desdemona,  bidding  Roderigo 
beware  of  Cassio  as  a  rival.  Iago  sings 
a  wine-song,  and  Cassio   grows   drunk. 


354 


THE    MUSICAL    GUIDE 


He  is  easily  provoked  to  a  figiit  by 
Roderigo,  and  sets  on  Montana  who 
tries  to  be  a  peacemaker.  At  lago's 
advice  Roderigo  steals  away  and  rings 
the  alarm,  bringing  the  people  and 
Otello,  later  Desdemona.  Otello  re- 
duces Cassio  to  the  ranks,  and  all  dis- 
perse save  Otello  and  Desdemona  ;  they 
have  a  love-scene  and  she  praises  him 
as  a  great  warrior  ("  Mio  superbo  guer- 
rier  ").  He  exclaims  that  death  were 
welcome  in  such  bliss  ("  Venga  la 
morte  "). 

Act  II. — Scene.  Hall  in  the  Castle  ; 
garden  at  the  back.  lago  is  promising 
the  despondent  Cassio  restoration,  ad- 
vising him  to  appeal  to  Desdemona  ; 
left  alone,  lago  soliloquises  over  his 
cynical  creed  of  cruelty  and  deceit 
("Credo  in  un  Dio  crudel ").  Later 
Cassio  finds  Desdemona  in  the  gar- 
den and  they  talk  together.  Otello 
enters  and  lago  slyly  provokes  his  jeal- 
ousy. .Sailors,  children,  and  others  ap- 
pear to  load  Desdemona  with  flowers 
and  gifts  ;  she  dismisses  them  gracious- 
ly, and  comes  forward  to  plead  for  Cas- 
sio. Otello  blames  his  uneasiness  to 
headache ;  Desdemona  is  about  to 
bind  his  head  with  her  handkerchief ; 
he  throws  it  away ;  F-milia  unobserved 
picks  it  up, and  lago  snatches  i*^,  from  her, 
while  Otello  broods.  When  the  women 
have  gone,  Otello  upbraids  lago  for  in- 
stilling suspicion  in  him,  and  finally 
throttles  him,  then  demands  proof, 
lago  whispers  that  he  heard  Cassio 
talking  in  his  sleep  of  trysts  with  Des- 
demona ;  he  mentions  the  handkerchief, 
and  says  he  saw  it  in  Cassio's  posses- 
sion.    Otello  vows  a  terrible  revenge. 

Act  III. — Scene.  A  large  hall  with 
portico.  The  Herald  announces  the 
arrival  of  ambassadors  from  Cyprus, 
and  goes.  lago  advises  Otello  to  watch 
Cassio's  gestures  when  later  lago  talks 
to  him.  He  goes,  and  Desdemona  en- 
ters ;  Otello  asks  for  her  handkerchief ; 
she  says  it  is  mislaid ;  he  warns  her 
that  it  has  a  strange  significance,  but 
she  impatiently  persists  in  pleading  for 
Cassio.     He    makes   her   swear   she    is 


faithful,    then    drives    her    from    him.i 
Left  alone  he  muses  on  his  grief  ("  Dioi 
mi  potevi    scagliar").     lago  enters  t('. 
say  Cassio  has  come,  and  Otello  hides  I 
lago  then   talks  softly  to  Cassio  of  Bi 
anca,  and  he  is  moved  to  laughter  ;  h 
speaks  of  finding  a  strangely  broiderei 
handkerchief    mysteriously    left    at    hi 
lodgings  and   produces  that  of  Desde 
niona.     Trumpets  and  a  gun  announc 
the    arrival  of    the    ambassadors    an 
Cassio   hastens   away.     The   ambassr 
dors  enter  to  deliver  official  praises  t' 
Otello.     Desdemona  appears  and  Ote 
lo  sends  for  Cassio,  bidding  lago  watc 
how  Desdemona  looks  when  he  come:, 
He  announces  that  Cassio  is  to  stay  i 
Cyprus  as  its  Governor,  while  Otello 
recalled  to  Venice.     He  mistakes  De- 
demona's  distress  at  her  husband's  ma: 
ner,  for  grief  at  the  loss  of  Cassio,  ar 
hurls  her  to  the  ground,  where  she  co\ 
ers.      lago  tells  Otello  that  he  will  k 
Cassio  ;  he  then  whispers  Roderigo 
kill  Cassio  so  as  to  keep  Otello  at  C 
prus  longer,   when   Roderigo  may  st 
hope  for  Desdemona's  favour.     Ote! 
rising  in  supreme  wrath   orders  evei 
one  away,  curses  his  wife,  and  swoo'. 
with  rage.     As  the  cries  of  ' '  Long  li 
Otello "   resound    outside,    lago   gloj,. 
over  the  prostrate  "  lion." 

Act  IV. — Scene.  A  bedroom.  Di' 
demona  and  Emilia.  Desdemona  i 
deep  sorrow  as  she  undresses  singsi 
sad  ballad  ("Willow"),  of  a  girl,  B- 
bara,  whose  lover  had  gone  m;. 
When  Emilia  is  gone,  she  kneels  a.l 
prays  to  the  Virgin,  then  lies  down  i 
the  bed  and  sleeps.  Otello  enters  wi 
a  scimitar.  He  puts  out  the  cane-, 
and  gazing  at  Desdemona  kisses  h  ; 
she  wakes  and  he  orders  her  to  pr'. 
He  accuses  her  of  unfaith  with  Cas:.', 
saying  that  he  has  been  killed  ;  w'n 
she  weeps,  he  thinks  his  suspicions  v> 
fied  and  smothers  her.  Knocking  s 
heard.  Emilia  enters  to  say  Cassio  s 
killed  Roderigo,  and  lives.  Desdem  a 
with  her  dying  breath  says  she  is 
killed  herself.  Emilia  calls  for  h'J, 
and  the  others  enter.     The  truth  of  le         ''»i 


STORIES  OF  THE  OPERAS      355 


handkerchief  is  explained.  lago  es- 
capes. Otello  tries  to  i<ill  himself  with 
his  scimitar,  but  Lodovico  prevents 
him.  Gazing  on  Desdemona  he  draws 
a  dagger  and  kills  himself. 


Rigoletto  (re-go-let'-to). 

Three-act  opera.  Book  by  F.  M. 
Piave.  (Based  on  Victor  Hugo's  "  Le 
roi  s'amuse.")  Produced,  Venice, 
March  ii,  1851. 

CHARACTERS    AND   THEIR    CREATORS. 

Il  Duca  di  Manto'va...  .Mirate,  tenor. 
Rigoletto, 

His  court  fool Varesi,  bar. 

Sparafucile  (foo'-chi-le), 

A  bravo Ponz,  bass. 

Il  Conte  di  Montero'ne.  .  .Damini,  bar. 
Marul'lo, 

A  cavalier Kunerth,  bar. 

Bor'sa, 

A  courtier Zuliani,  tenor. 

Il  Conte  di  Ceprano  (che-pra'-n5), 

Bellini,  bass. 

Court  Usher Rizzi,   tenor. 

GiLDA  (jei'-da), 

Rigoletto' s  (laughter, 

Signorina  T.  Brambilla,  sopr. 
Maddalena  (la'-na), 

Sister  of  Sparafucile, 

Casaloni,  contr. 
GiovANNA  (jo-van' -na), 

Gilda's  nurse Saini,  m.  sopr. 

La  Contessa  di  Ceprano, 

Marselli,  m.  sopr. 
Page  of  the  Duchess, 

Modes  Lovati,  m.  sopr. 

Act  I. — Scene  i.  A  fete  in  the  Duke's 
palace.  The  Duke  tells  Borsa  of  his 
infatuation  for  an  unknown  maiden 
whom  he  has  seen  at  church,  and  traced 
:o  her  home  where  an  unknown  man 
/isits  her  nightly.  He  sings  of  the 
ickleness  of  his  heart  for  this  or  that 
TOman  ("  Questa  o  quella  ").  The 
^^ountess  Ceprano  appears  and  though 


watched  by  her  jealous  husband  per- 
mits the  Duke  to  lead  her  away.  Rigo- 
letto, the  Duke's  favourite  and  the  go- 
between  of  his  intrigues,  laughs  at  the 
Duke's  flirtations,  and  MaruUo  says  he 
learns  that  even  the  hunchbacked  Rig- 
oletto has  a  sweetheart.  The  Duke 
reappears  and  Rigoletto  advises  him  to 
elope  with  Ceprano's  wife.  He  taunts 
Ceprano,  who  plots  with  other  courtiers 
to  put  the  hunchback  out  of  the  way. 
The  Count  Monterone  forces  his  way  in 
and  denounces  the  Duke's  crimes. 
Rigoletto  mocks  him  because  he  makes 
such  ado  over  the  loss  of  his  daughter's 
honour ;  but  Monterone  frightens  the 
hunchback  by  a  father's  curse  before  he 
is  led  away.  Scene  2.  A  dark,  se- 
cluded street  at  night.  Rigoletto,  steal- 
ing in,  is  accosted  by  Sparafucile,  who 
offers  to  put  any  rival  out  of  the  way, 
either  by  a  single  thrust  in  the  street,  or 
by  decoying  the  victim  into  his  house 
with  the  aid  of  his  sister.  Rigoletto 
declines  the  man's  service  with  thanks, 
and  in  a  soliloquy  compares  the  bravo's 
sword  to  his  own  wit  as  a  weapon.  He 
enters  the  walled  yard  of  his  house, 
out  of  which  Gilda  comes  and  embraces 
her  father.  He  keeps  her  in  this  seclu- 
sion from  the  corruptions  of  court  life, 
and  she  does  not  even  know  his  name. 
She  asks  to  know  who  her  mother  was. 
He  begs  her  not  to  ask  ("  Deh  non  par- 
lare  ").  Gilda  assures  him  she  has  never 
left  the  house  except  for  church,  and 
her  nurse  Giovanna  corroborates  her. 
Father  and  daughter  sing  a  loving  duet 
("  Veglia  o  donna  ").  The  Duke  in  dis- 
guise appears  outside.  Rigoletto  goes 
out  to  see  who  is  there,  and  the  Duke 
manages  to  steal  inside  unobserved  and 
throw  a  purse  to  the  nurse.  Rigoletto  re- 
turning warns  Gilda  to  let  no  one  in  dh 
any  account,  and,  not  seeing  the  Duke, 
locks  the  gate  from  the  outside  and 
goes  away.  The  Duke  appears,  motions 
the  nurse  to  retire,  and  kneeling  before 
Gilda,  declares  his  love  for  her  ("E  il  sol 
deir  anima  "),  pretending  he  is  a  poor 
student  named  Gualtier  Malde.  She 
promises  him  her  love  and  he  goes  away. 


35^ 


THE    MUSICAL    GUIDE 


Left  alone  Gilda  muses  on  his  dear  name 
("Caro  noma")  and  enters  the  house. 
Outside  appear  three  courtiers  to  steal 
Rigoletto's  supposed  mistress.  Rigoletto 
appears  and  is  told  they  are  going  to 
steal  Ceprano's  wife.  His  fears  for  his 
own  daughter  thus  set  at  rest,  he  enters 
the  plot  with  zest,  and  is  given  a  mask, 
which  blindfolds  him,  and  is  set  to  hold 
a  ladder  by  which  the  courtiers  ascend 
his  own  wall  to  steal  Gilda.  Though 
she  manages  to  scream,  he  does  not 
recognise  her  voice.  Tearing  off  the 
bandaging  mask,  he  discovers  too  late 
that  he  has  aided  in  the  violation  of  his 
own  home,  and  remembering  Count 
Monterone's  malediction,  he  swoons. 

Act  11.  —  Scene.  The  Duke's  pal- 
ace. He  is  brooding  over  the  abduc- 
tion of  Gilda  whom  he  truly  loves 
("  Parmi  veder  ").  The  courtiers  enter  to 
tell  him  of  stealing  Rigoletto's  mistress 
("  Scorrendo  uniti  remota  ").  The  Duke 
recognises  from  their  story  that  it  is 
Gilda  whom  they  have  stolen,  and  ex- 
claiming that  the  voice  of  love  calls 
him  ("  Possente  amor  "),  hurries  away. 
Rigoletto  enters,  trying  to  conceal  his 
anxiety  from  the  taunting  courtiers. 
The  Duchess's  page  enters,  asking  for 
the  Duke.  They  try  uneasily  to  explain 
his  absence.  Rigoletto  suspects  that 
Gilda  is  with  the  Duke  and  confessing 
that  she  is  his  daughter  tries  vainly  to 
force  his  way  through  the  courtiers.  He 
curses  them  bitterly  ("  Cortigiani,  vil  raz- 
za  dannata  "),  and  breaks  down  weeping. 
Gilda  appears  and  rushes  to  her  father. 
The  courtiers  withdraw,  and  Gilda  tells 
of  her  humble  lover  and  her  abduction. 
Rigoletto  weeps  with  her  ("  Piange, 
fanciuUa ").  The  Count  Monterone 
passes  in  chains,  confessing  that  his  curs- 
ing of  the  Duke  has  been  vain,  but  Rig- 
oletto fiercely  vows  to  administer  the 
curse,  though  Gilda  pleads  against  his 
frenzy  ("  No,  vecchio,  t'inganni  "). 

Act  III. — Scene.  An  old  weather- 
worn house  on  the  bank  of  the  Mincio. 
Inside,  Sparafucile  cleaning  his  belt. 
Outside  Gilda  pleads  with  her  father 
who  has  plotted  the  death  of  the  Duke. 


She  persists  that  the  Duke  is  faithful  to 
her.     The  Duke,  dressed  as  a  soldier, 
now  appears  inside  the  house,  and  calls 
for  wine.   He  sings  recklessly  of  "  fickle 
woman"  ("  La  donna  e  mobile  "),  and 
when    Maddalena,   Sparafucile's    sister,       31* 
appears,  makes  violent  love  to  her,  not       j 
knowing  that  Gilda  and  her  father  art 
watching  through  crevices  in  the  walls 
The  varying  emotions  are  combined  ir 
the  famous  quartet  ("  Bella  figlia  dell 
amore  ").       Sparafucile   steps   out   am 
bargains  with  Rigoletto,  who  wants  hin 
to  kill  the  Duke  and  put  the  body  in  ; 
sack   which    Rigoletto    will  throw  inti       ^j, 
the  river   at  midnight.      He  pays  hal 
the  sum  agreed  and  promises  more.  H 
has  sent  Gilda  on  ahead  to  don  boy' 
clothes  to  aid  their  flight,  and  now  io. 
lows  her  out.     A  storm  rises,  and  th 
Duke  decides  to  spend  the  night  whei 
he  is.       He  goes   up   to  a  room,    an 
Maddalena  pleads  with  Sparafucile  m 
to  kill  him.     Gilda,  who  has  stolen  bac 
in  boy's  clothes,    overhears    the    pie; 
The  assassin  says  he  will  spare  the  Dul 
if  he  can  get   someone  else  to  put  j^ 

the  sack.     Gilda,  to  save   her  faithle  ^,  . 

lover,  knocks  at  the  door  and  asks  lod, 
ing.  As  she  is  admitted,  the  lights  a 
put  out.     Rigoletto  appears  ;  the  clo  ,^ , 

strikes  twelve.     Sparafucile  comes   0         .j, 
with  a  heavy  sack,  receives  the  mone         „^^ 
and  goes.    As  Rigoletto  is  dragging  t 
sack     toward    the    river,   he    hears    t 
Duke  pass  in  the  distance  singing 
donna  e  mobile."  In  amazement  he 
open  the  sack  and  finds  his  daught^ 
She   asserts  with  dying  breath  her 
votion   to  the   Duke,  and    promises  j 
pray  for  her  father  in  heaven  ("  La:J 
in    cielo ").     She   dies,    leaving  himi 
frantic  grief  and  loneliness,  confess-^ 
the  fulfilment  of  Monterone's  malec;- 
tion. 


La    Traviata    (la   tra-vl-a-ta).     '".t 

Erring  One. 

Three-act  opera.  Book  by  Pis:. 
after  Dumas  fils'  "  La  Dame  aux  €;.!• 
melias"  or  "  Camille  "  (with  names  >f 


m 


STORIES  OF  THE  OPERAS      357 


characters   changed,    and   time    placed 
back  in  1700). 

First  produced  disastrously,  Venice, 
March  6,  1853,  the  failure  being  largely 
due  to  the  embonpoint  of  the  soprano, 
whose  wasting  away  was  not  convinc- 
ing. 

CHARACTERS  AND  THEIR  CREATORS. 

VioLETTA  Valere  (va-la'-rc), 

Mme.  DonatelH,  sopr. 
Flora  Bervoix  (ber-vwa). 

Her  friend sopr. 

Georgio  Germont  (jer'-mont), 

Vavesi,  bar. 
Alfredo  Germont, 

His  son tenor. 

Baron  Dauphol  (da-oo-fol) bass. 

Gastone  de  Letorieres  (gas-to' -ne 

da  la-to-rl-a'-res) tenor. 

Dottore  Grenvil  (dot-to'-re  gran'-vel), 

bass. 
Marsuis  d'Obigny  (do-ben'-ye)  . .  .bass. 

Act  I. — Scene.  The  rich  apartments 
of  Violetta,  a  demi-mondaine  doomed 
to  die  of  consumption.  She  is  giving 
a  dinner-party.  Gastone  introduces 
Alfredo,  who  has  conceived  a  deep  pas- 
sion for  her.  He  is  prevailed  on  to 
sing  a  wine- song,  but  shows  deep  sym- 
pathy when,  the  dinner  finished,  she 
faints  on  the  way  to  the  ball-room. 
She  gives  him  a  flower  and  he  departs, 
followed  soon  after  by  the  other  guests. 
Left  alone  she  thinks  that  she  has  at 
last  found  a  sincere  lover,  and  falls  into 
ecstatic  revery("  Ah,  fors  e  lui  "),  "  Per- 
chance 'tis  he  that  my  fancy  has  been 
painting  in  its  loneliness." 

Act  II. — Scene  i.  A  countrj'  house 
near  Paris.  Alfredo  enters,  rejoicing  in 
the  blissful  seclusion  in  which  he  is  liv- 
ing with  Violetta.  Her  maid  returns 
from  Paris,  and  betrays  the  fact  that 
Violetta  has  been  pawning  her  re- 
sources to  keep  up  the  country  place. 
He  is  overcome  with  the  humiliation  of 
his  position,  and  leaves  for  Paris  to  se- 
cure  funds.     Violetta   enters,   and   re- 


ceiving a  letter  from  Flora  inviting  her 
back  to  the  old  gaiety,  laughs  at  the 
thought.  An  elderly  man  is  shown  in. 
He  announces  himself  to  be  Alfredo's 
father.  He  has  come  to  plead  with  her 
to  give  up  Alfredo  as  otherwise  the 
lover  of  Alfredo's  sister  will  break  off 
the  match  because  of  the  scandal.  After 
a  bitter  struggle,  she  consents,  and  he 
embraces  her  and  goes  into  the  garden. 
She  writes  a  letter  and  Alfredo  sur- 
prises her.  She  leaves  him,  in  great 
agitation.  Soon  a  messenger  appears 
with  a  letter,  and  he  learns  that  Vio- 
letta has  fled.  In  his  grief,  his  father 
appears  and  endeavours  to  console  him, 
reminding  him  of  his  home  in  sunny 
Provence  ;  but  Alfredo  reading  Flora's 
letter  determines  to  follow  Violetta  and 
revenge  himself.  Scene  2.  Flora's 
mansion.  Some  of  her  guests  are  gam- 
bling, others  pass  in  masquerade  as 
gipsies.  Gastone  leads  a  group  of  bull- 
fighters, and  recites  the  romance  of  the 
Matador  Piguillo.  Flora  and  her  de- 
voted but  quarrelsome  Marquis  have 
various  disagreements.  Alfredo  ap- 
pears, and  dejectedly  joins  the  card- 
players.  Violetta  enters  upon  the  arm 
of  the  Baron.  Alfredo  as  he  plays 
makes  slighting  references  to  the  fickle- 
ness of  the  broken-hearted  Violetta. 
Dinner  is  announced,  and  all  leave  the 
room  save  Violetta,  who  calls  Alfredo. 
She  warns  him  of  the  Baron's  fury. 
He  says  he  will  go  if  she  will  go  with 
him,  but  she  refuses,  and  he  summons 
all  the  guests  and  furiously  denounces 
Violetta  as  a  mercenary  wretch  ;  to  pay 
his  debt  to  her  he  flings  a  purse  at  her. 
She  faints  in  the  arms  of  her  Doctor. 
Alfredo's  father  enters  and  leads  him 
away. 

Act  III. — Scene.  Violetta's  bedroom. 
She  is  asleep  and  her  maid  Annina 
sleeps  near  the  fireplace.  The  Doctor 
arrives  and  tells  Annina  that  Violetta 
has  only  a  few  hours  to  live.  When  he 
has  gone,  Violetta  sends  Annina  to  give 
ten  of  her  remaining  twenty  louis  to  the 
poor,  who  are  making  holiday  outside. 
Left  alone  she  reads  an  old  letter  from 


358 


THE    MUSICAL    GUIDE 


Alfredo's  father,  who  has  been  moved 
by  her  suffering  to  send  for  his  son  to 
return  from  the  foreign  countr\'.  She 
fears  that  he  will  be  too  late.  Annina 
enters  hastily,  tr}-ing  to  prepare  her  for 
the  coming  of  Alfredo.  They  have  a 
rapturous  reunion  and  decide  to  flee 
from  "dear  Paris  "("  Parigi  caro  "). 
But  weakness  overcomes  her,  and  she 
accepts  her  fate.  The  Doctor  and 
Alfredo's  father  enter,  but  can  be  of 
no  help.  She  gives  a  medallion  of  her- 
self to  Alfredo  as  a  memorial,  and  dies. 

II  Trovatore    (el  tro-va-to  -re).       The 

Troubadour. 

Four-act  opera.  Book  by  S.  Com- 
marano,  from  a  drama  by  Garcia  de  la 
Vega.  Produced,  Rome,  Januar)'  19, 
1853- 

CHAR.A.CTERS. 

Il  Conte  di  Luna bar. 

Manrico  (man-re'-ko) tenor. 

Ferran'do bass. 

Ruiz  (roo'-ets) tenor. 

An  Old  Zingaro  (Gipsy) bass. 

Un  Messo .' tenor. 

Leonora sopr. 

Azucena  (a-tsoo-cha'-na) m.-sopr. 

Ines  (e'-nes) sopr. 

Act  I. — Scene  i.  Vestibule  to  the 
apartments  of  the  Count.  Ferrando 
tries  to  keep  awake  the  other  servants 
by  telling  them  the  stor\-  of  the  Count's 
younger  brother,  who  had  been  be- 
witched in  his  cradle  by  a  gipsy.  For 
this  the  gipsy  had  been  burned.  Her 
daughter,  and  the  Count's  baby  brother 
then  simultaneously  disappeared.  It 
was  believed  that  he  had  been  burned. 
Ferrando  hopes  some  day  to  meet  this 
younger  gipsy.  Scene  2.  The  gardens 
of  the  Queen's  palace.  Leonora,  her 
maid  of  honour,  tells  her  friend  Ines 
how  she  fell  in  love  with  a  cavalier  at  a 
tournament.  He  appeared  again  one 
placid  night  ("  Tacea  la  notte  placida  "), 
and  sang  to  her  as  a  Troubadour.  She 
confesses  her  love  for  him  ("  Di  tale 
amor  che  dirsi  ").  The  two  women  with- 


draw, and   the  Count  di  Luna  appears, 
breathing  love  for  Leonora.    Outside  he 
hears  the  voice  of  a  Troubadour  singing. 
Leonora  rushes  out   and   mistaking  the 
Count    for  the    singer,  embraces   him. 
The    Troubadour    appearing    upbraids 
Leonora's    faithlessness,    but    she    ex-  , 
plains  her  mistake.     The   Count  chal-  ; 
lenges    Manrico   to    combat,    and    the  ' 
men  withdraw,  Leonora  fainting  with 
terror. 

Act  II. — Scene  i.     A  ruined  house  at 
dawn.     Azucena,  a  gipsy,  near  a  large  . 
fire  ;  near  her  Manrico.  Gipsies  gathered  I 
about.     The    men   working   with  their 
hammers  sing  the  famous  "  Anvil  cho- 
rus"   ("  Vedi    le    fosche ").      Azucena- 
sings  a  fierce  song  of  burning  a  woman  . 
at    the    stake    ("Stride    la    vampa ! ").  j 
The  others  disperse  to  their  tasks,  leav-  ; 
ing    Azucena    and     Manrico    together.  : 
She   tells   him  the  dismal  story  of  her 
mother's   death   for   sorcer)-,  and    how ' 
she,    mad  for  revenge,    had  seized  the  ' 
Count's      younger     brother,      as     she 
thought,    and    burned    him    to    death, 
only  to  find  that  she  had  burned  her' 
own  child.     Manrico  e.xclaims,  "  Then  i  fj 
I    am   not   your   son."      But    Azucena 
denies    her    own   words   and   says   she 
was  raving.     Manrico  tells  her  that  he 
has  once  more  met  his  old  enemy  the 
Count,    this  time  not  in  battle  but  in 
duel  ;  he    had   defeated    him,  but   had 
spared    his    life.     Azucena    commands 
him  never  again  to  spare  the  Count.    A 
messenger  appears  and  summons  Man- 
rico to  the  command  of  the  troops.     He 
bids  Azucena  farewell  and  goes.    Scene 
2.     Convent   cloisters   at    night.       The 
Count  with  his  followers  has  come  to 
kidnap     Leonora,    whose     beauty    he 
cannot     resist     ("II     balen     del     sue 
sorriso  ").     A  chorus  of  nuns  is  heard. 
Leonora  and  Ines  appear,  and  Leonora 
declares  her  intention  to  take  the  veil. 
The    Count    seizes    her,   but    .Manrico 
appears   and    later    some    of    his    fol- 
lowers.    Leonora  consents  to  go  with 
Manrico. 

Act  III. — Scene  i.     Camp   of   Count 
di    Luna,    outside   a   besieged    castle. 


ifi 


STORIES  OF  THE  OPERAS     359 


Ferrando  and    chorus    sing   a   martial 
songC  Squilli,  eccheggi  la  tromba  guer- 
riera  ").  The  Count  appears  and  is  told 
that  a  spying  gipsy  has  been  captured. 
Azucena  is  brought  in.     She  says  her 
home  is  Biscay  and  the  Count  says  his 
younger  brother  was  stolen  there.    Fer- 
rando recognises  her,  she  is  seized,  and 
calls  on    Manrico  her  son  to  save  her. 
The    Count   rejoices  at   this  double  re- 
venge.      Scene    2.       A    room    near   a 
:    chapel  in  the  castle.   Leonora  and  Man- 
j  i    rico  together.     He  rejoices  in  her  love 
!    as  an  aid  in  battle  ("  Ah,  se  ben  mio  "). 
They  are  about   to  be  married   in  the 
chapel    when    Manrico's    friend    Ruiz 
,     brings  news  that  Azucena  is  taken,  and 
j   is  to   be   burned.      Manrico   in   horror 
I   ("  Di  quella  pirra  ")  rushes  to    rescue 
!  her. 

i  Act  IV. — Scene  i.  Outside  a  palace 
j  tower  at  night.  Leonora  and  Ruiz 
I  enter.  Manrico  has  been  captured  ;  she 
sends  him  hope  and  comfort  "  on  love's 
rosy  wings  "  ("  D'amor  sull'  ali  rose"). 
A  death-knell  is  tolled  and  voices  are 
j  heard  chanting  a"  Miserere."  She  hears 
Manrico  bewailing  his  fate  ("Ah,  che  la 
morte  ognora  "),  and  she  vows  to  save 
him  at  all  costs  ("  Tu  vedrai  che  amore 
in  terra  ").  She  withdraws  as  the  Count 
enters,  then  accosts  him  and  begs  for 
Manrico's  life  with  bitter  tears  ("  Mira, 
di  acerbe  lagrime  ").  She  finally  offers 
;  herself  as  payment  for  Manrico's  life. 
i  The  Count  gives  the  order  to  release 
Manrico,  and  Leonora  takes  poison  from 
a  ring,  then  follows  the  Count.  Scene 
2.  A  prison  ;  Azucena  and  Manrico. 
Azucena  sees  in  terrible  vision  her  own 
mother's  death  at  the  stake.  She  falls 
asleep  watched  by  Manrico.  The  Count 
and  Leonora  enter.  She  offers  him  free- 
dom and  begs  him  to  fly.  He  curses 
her ;  but  she  dies  before  him  and  he 
understands  her  fidelity.  The  Count, 
thus  foiled,  orders  Manrico  out  to  death. 
He  awakes  Azucena  and  drags  her  to 
the  window,  and  shows  her  Manrico's 
dead  body.  She  exclaims,  "  He  was 
your  brother  !  Thus  thou  art  avenged, 
0  mother  mine  !  " 


WAGNER,    WILHELM  RICHARD. 

[Who  wrote  all  of  his  own  librettos.] 
Der  Fliegende  Hollander  (d^r  fle- 
gen-de  h61'-lent-6r).  The  Flying 
Dutchman.  In  French  as  "  Le  Vais- 
seau  Fantome"  (le  ves-s6  fah-tom). 
In  Italian,  first  as  "  L'Ollando'se 
danna'to"then  as  "  II  Vascello  Fan- 
tas'ma "  (el  va-shel'-lo)  or  "  The 
Phantom  Ship." 

Three-act  opera,  book  and  music  by 
Wagner.  Conceived  during  a  very 
stormy  three-weeks  sea-voyage  in  1839. 
Begun,  1841.  Produced,  Dresden, 
January  2,  1843. 

CHARACTERS    AND   THEIR    CREATORS. 

Daland  (da-lant), 

A^orccegian  sea-captain bass. 

Erik  (a'-rek), 

A   huntsman tenor. 

Das  Steuermann  (das  shtoi'-er-man), 

Daland' s  pilot tenor. 

The   Hollander Wechter,  bar. 

Senta  (zan'-ta), 

Daland's  daughter, 

Frau  Schroder-Devrient,  sopr. 
Mary  (ma-re) m.-sopr. 

Act  I. — A  rocky  shore.  Under. a 
heavy  storm  a  Norwegian  ship  has  cast 
anchor  close  to  shore.  The  sailors  are 
heard  singing  as  they  furl  the  sails. 
Daland  on  the  rocks  grumbles  at  being 
driven  inshore  so  near  his  port,  so  near 
home  and  his  dear  old  child  .Senta. 
The  storm  subsides  and  Daland  (with 
grand  opera  license)  is  able  to  step 
aboard  as  easily  as  he  stepped  ashore. 
He  orders  the  sailors  below  to  rest  and 
leaves  the  pilot  to  take  the  watch.  Left 
alone,  the  pilot  sings  a  love-song  of  his 
sweetheart  ("  Mein  Miidel  ")  and  the 
southwind  that  brings  him  home.  He 
gradually  falls  asleep.  The  storm  wak- 
ens and  a  ship  with  blood-red  sails  and 
black  masts  appears  and  drops  anch- 
or with  a  crash  ;  then  the  uncanny 
crew  furl  the  sails  without  noise,  and 
go  below.  The  captain  landing,  ex- 
claims that  the  seven-year  terror  is  past 


36o 


THE    MUSICAL    GUIDE 


and  he  may  come  ashore  a  little  while. 
He  bewails  his  lot,  cursed  to  sail  on 
forever  till  the  Day  of  Judgment  unless 
some  woman  perchance  may  love  him 
unchangingly.  He  feels  the  futility  of 
such  hope  and  cries  to  heaven  to  de- 
stroy him.  On  Daland's  ship  there  is  a 
scene  of  excitement.  Daland,  coming 
on  deck,  finds  his  pilot  asleep  and  a 
strange  ship  near ;  he  goes  ashore  and 
meets  the  newcomer,  who  tells  him  of 
his  sad  lot  and  begs  a  home  for  a  time  ; 
he  has  a  chest  brought  from  his  ship 
and  offers  the  pearls  it  contains  for  a 
night's  hospitality,  and  still  greater 
wealth  for  the  hand  of  the  daughter 
Daland  mentions.  The  canny  Daland 
accepts,  and  the  two  captains  going 
aboard  cheerfully  make  sail  for  Da- 
land's  port. 

Act  II. — Scene.  Interior  of  Daland's 
home.  Among  charts,  pictures,  etc.,  on 
the  wall  is  a  portrait  of  a  pale,  black- 
bearded  man  in  .Spanish  garb.  The 
room  is  filled  with  girls  at  spinning 
wheels.  Senta  and  Mary  are  among 
them.  Senta  alone  of  all  is  sad,  and  the 
merry  spinning  chorus  ("  Summ'  und 
brumm'  ")  does  not  enliven  her.  Mary 
rebukes  .Senta  for  gazing  at  the  por- 
trarit.  They  finally  persuade  her  to  sing 
the  ballad  of  the  "  Flying  Dutchman," 
whose  portrait  it  is.  She  sings  of  the 
ship  with  blood-red  sails  and  black 
mast  and  her  sleepless  spectral  captain, 
who  must  sail  on  and  on  forever  be- 
cause in  trying  to  round  a  cape  in  the 
teeth  of  a  gale  he  swore,  "  I  will  keep  on 
trying  to  all  eternity."  Satan  heard  him 
and  condemned  him  to  sail  eternally 
till  some  maiden  should  love  him  faith- 
fully. He  may  land  once  in  seven  years 
to  hunt  for  such  a  wife.  At  the  end  of 
the  ballad  Senta  e.xcitedly  cries  out 
that  she  herself  would  be  that  faithful 
woman.  Her  lover  Erik  enters,  and, 
hearing  the  words,  is  deeply  hurt  at  her 
resolve.  When  the  spinners  finish  the 
task  and  leave,  he  pleads  for  her  love  ; 
but  she  puts  him  off,  eager  to  welcome 
her  father,  whose  ship  has  been  sighted. 
Erik  is  jealous  of  the  picture  and  tells 


her  that  he  has  dreamed  of  seeing  her 
father  coming  home  and  bringing  the 
Flying  Dutchman ;  in  the  dream  Senta 
embraced  the  stranger  and  sailed  away 
with  him.  On  hearing  this  dream, 
Senta  e.xclaims  that  she  feels  the  Flying 
Dutchman  to  be  her  destiny.  Erik 
rushes  away  in  horror.  Senta,  remain- 
ing gazing  at  the  picture,  suddenly  sees 
her  father  enter  with — the  Dutchman 
himself !  Her  father,  amazed  at  her 
stupor,  tells  her  that  the  stranger  has 
come  to  find  a  home  and  a  wife.  Com- 
mending each  to  each,  he  goes  away, 
leaving  them  together.  The  Dutchman 
muses  on  her  beauty  and  she  on  his 
sorrow.  He  asks  her  to  be  his  wife  and 
she  vows  to  follow  him  through  all. 
Daland  returning  is  rejoiced  at  the  out-  j 
come. 

Act  III. — Scene.  A  bay  at  night ; 
on  shore,  Daland's  house  ;  in  the  bay 
Daland's  and  the  Dutchman's  ships  at 
anchor.  Daland's  sailors  are  making 
merry  on  deck  singing  "  Pilot,  leave  the 
watch"  ("  Steuermann,  lass  die 
Wacht  ").  Girls  come  from  the  house 
with  food  and  drink  for  the  sailors. 
They  are  surprised  at  the  unnatural 
gloom  and  silence  on  the  Dutch  ship. 
They  can  get  no  response  to  their 
taunts.  At  length  a  strange  blue  flame 
appears  on  the  Dutch  ship,  and  gradu- 
ally a  storm  rocks  the  weird  craft,  leav- 
ing the  bay  and  the  other  ship  calm. 
The  Dutch  sailors  now  bestir  themselves 
and  chant  a  sardonic  song  of  the  van- 
ity of  the  Dutchman's  hopes.  The 
Norwegian  sailors  and  women  are. 
frightened  and  try  to  drown  the  uncanny 
song  with  their  own,  but  vainly,  and 
finally  go  below  in  terror,  and  silence 
takes  the  Dutch  ship  again.  Erik  and 
Senta  come  from  the  house,  he  pleading 
with  her  frantically  and  imploring  hei 
to  remember  the  dav  of  their  young 
love  ("  Willst  jenes  Tag's").  Tht; 
Dutchman  entering  hears  his  plea  and, 
thinking  .Senta  false,  cries  out  in  despair.' 
and  orders  his  crew  to  set  sail,  weigl- 
anchor  and  away.  Senta  pleads  witf 
him,  in  spite  of  Erik's  prayer,  but  th« 


._UJ  _ 


STORIES  OF  THE  OPERAS      361 


Dutchman  mocks  her.  He  proclaims 
his  identity  and,  going  aboard  his  ship, 
puts  to  sea.  Senta  is  restrained  from 
following  him  by  her  father  and  others 
who  rush  out.  But  she  breaks  away, 
and  with  a  last  cry,  "  Here  am  I,  faith- 
ful unto  death  !  "  leaps  into  the  sea. 
The  Dutch  ship  sinks,  and  in  the  sun- 
set glow  Senta  and  the  Hollander  are 
seen  rising,  transfigured  in  each  other's 
arms. 

Die    Meistersinger   von   Niirnberg 

(de  mi'-ster-zlng-er  fon  niirn'-berkh). 
Les  Maitres  Chanteurs  (la  metr  shah- 
ttir).      I    maestri    cantori    di   Norim- 
burga  (e  ma-a'-stre  kan-to'-re).     The 
Mastersingers  of  Nuremburg. 
A  3-act  Comic  Opera.     First  sketched 
in  Vienna,  1845,    the  text   finished  and 
published,    Paris,  1862,  music  finished, 
1867. 
Produced,  Munich,  June  21,  1868. 

CHARACTERS  AND  THEIR  CREATORS. 

Hans  Sachs  (hans  zakhs), 

A  cobbler  and  fatuous  writer, 

Betz,  bass. 
Veit  Pogner  (fit  pokh'-ner), 

A  goldsmith bass. 

SixTus   Beckmesser   (ze.x'-toos    bek'-mes- 
ser), 

To7vn   clerk Holzel,  bass. 

Fritz  Kothner  (frits  kot'-ner), 

A   baker bass. 

Eight  other  tradesmen. 
Walther    von    Stolzing    (val  -ter     fon 
shtol'-tslng), 
A  young  Franconian  Knight, 

Nachbauer,  tenor. 
David  (da -fet), 
Apprentice  to  Hans  Sachs, 

Schlosser,  tenor. 
Eva  (a'-fa), 

Pogner' s  daughter,  in  love  with  Wal- 
ter, Frl.  Mallinger,  sopr. 
Magdalene  (makh-da-Ia'-ne), 

Evas  maid,  in  love  with  David, 

Frau  Dietz,  m.  sopr. 
A  Night  Watchman. 


Note. — This  semi-historical  opera 
concerning  the  guild  of  Mastersingers 
is  a  comic  companion-piece  to  Tann- 
hauser  (q.  v..  Note  a),  but  without  su- 
pernatural personages.  It  is  also  a 
satirical  answer  to  Wagner's  academical 
critics.  Hans  Sachs  is  an  actual  figure 
in  early  German  literature. 

Act  I. — Scene.  Interior  of  St.  Kath- 
erine's  church.  A  service  is  just  clos- 
ing. Walter  gazes  at  Eva,  who  flirts 
with  him,  and  when,  as  the  congrega- 
tion disperses,  he  speaks  to  her,  she 
gains  time  by  sending  her  nurse  back 
for  a  scarf-pin,  then  her  prayer-book. 
The  anxious  nurse  tells  the  ardent 
lover  that  Eva  must  marry  the  vic- 
tor in  the  next  day's  song-tourney. 
David  enters  and  busies  himself  draw- 
ing curtains  to  shut  off  the  nave.  Eva, 
comparing  Walter  to  the  painter  Dii- 
rer's  picture  of  the  Biblical  David,  is 
misunderstood  by  Magdalene  to  refer 
to  the  awkward  apprentice.  David 
and  other  apprentices  are  preparing  the 
room  for  the  Mastersingers  ;  they  are 
about  to  undergo  the  examination  that 
will  admit  them  to  the  guild.  Walter 
decides  to  try  the  examination.  David, 
with  his  shoemaking  companions,  tells 
him  how  a  song  must  be  cut,  soled  and 
heeled  to  fit  the  rigid  requirements  of 
the  guild.  With  many  interruptions 
from  the  skylarking  apprentices,  David 
tells  Walter  of  the  various  steps  ;  first 
the  thirty-six  musical  tones  and  modes 
must  be  learned,  they  make  a  long  list 
most  arbitrarily  named  as  "short,  long, 
crimson,  luscious,  nightingale,  secret, 
glutton,  pelican,  etc."  Once  these  are 
known,  they  must  be  sung  with  proper 
voice  production  and  correct  embellish- 
ment. Having  thus  become  "  a  scho- 
lar" and  "a  singer,"  one  must  pass  the 
examination  as  "  Poet,"  manipulating 
rimes  adroitly  but  strictly  within  limits 
of  the  rules.  To  become  a  "Master- 
singer  "  one  must  sing  both  poetry  and 
music  of  his  own  composing,  and  do  all 
three  feats  without  breach  of  the  thirty- 
three  canons.     A  blackboard  is  brought 


362 


THE    MUSICAL    GUIDE 


in.  On  this  one  of  the  judges,  called 
the  "  Marker,"  chalks  down  each  mistake 
— seven  are  allowed  ;  if  more  are  made 
the  candidate  is  declared  "  outsung  and 
outcast."  I'ognerand  Beckmesser  enter, 
the  latter,  a  grotesque  old  pedant,  beg- 
ging Pogner  to  plead  with  his  daughter 
on  his  behalf,  Pogner  having  declared 
that  though  Eva  is  to  be  the  prize,  she 
must  add  her  consent  before  she  will  be 
made  to  marry  the  victor.  Walter  an- 
nounces himself  as  a  candidate  for 
Mastership.  Beckmesser  is  jealous, 
but  the  rest  welcome  the  young  noble- 
man. The  roll  is  called,  Pogner  an- 
nounces the  prize  he  offers  for  the  next 
song  contest — his  daughter,  who  must 
add  her  verdict  to  that  of  the  judges. 
Hans  Sachs  suggests  that  the  public 
also  be  given  a  voice  in  the  decision.  He 
defends  their  right  to  be  considered, 
lest  art  grow  too  severe  and  hidebound. 
He  enrages  Beckmesser  by  hinting  that 
only  the  young  bachelors  be  allowed  to 
vie  for  the  girl's  hand.  Walter  is 
brought  forward,  and  asked  who  has 
been  his  teacher.  He  says  the  books 
of  the  old  Minnesinger  \\  alter  von  der 
Vogelweide  (vide  Tannhauser)  have 
taught  him  poetry  ;  he  has  learned  mu- 
sic of  the  birds  in  the  woods.  His  tui- 
tion is  received  with  scepticism  save  by 
Sachs,  and  he  prepares  for  the  trial. 
Beckmesser  goes  to  the  Marker's  box. 
Kothner  summarises  to  him  the  rules, 
and  Walter  begins  a  joyous  song  of 
spring  and  love.  Beckmesser  is  heard 
scratching  down  the  marks,  and  at  the 
end  shows  the  blackboard  quite  cov- 
ered. The  other  masters  ridicule  the 
formless  composition,  and  Walter  is 
allowed  to  sing  his  second  stanza  only 
when  Sachs  has  outwrangled  Beck- 
messer, who  insults  him  as  a  poor 
cobbler.  The  spontaneous  lilt  of  the 
second  attempt  Beckmesser  finds  guilty 
of  breaking  every  rule,  and  despite 
Sachs'  plea  for  genius  unfettered,  a  vote 
throws  Walter  out,  and  the  meeting 
disperses  in  confusion. 

Act  11. — Scene.      A    Street,   on   one 
side  Hans  Sachs'  Shop  ;  on   the   other 


Pogner's  residence,  in  front  of  it  a  lime- 
tree  and  shrubs.  It  is  evening  and  the 
apprentices  are  putting  up  the  shutters, 
and  thinking  of  the  next  day's  festival. 
Magdalene  enters  with  a  basket  of 
sweets  for  David  ;  on  learning  of  Wal- 
ter's rejection,  she  snatches  it  away, 
and  hurries  into  the  house.  The  ap- 
prentices mock  him,  and  Sachs,  on  his 
way  to  his  shop,  stops  an  impending 
brawl.  Pogner  and  Eva  enter  ;  he  says 
she  must  wed  none  but  a  master,  and 
enters  the  house.  Eva  and  Magdalene, 
after  deciding  to  consult  Hans  Sachs, 
follow  Pogner.  Sachs  appears  and  sits 
down  at  his  bench  to  make  shoes  for 
Beckmesser  ;  he  falls  to  musing  on  the 
strange,  lawless  charm  of  Walter's  song. 
Eva  steals  across  to  him,  but  being 
timid  of  direct  questioning,  gets  noth- 
ing from  him  but  vexation  and  banter 
and  reproval  of  the  aristocrat,  who 
would  not  study  the  rules.  He  with- 
draws to  his  shop,  leaving  his  door  slight- 
ly ajar.  Magdalene  tells  Eva  to  prepare 
for  a  serenade  from  Beckmesser,  who 
hopes  so  to  soften  her  heart  to  him. ' 
Walter  appears  and  tells  Eva  of  his  hu- 
miliation. The  watchman  passes,  or-, 
dering  all  lights  out.  Eva  slips  into  the 
house,  and  \\'alter  hides  behind  the 
lime-tree.  Hans  Sachs  has  overheard, 
and,  fearing  an  elopement,  turns  a 
bright  light  across  the  street.  Eva 
slips  out  in  Magdalene's  cloak,  but  she. 
fears  to  cross  the  light.  Beckmesser  is, 
now  seen  approaching,  and  the  lovers 
hide  behind  the  shrubbery.  Sachs,  re-j 
suming  his  work,  sings  lustily  a  song  of; 
Eve  driven  barefoot  out  of  Paradise, 
and  needing  the  aid  of  a  cobbler.  The' 
cunning  allusion  to  Eva's  own  plan  to 
become  an  exile  is  not  lost  on  the  girl 
hidden  with  her  lover  behind  the  shrub- 
ben,-.  Beckmesser,  seeing  Magdalene 
at  an  upper  window,  sings  to  her  his^ 
idea  of  an  artistic  serenade,  pretending; 
to  Sachs,  whom  he  cannot  get  rid  of, 
that  he  is  singing  merely  to  get  Sachs' 
opinion.  The  cobbler  now  plays  Mark- 
er, noting  each  mistake  with  a  thwaci 
of    his    hammer    on    the   shoe.     Beck 


t 


I 


STORIES  OF  THE  OPERAS      363 


messer  lays  the  stress  on  the  wrong 
syllables,  adds  tawdry  flourishes,  etc. 
Sachs  finds  so  many  mistakes  that 
the  shoe  is  finished  before  the  song. 
The  neighbours  now  begin  to  com- 
plain. David  appears  and  cudgels 
Beckmesser.  The  whole  town  falls 
into  a  riot,  and  Walter  decides  to 
clear  a  way  through.  He  and  Eva 
make  a  dash,  but  Sachs  seizes  Wal- 
ter, and  Pogner  appearing  drags  Eva 
inside  the  house.  Sachs  drives  David 
in,  and  forces  Walter  also  into  his 
house.  And  the  watchman  appearing 
disperses  the  crowd. 

Act  III. — .Scene  I.  Interior  of  Sachs' 
workshop.  Sachs  is  reading.  David  en- 
ters with  a  basket  full  of  ribbons  and 
edibles,  which  he  hides  from  his  master. 
He  tells  Sachs  that  he  and  'Lena  have 
made  up,  but  Sachs  does  not  hear  him. 
At  length  he  closes  his  book,  and  has 
David  rehearse  his  trial-song.  David 
begins  with  Beckmesser's  tune,  but  cor- 
r.ects  himself.  Sachs  dismisses  the  ap- 
prentice more  gently  than  usual,  and 
falls  into  reverie  on  the  troublesome  lit- 
tle things  of  life.  Walter  appears,  hav- 
ing slept  ill.  Sachs  counsels  him  that 
his  passionate  spring  song  was  all  very 
well,  but  that  life  and  wedlock  demand 
more  serious  art  and  science.  In  a  long 
.scene  he  now  writes  down  and  corrects 
,  and  guides  the  composition  of  a  song  as 
:  Walter  improvises  it.  Two  sections  or 
"  bars  "  being  shaped,  Sachs  says  Wal- 
ter can  fashion  the  third  later,  and  goes 
with  him  to  dress  for  the  festival. 
Beckmesser  limps  in  and,  finding  Sachs' 
manuscript  of  Walter's  song,  slips  it  in 
his  pocket.  Sachs  re-enters  only  to  be 
reviled  as  a  rival  and  conspirator  against 
Beckmesser.  In  proof  he  shows  the 
song.  Sachs  says  he  may  keep  it,  and 
use  it.  Beckmesser  is  overcome  with 
delight  at  having  a  poem  by  the  gifted 
Sachs,  and  hurries  away  to  compose  his 
music.  Eva  enters,  pretending  to  be 
troubled  by  a  tight  shoe  ;  but  she  can- 
not tell  where  it  pinches.  She  is  evi- 
dently scheming  to  see  Walter,  who 
5oon  appears.     Sachs  draws  off  her  shoe 


and  pretends  to  be  busy  with  it,  while 
Walter  sings  to  Eva  the  third  bar  of  his 
prize-song.  As  Sachs  sighs  ironically 
of  the  miseries  of  his  trade,  Eva  tells 
him  that  she  could  have  loved  him  had 
not  Walter  appeared.  But  Hans  Sachs 
alludes  to  the  fate  of  the  old  husband, 
who  intervened  between  Tristan  and 
Isolde  (the  love-motive  of  that  opera 
being  quoted  in  the  music).  Magda- 
lene and  David  enter.  .Sachs  says  a 
new  mode  of  art  has  been  created  by 
Walter,  and  with  a  box  on  the  ear  he 
raises  David  to  a  journeyman.  The 
five  unite  in  a  song  of  hope  for  Walter's 
success — this  glorious  quintet  is  well 
known.  Eva  and  Magdalene  go  home, 
and  the  scene  changes  to  2.  The  banks 
of  the  river  Pegnitz  ;  a  stage  has  been 
erected  for  the  contest,  and  the  "  Cor- 
porations" arrive  in  the  following  or- 
der :  Shoemakers,  Instrument  makers, 
Tailors  and  Bakers.  The  apprentices 
gather.  David  waltzes  with  a  girl  till 
someone  mentions  Magdalene.  The 
Masters  gather,  and  Pogner  leads  in 
Eva.  .Sachs  steps  forward,  but  the  af- 
fectionate people  break  out  into  one  of 
his  own  songs.  Sachs  then  tells  of  the 
unusual  prize  of  the  contest.  Beck- 
messer is  the  first  to  sing,  and  is  re- 
ceived with  laughter.  He  sings  Wal- 
ter's verses  to  his  old  serenade  tune. 
The  words  fit  it  so  ill,  that  he  becomes 
confused,  mixes  his  metaphors  and 
words  and  sings  arrant  nonsense.  He 
at  length  breaks  down  and,  accusing 
.Sachs  of  the  fault,  rushes  away.  .Sachs 
says  the  song  is  not  his,  and  only  needs 
good  music.  To  prove  it,  he  asks  Wal- 
ter to  sing  it  ;  Walter  takes  his  place 
and  wins  the  enthusiasm  of  the  throng 
by  his  art.  The  people  at  last  vote  him 
the  prize.  Pogner  welcomes  him  as  a 
Master.  Sachs  gives  him  counsel  in  the 
glory  of  German  poetry  and  song,  and 
places  the  golden  chain  about  his  neck. 
Eva  takes  the  Master's  wreath  from 
Walter's  head  and  places  it  on  that  of 
Sachs.  Walter  and  she  embrace  the 
cobbler,  whom  all  hail  with  affectionate 
homage. 


3^4 


THE    MUSICAL    GUIDE 


Lohengrin  (lo'-en-gren). 

Three-act  opera.  Begun  in  1845. 
Produced,  Weimar,  August  28,  1850 
(Goethe's  birthday). 

CHARACTERS   AND   THEIR   CREATORS. 

Lohengrin Beck,  tenor. 

Heinrich    der    Vogler     (hin'-rlkh     der 
fokh'-ler)  ("Henry  the   Fowler"), 

Emperor Hofer,  bass. 

Friedrich  von  Telramund  (fret'-rtkh  fon 

tel'-ra-moont) Millde,  bar. 

The  Herald  of  the  King bass. 

Elsa  von  Brabant  (el'-za  fon  bra -bant), 
Frau  Agathe,  sopr. 
Ortrud  (or'-troot). 

Wife  of  Count  Telramund, 

Frl.  Fastlinger,  alto. 

Act    I. — Scene.     The   banks   of   the 
Scheldt     in     Brabant    near    Antwerp, 
/  Tenth    Century.       After   the    Herald's 

message  the  Emperor  Henry  announces 
that  he  has  come  to  Brabant  to  gather 
forces  to  repel  the  Hungarians  ;  he 
learns  that  the  people  are  in  discord. 
He  calls  on  Telramund  to  explain,  and 
is  told  by  him  that  the  late  Duke  had 
died,  leaving  two  children  in  Telra- 
mund's  charge.  The  son  and  heir  has 
disappeared  and  he  accuses  the  sister 
Elsa  of  putting  him  out  of  the  way.  He 
therefore  claims  the  Duchy  as  next 
kinsman.  The  accused  is  summoned 
to  trial,  and  she  enters,  answering  the 
King's  questions  by  telling  a  dream  she 
had  of  an  angelic  knight  and  defender. 
Telramund  offers  to  undergo  the  ordeal 
of  battle  (which  was  then  the  procedure 
of  the  courts)  and  Elsa  says  she  will 
have  no  champion  save  the  one  she 
dreamed  of.  Four  trumpeters  sound 
North, South, East,  and  West,  but  no  one 
appears  to  champion  her.  She  kneels 
in  prayer  ;  from  the  distance  comes  a 
knight  in  a  boat  drawn  by  a  swan.  All 
are  amazed  except  Ortrud,  who  is  ter- 
ror-stricken. The  knight  (who  is  Parsi- 
fal's son  Lohengrin,  one  of  the  semi- 
deified  Knights  of  the  Holy  Grail  period 
of   King   Arthur)   bids  farewell  to  the 


swan,  which   departs.     He   announces    I 
himself  Elsa's  champion,  but  makes  one    j 
stipulation  :  that  she  shall  ask  no  ques-    ! 
tions  of  who  or  what  he  is,  or  whence    i 
come.     She  promises  and  is  embraced    | 
as  his  betrothed.     The   ground,  is  now 
prepared    for   the    fight  and   with   due  1 
ceremony   the    contest    begins.     Telra-  I 
mund  is  soon  beaten  down,  but  his  life  is 
spared,  and  he  and  his  wife  are  crushed 
with  shame,  while  the  Knight  is  hailed 
with  joy  by  the  others. 

Act  II. — Scene.  Night  outside  the 
palace.  On  the  steps  of  the  Minster 
opposite,  cower  Telramund  and  his 
wife.  Under  the  ban  of  confiscation 
and  exile  they  linger  in  rags.  He  re- 
viles her  as  the  cause  of  his  disgrace, 
the  lying  accuser  of  Elsa  and  the  source 
of  the  whole  plot.  She  promises  in  one 
day  to  ruin  Elsa  by  making  her  ask 
Lohengrin  the  forbidden  question.  She ; 
relies  on  witchcraft  for  success.  Elsa 
appears  on  the  balcony  in  blissful  rev- 
erie. Ortrud  with  mock  meekness  ad- 
dresses her,  craving  pity,  which  Elsa 
bestows.  She  comes  down  to  take  into! 
shelter  the  outcast  noblewoman,  prom-! 
ising  to  add  Lohengrin's  forgiveness- 
to  her  own.  She  invites  her  to  attend 
the  wedding,  and  Ortrud,  pretending 
gratitude,  says  she  would  save  Elsa 
from  impending  ill,  and  hints  thatj 
Lohengrin  may  depart  as  easily  as 
he  came.  Elsa,  ill  at  ease,  takes  heij 
into  the  house,  and  Telramund  watche<: 
gloatingly.  Day  begins  with  th( 
bustle  of  servants  and  the  sounding  o 
trumpets  to  gather  the  people.  Th< 
Herald  publishes  Telramund's  exile,  Lo 
hengrin's  accession  to  his  estates,  hi 
wedding  to  Elsa,  and  the  departure  th 
next  day  of  all  the  warriors  to  battle 
Four  noblemen,  angry  at  being  callc' 
on  for  service,  find  Telramund  and  cor 
ceal  him.  The  wedding  processio 
forms,  Elsa  entering  with  Ortrud  richl 
garbed.  As  Elsa  is  about  to  ascend  tb 
Minster  step,  Ortrud  angrily  darts  i' 
front  of  her,  demanding  precedenc< 
She  casts  aspersion  on  the  mysterioi 
Knight.      The   King    and    Lohengri 


STORIES  OF  THE  OPERAS      365 


press  through  the  crowd,  and  Lohen- 
grin, rebuking  Ortrud  as  an  evil  sorcer- 
ess, starts  to  lead  Elsa  up  the  steps. 
Telramund  confronts  him,  demanding 
his  name  and  station.  Lohengrin  sees 
with  grief  that  Elsa  is  disheartened  and 
afraid.  Telramund  whispers  to  her 
that  if  the  Knight  but  lose  even  a 
finger-joint,  he  must  tell  all.  Elsa 
hesitating,  finally  falls  on  Lohengrin's 
bosom  and  enters  the  Minster  with  him. 
Act  III. — Scene  i.  The  bridal  chamber. 
The  procession  enters  and  Lohengrin 
and  Elsa  are  divested  of  their  outer 
robes.  Left  alone  they  exchange  words 
of  bliss,  and  she  says  her  only  regret  is 
that  she  may  not  know  and  speak  his 
name.  She  persists  in  her  questioning, 
despite  his  entreaties.  Suddenly  Tel- 
ramund and  the  four  nobles  rush  in  with 
swords  drawn.  Elsa  seizes  Lohengrin's 
sword  and  hands  it  to  him  quickly.  He 
kills  Telramund  with  it  and  bids  the 
nobles,  who  yield,  to  take  the  body  to  the 
King.  Elsa  swoons  and  he  summons 
her  women  and  bids  them  take  her  also 
before  the  King.  He  promises  there  to 
give  her  the  answer  she  has  asked  ;  and 
sadly  departs. — The  scene  changes  to 
that  of  Act  I.  The  armies  gather  and 
the  King  promises  them  success  in 
battle.  Telramund's  body  is  brought 
in,  followed  soon  by  the  tottering  and 
dejected  Elsa,  then  by  the  mournful 
Lohengrin.  He  tells  the  King  he  can- 
not go  to  the  war  with  the  armies  :  he 
says  that  Telramund  was  slain  as  a 
midnight  assassin,  and  that  Elsa  has 
been  lured  into  breaking  her  vow.  He 
says  he  has  no  shame  of  birth  to  con- 
ceal, and  describes  the  Temple  of  the 
Holy  Grail  (i.e.,  the  second  cup  or  grail, 
from  which  Christ  drank  at  the  Last 
Supper,  which  contained  the  blood  He 
shed  on  the  cross,  and  which  is  preserved 
and  renewed  yearly  by  the  Holy  Ghost, 
as  it  is  guarded  by  Knights  chosen  for 
blameless  life).  Lohengrin  declares  that 
heistheson  of  Parsifal  (see  the  storj-  of 
that  opera),  and  has  been  sent  to  rescue 
the  maiden.  The  swan  reappears  and 
Lohengrin  announces  that  the  Grail  is 


recalling  him.  He  says  that  Elsa's 
brother  will  return  to  her,  and  gives 
her  for  him  his  sword,  horn,  and  ring, 
which  ensure  her  brother's  success. 
Ortrud  exultantly  confesses  that  Elsa's 
brother  is  the  swan,  changed  to  that 
shape  ;  if  the  Knight  had  remained,  the 
swan  would  have  been  freed  of  the 
spell.  Lohengrin  listening  kneels  in  the 
boat  to  pray.  A  dove  descends,  Lohen- 
grin joyfully  removes  the  chain  from  the 
swan,  which  sinks.  In  its  place  appears 
Elsa's  brother.  Ortrud  falls  with  a 
shriek.  Elsa  greets  the  boy  with  such 
delight  that  she  does  not  see  the  dove 
taking  the  chain  and  drawing  the  boat 
away.  The  nobles  kneel  to  the  returned 
boy,  but  Elsa  seeing  Lohengrin  already 
far  in  the  distance,  faints  with  a  last 
cry,  "My  husband  !  " 

Tristan  und  Isolde  (tres'-tan  oont 
e-z61t'-e).  Tristram  et  Yseult  (tres- 
trah  a  e-sul),  F.  Tristram  and  Isolde. 
Three-act      "  Action."        Composed 

1857-59.     Produced,  Munich,  June  lO, 

1865. 

CHAR.\CTERS   AND   THEIR   CREATORS. 
Tristan, 

Cornish  A'nighi, 
Ludwig  Schnorr  von  Carolsfeld,  tenor. 
KuRWENAL  (koor'-fe-nal), 

His  squire Mitterwurzer,  bar. 

KoNiG  Marke  (ka'-nTkh  mar'-ke), 

Zoltmayer,  bass. 
Melot  (ma'-lot). 

King  of  Cormvall tenor. 

Steersman bar. 

Young  Sailor tenor. 

Shepherd tenor. 

Isolde, 

Daughter  of  the  king  of  Ireland, 
Frau  Schnorr  von  Carolsfeld.  .sopr. 
Brangane  (brang-a'-ne). 

Her  attendant Frl.  Deinet,  sopr. 

Act  I. — Scene.  A  pavilion  on  the 
forward  deck  of  a  ship  ;  a  tapestry  clos- 
ing from  view  the  portion  aft.  Isolde 
reclining  on  a  couch,  Brangane  gazing 


366 


THE    MUSICAL    GUIDE 


out  over  the  sea.  The  voice  of  an  un- 
seen sailor  singing  of  his  Irish  love. 
Isolde  starts  up  in  a  sudden  fury.  Bran- 
gane  is  distressed.  Isolde  calls  for  air. 
Isolde  throws  back  the  tapestry,  show- 
ing sailors  and  knights  and  Tristan  look- 
ing off  seaward.  Isolde  speaks  scornful- 
ly of  Tristan  to  Brangane,  who  defends 
him.  Sent  to  summon  Tristan,  Bran- 
gane finds  him  reluctant  to  come  ;  he 
says  his  only  duty  is  to  take  the  bride 
Isolde,  willing  or  not,  to  King  Marke, 
who  awaits  her.  The  devoted  Kurwe- 
nal  emphasises  this  point,  but  is  re- 
proved by  Tristan,  while  Brangane 
draws  the  curtains  again.  The  insulted 
Isolde  tells  her  of  the  first  meeting  when 
once,  years  before,  she  had  found  Tristan 
wounded  in  Ireland  and  had  nursed  him 
to  health,  though  she  should  have  killed 
him,  since  he  had  killed  her  kinsman 
and  betrothed  lover  Thorold.  He  had 
made  love  to  her  and  she  had  forgotten 
the  blood-feud  between  them  ;  then  he 
had  sailed  away,  only  to  return  to  de- 
mand her  hand  for  his  king  and  lead 
her  away  as  bride  to  another.  She 
curses  Tristan.  Brangane  tries  to  calm 
her,  but  at  Isolde's  order  brings  out  a 
coffer  of  medicines  and  poisons.  Isolde 
indicates  a  deadly  draught.  The  crew 
is  heard  greeting  the  land.  Kurwenal 
appears  to  bid  them  prepare  to  disem- 
bark. She  tells  him  to  send  Tristan  to 
her.  Brangane  pleads  irantically,  but  is 
silenced  as  Tristan  enters.  He  explains 
that  honour  has  kept  him  far  from  her, 
and  she  bitterly  reminds  him  that  she 
should  have  slain  him  for  killing  Tho- 
rold. He  offers  her  his  sword,  but  now 
she  pretends  to  have  forgiven  him  and 
asks  him  to  seal  the  peace  with  a 
draught ;  she  offers  him  the  cup  and  he 
drinks  ;  she  snatches  it  away  from  him 
and  drains  the  rest.  Instead  of  both  dy- 
ing as  Isolde  expects,  the  draught,  which 
Brangane  has  surreptitiously  changed 
to  a  love-potion,  makes  them  lovers, 
madly  impassioned  and  blind  to  all  that 
goes  on  about  them.  They  do  not  ob- 
serve even  the  bustle  of  landing,  and  the 
approach  of  King  Marke  from  shore. 


Act  II. — Scene.     A  garden  with  steps 
leading   up   to    Isolde's    chamber.       A 
torch  burns.     In  the  distance  the  horns 
of  far-away  hunters  are  heard.     Isolde  is 
awaiting  Tristan.      Brangane  warns  her 
that    Melot,    her    pretended    friend,   is 
actually  spying  on   them  ;   she    bitterly 
regrets  her  mixture  of  the  love-potion, 
but    Isolde    says    it    is    destiny.     She 
quenches  the  torch    as    a    signal,    and 
beckons    to    Tristan,    who   hurries   in. 
They  have  a  long  scene  of  unrestrained 
ecstasy,    the    voice    of    Brangane,    who 
watches  unseen  from  the  tower,  falling   t 
on   their  ears   with   unheeded  warning.    1 
At  last  she  screams.     Kurwenal  rushes    jl 
in   to   warn   Tristan,  but   King   Marke,    i  " 
and  Melot  and  others  appear  and  con-   j 
front  the  lovers.     Tristan  in  a  daze  tries  j 
to  conceal  Isolde,  who  is  overcome  with  j 
shame.      Melot   is  violent  with  accusa-  i  ; 
tions,  but    King    Marke   is  only  bewil-  j    ; 
dered  and  mystified.     Tristan  confesses  j  .': 
equal    bewilderment,    is    ready    to    die, 
however,  and  asks  Isolde  if  she  will  die  i    I 
with  him.     She  says  she  will  follow  him  j 
anywhere  ;  he  kisses  her.      Melot  draws  j 
his  sword.      Tristan   rebukes  him   as  a  i 
false  friend,  draws  and  attacks,  but  lets  ' 
himself  be  wounded,  and   falls   in    Kur-  I 
wenal's  arms.     Isolde  throws  herself  on  ; 
his  breast.  I    - 

Act  III. — Scene.     A  castle  garden  on    H 
the  cliffs.     The  mortally  wounded  Tris-j  ii 
tan  lies  sleeping  on  a  couch  watched  by 
the    anxious    Kurwenal.     A    shepherd 
playing   a    melancholy   air    on   a   pipe 
pauses  to  inquire  of  Tristan's  welfare. 
He  is  watching  for  a  ship — Isolde's,  if 
he  sees  it,  he  will  pipe  merrily.     Tris-; 
tan  wakes  drearily.     Kurwenal  explains 
how  he  had  carried  the  wounded  Tris-' 
tan  away  to  his  own  long-deserted   cas-i    ^■ 
tie.      Tristan   tells   a   dream   he   had  of^    i 
Isolde.     Kurwenal  says  he  has  sent  foi'    ' 
her  to  come  and  heal  the  wound.     This 
enraptures  Tristan   for  a  moment,  but 
he   sinks  back   under    the    spell  of    the, 
shepherd's  wailing  song.      He   waken; 
again,  however,  and  the  shepherd  play: 
a  brighter  melody.     A   ship 
Isolde    leaps    ashore,     and 


r 


is  sighted      l 
Kurwena     j^ 


STORIES  OF  THE  OPERAS      367 


hastens  down  the  steep  to  bring  her  up. 
Tristan,  left  alone  in  a  delirium  of  joy, 
desires  to  meet  Isolde  again  as  when 
she  first  saw  him — with  bleeding  wounds. 
He  tears  the  bandage  from  his  wound, 
staggers  toward  her,  and  dies  in  her 
arms  with  a  last  sigh  "  Isolde  !"  The 
shepherd  now  warns  Kurwenal  that  an- 
other ship  has  landed  with  King  Marke 
and  Melot.  They  barricade  the  gate. 
Kurwenal  kills  Melot  and  resists  Marke 
and  his  followers,  not  heeding  Bran- 
gane's  appeals,  and  is  wounded  to 
death.  Brangane  tries  to  explain  to 
Isolde  that  she  has  told  the  story  of  the 
love-potion.  The  King,  understanding 
all,  has  come  to  reunite  the  lovers. 
Isolde,  however,  oblivious  of  everything, 
falls  into  a  state  of  exaltation  and  seems 
to  see  Tristan  rising  in  an  apotheosis  of 
bliss.  In  a  transhguration  of  rapture, 
she  sinks  upon  his  body,  and  King 
Marke  invokes  a  blessing  on  the  dead 
lovers.  This  swan-song  of  Isolde  is 
called  the  "  Liebestod  "  (le'-bes-tot),  or 
"  Love's-death." 

Tannhauser  und  der  Sangerkrieg 
auf  Wartburg  (tau-hii -e-zer  oont 
der  zeng  -er-krekh  owf  vart  -boorkh). 
Tannhaeuserand  the  Singer's  Contest 
at  the  Wartburg. 

Three-act  opera  ;  book  and  music  by 
Wagner.  Produced,  Dresden  Royal 
Opera,  October  20,  1S45,  with  Frau 
Schroder-Devrient  and  Niemann  as 
Elizabeth  and  Tannhauser 

CH.\KACTERS. 

Knights  and  Singers  : 
Hermann, 

Landgrave  of  Thiiringia. . .  .bass. 

Tannhauser  or  Heinrich tenor. 

Wolfram    von    Eschenbach  (vol'-fram 

fon  esh'-en-bakh) bar. 

Walter  von   der  Vogelweide  (val'-ter 

fon  der  fo'-gel-vl-de) tenor. 

BiTEROLF   (be'-ter-olf) bar. 

Heinrich   der   Schreiber  (hin  -rlkh  der 

shri'-ber) tenor. 

Reinmar    von    Zweter    (rin  -mar    f5n 

tsva'-ter) bass. 


Elizabeth  (a-le'-za-bat), 

A'iece  of  the  Landgrave sopr. 

Venus  (fa-noos). 

Goddess  of  love sopr. 

A  Young  Shepherd sopr. 

Note. — (a)  Like  "  Die  Meistersing- 
er,"  this  opera  has  a  semi-historical 
basis  in  the  ancient  contests  between 
Germanic  singers.  The  Minnesanger 
(mTn'-ne-zeng-er)  or  love-bards  were 
noblemen  who  sang  poems  and  music  of 
their  own  in  praise  of  pure  love,  to  their 
own  harp  accompaniment.  They  flour- 
ished in  the  twelfth  and  thirteenth 
centuries.  The  Mastersingers,  usually 
tradesmen,  who  succeeded  them  in  the 
fourteenth  to  the  sixteenth  centuries, 
made  more  elaborate  rules  for  composi- 
tion, (b)  The  goddess  Freia  or  Holda  (v. 
"  Das  Rheingold  "),  Goddess  of  Youth 
and  Spring,  was  believed  to  have  been 
driven  by  Christianity  to  take  refuge  in 
the  caverns  of  a  mountain  near  Eise- 
nach. She  became  confused,  and  finally 
identified,  with  the  Greek  Venus  of  simi- 
lar attributes,  and  the  mountain  came 
to  be  called  the  Venusberg.  This 
mountain  is  not  far  from  the  castle  of 
the  Wartburg,  where  the  old  landgraves 
held  vocal  contests  of  the  sort  described 
in  this  opera. 

Act  I. — Scene  i.  The  subterranean 
palace  of  Venus.  Surrounded  and  be- 
guiled by  singing  and  dancing  nymphs 
and  sirens,  Venus  reclines  in  voluptuous 
languor,  gazing  wonderingly  at  Tann- 
hauser, who  is  dreaming  of  the  upper 
air  and  homesick  for  the  life  he  left  for 
her.  At  her  insistence  he  sings  in  her 
praise,  but  begs  for  his  freedom.  At 
first  resentful,  she  then  tries  to  charm 
his  restlessness  away,  but  grows  furious 
again  and  tells  him  that  his  Christian 
God  will  never  forgive  him.  She  van- 
ishes and  he  finds  himself  (scene  2)  in  a 
sunny  valley  before  a  shrine  of  the 
Virgin.  A  young  shepherd  pipes  and 
sings  of  Holda,  the  Goddess  of  Spring. 
Seeing  a  file  of  elderly  Pilgrims  wan- 
dering Rome-wards,  he  asks  their  bles- 


368 


THE    MUSICAL    GUIDE 


sing.  Tannhauser  himself  kneels  and 
joins  their  chant  (known  as  the  Pilger- 
chor,  "  The  Pilgrims'  Chorus").  They 
disappear  in  the  distance,  and  the  Land- 
grave, entering  with  his  retinue  of  Bards, 
on  a  hunt,  finds  his  long-lost  favorite  and 
welcomes  him  back.  Tannhauser  speaks 
vaguely  of  travel  in  strange  lands  and 
wishes  to  avoid  them,  but  Wolfram 
tells  him  that  Elizabeth  has  been  pining 
for  him  and  his  all-surpassing  minstrel- 
sy. Tannhauser,  at  the  memory  of  her, 
gladly  rejoins  them  and  they  set  off  for 
the  castle  of  the  Wartburg. 

Act  II. — Scene.  The  Hall  of  Apollo 
in  the  Castle.  Elizabeth  enters  and 
greets  it  with  joy  since  now  Tann- 
hauser's  voice  is  to  glorify  it  again. 
Wolfram  ushers  in  Tannhauser  and  he 
and  Elizabeth  are  fervently  reunited. 
The  Landgrave  welcomes  Elizabeth  to 
the  hall  she  has  shunned  so  long  and 
announces  her  as  the  queen  of  the  con- 
test. The  court  gathers  with  much 
pomp.  The  Minnesingers  enter.  The 
Landgrave  announces  that  love  is  the 
subject  of  the  prize-songs.  Four  pages 
collect  the  names  of  the  Bards  in  a  cup 
and  draw  lots.  Wolfram,  the  first 
chosen,  sings  of  the  fountain  of  clean- 
hearted  love,  to  much  applause.  Tann- 
hauser interrupts  with  a  praise  of  pas- 
sion, but  is  received  in  chill  silence. 
Walter  sternly  contradicts  him,  and  is 
applauded.  Tannhauser  reiterates  his 
view  and  Biterolf  angrily  rebukes  him. 
Tannhauser  returns  the  abuse,  and 
Wolfram  tries  to  calm  the  rising  excite- 
ment by  imploring  heaven's  interven- 
tion. Tannhauser  madly  declares  that 
Venus  alone  can  teach  love.  The 
women  leave  the  Hall  hastily  and 
the  men  advance  against  Tannhauser, 
whom  the  Landgrave  declares  eternally 
condemned,  for  his  unholy  life  in  the 
Venusberg.  The  rash  minstrel  is  about 
to  be  cut  to  pieces  by  the  infuriated 
mob,  but  Elizabeth  protects  him  and 
pleads  that  he  may  have  a  chance  to  re- 


pent. Tannhauser  is  now  overcome 
with  shame  and  prays  God  to  accept 
him.  The  Landgrave  bids  him  join  a 
band  of  young  Pilgrims  who  seek  absolu- 
tion at  Rome.  He  rushes  away  hope- 
fully. 

Act  III. — Same  as  scene  2  of  Act  i. 
Elizabeth  is  praying  before  the  shrine. 
Wolfram  muses  on  her  incessant  prayer 
that  Tannhauser  may  return  forgiven. 
The  returning  elderly  Pilgrims  are  heard 
approaching  and  she  rises.  They  pass, 
singing  joyfully,  and  she  scans  them 
anxiously,  but  Tannhauser  is  not  with 
them.  Crushed  with  grief,  she  sinks  to 
her  knees  begging  to  die.  In  an  apo- 
theosis of  soul  she  departs.  When 
Wolfram  offers  her  escort,  she  points 
silently  to  heaven  whither  she  now  is 
tending.  The  faithful  Wolfram,  left 
alone,  sings  to  the  Evening-star  to  bless 
and  guide  her.  (Romance  of  the  Even- 
ing Star — "O  du  mein  holder  Abend- 
stern.")  In  the  thickening  night,  Tann- 
hauser staggers  by  in  tattered  Pilgrim 
garb.  Wolfram  asks  him  how  he  dares 
return  unshriven,  and  he  declares  wildly 
that  he  is  on  his  way  to  the  Venusberg 
again.  He  tells  how  the  Pope  had  ab- 
solved all  the  other  Pilgrims,  but  had 
likened  him  in  his  unholy  acquaintance 
with  the  Venusberg  to  the  Pope's  own 
dead  staff,  which  could  never  again  put 
forth  leaf  or  flower.  The  excommu- 
nicated Tannhauser  can  find  shelter 
nowhere  but  with  Venus.  She  now 
appears  to  him  in  a  rosy  cloud,  but  Wolf- 
ram struggles  to  restrain  the  maniacal 
Tannhauser  and  finally  breathes  Eliza- 
beth's name.  Tannhauser  cries  her 
name  wildly,  and  the  goddess  vanishes 
frustrated.  A  funeral  procession  enters 
bearing  the  dead  Elizabeth.  At  sight  of 
her,  Tannhauser,  imploring  her  to  pray 
for  him  in  heaven,  dies  of  grief.  The 
younger  Pilgrims  now  enter,  chanting  of 
the  miracle  they  have  seen.  The  Pope's 
staff  has  blossomed,  showing  heaven's 
forgiveness  of  Tannhauser. 


STORIES    OF  THE    OPERAS     369 

Der  Ring  des  Nibelungen  (der  ring:  1869) ;  with  the  entire  trilogy,  Bayreuth, 

das   ne'-bel-oong-en).     The  Ring  of  August  13,  1876. 
the  Nibelung. 

*>  CHARACTERS   AND    THEIR    CREATORS 

"  A  Stage-festival  for  three  days  and  (at  Weimar). 

a  Fore-evening."  Gods  : 

This   great   work   is   a   trilogy   with  Wotan  (vo'-tan) Betz,   bar. 

prologue,  or  rather  a  tetralogy,  bearing  Donner  (don'-ner), 

a  close  resemblance  to  Greek  tragedies,  Thunder Gura,  bar. 

which  were  groups  of  three  plays  set  to  Froh  (fro),  Joy Unger,  tenor. 

music  by  the  author  of  the  te.xt,  and  de-  Loge  (lo'-ge), 

claimed  with  choral  interspersions  much  Demi-god  of  fire  and  trickery, 

after  the  manner  of  Wagnerian  opera,  Vogl,  tenor, 

except  that  the  harmonic  resources  in  Nibelungs  : 

which  this  latter  is  so  rich  were  practi-  Alberich  (al'-be-rlkh) Hill,  bar. 

cally  unknown  in  the  music  of  the  trage-  Mime  (me'-me) Schlosser,  tenor. 

dies  of  .■Eschylos,  Sophokles,  etc. 

The  stories  of  these  four  works  have  Gianis  : 

a    continuity,  but,    though    they    were  Fasolt  (fa -zolt) Eilers,   bar. 

meant  for  performance  on  consecutive  Fafner  (faf'-ner), 

evenings,  they  contain  many  repetitions.  von  Reichenberg,  bass. 

The  plots  are  adapted  with  much  license  Goddesses  : 

from  that  great   collection   of   German  Fricka  (frik'-a), 

legend  and  mythology,  the  epic  "  Das  IVotans  jvife, 

Nibelungenlied "  or  "Song  of  the   Ni-  Frau  von  Grlin-Sadler,  m.  sopr, 

belungs,"   a    race   of   hideous   gnomes  Freia  (fri'-a),  or  Holda  (holt'-a), 

living  in  the  heart  of  the  earth  in  the  Goddess  of  love  and  youth, 

Nebelheim  or  "  home  of  mists."  Frl.  Haupt,  sopr. 

The  tetralogy  follows  the  baleful  effect  Erda  (er'-da), 

of  a  piece  of  consecrated  gold  stolen  The  Earth-mother. .Yx\.\i:\6.2L,2i\to. 
from  the  Rhine,  made  into  a  ring  and 

then  fought   for    by   gods,   Nibelungs,  Rhine  Daughters  : 

and  heroes,  bringing  disaster  to  all  its  Woglinde  (v6kh'-lTn-d^), 

possessors,  until  it  finally  returns  to  the  *               Frl.  Lilli  Lehmann,  sopr. 

Rhine  after  compassing  the  destruction  Wellgunde  (vel'-goon-de), 

of  the  old  dynasty  of  gods,  with  Wotan  Frl.  Marie  Lehmann,  m.  sopr. 

as   their   chief   and  Walhalla    as   their  Flosshilde  (fl6s'-hll-de), 

home.     There  is  much  room  for  moral-  Frl.  Lammert,  alto, 

ising  and    allegory   in    the   work,  and  ,.                    t^.             u     ^    1          1   j 

commentators    have   not   lost   sight   of  ^  ^""^    ^--^he    orchestral    prelude, 

the  opportunitv  to  confuse  the  complex  ba^ed  on  a  smgle  musical  pattern   mdi- 

with     further  '  obscurities.       There    is  ^1^%^}^^  ^^°Tl    ""^  f  ^^  ^^P^^^  u^ 

enough,  however,   in  these  librettos  as  ^?^^  ^"^^"f'  ^}''''^  are  disclosed  on  the 

dramatic  and  poetic  works   to  occupy  "^'"^^   of    the    curtain.       The     Rhme 

the  interest  and  the  attention.  daughters  or  nymphs  gather  and  disport 

The  Prologue  or  "  Vorabend  "  (for-  \^°^"^  ^  great  central  rock  where  rests 

a'-bent),  or  Fore-Evening  of  the  trilogy:  "^^^    sleeping  Rhine-gold,  which    their 

**                    *'■'  father  has  set  them  there  to  sentinel. 

I.    Das    Rheingold  (das   rln'-golt).  Alberich  appears    from    a    chasm   and 

The  Rhine-eold                                 &      /  makes  sensual  love  to  them  and  tries  to 

clutch  them.     They  make  sport  of  him 

One-act  music-drama.     Begun  1852,  and  decoy   him   to  violent  scrambHng 

finished    1856.       Produced    (at    public  and   wrath.     Suddenly   the  Rhine-gold 

dress-rehearsal,    Munich,    August    25,  "  awakes "  and  gleams.     The  fascinat- 


370 


THE    MUSICAL    GUIDE 


ed  Alberich  asks  what  it  is,  and  the 
Rhine-girls  laughingly  taunt  him  with 
his  ignorance  of  the  fact  that  this  gold 
if  seized  and  fashioned  into  a  ring  would 
confer  boundless  power  on  the  thief, 
who  must,  however,  they  add  tauntingly, 
forswear  love  before  he  can  take  it. 
Alberich's  love  is  turned  to  hate  by  their 
scorn,  and  climbing  the  rock  he  wrench- 
es the  gold  loose.  In  the  gloom  that 
follows,  he  laughs  at  their  frantic  pur- 
suit and  disappears  into  the  earth.  By 
a  scenic  transformation,  the  first  scene 
is  modulated  skilfully,  as  are  all  the 
scenes  of  this  opera,  into  the  next. 
Scene  2. — An  open  space  among  cliffs, 
one  of  which  bears  the  new  castle 
Walhalla.  Wotan  and  Fricka  awake 
from  sleep.  He  revels  in  the  beauty  of 
the  vast  achievement  just  finished  in  the 
building  of  a  fit  home  for  the  gods.  She 
reminds  him  that  he  must  now  pay  the 
builders,  for  he  had  promised  the  two 
Giants  his  wife's  sister  Freia.  Fricka 
upbraids  him  for  his  ruthless  ambitions 
and  his  roving  infidelity.  He  reminds 
her  that  he  gave  one  of  his  eyes  to  win 
herself  and  that  he  will  not  give  Freia 
up  to  the  Giants  as  he  promised,  but 
trusts  in  Loge  to  slip  him  out  of  the 
compact  by  trickery,  since  the  whole 
compact  was  Loge's  idea.  Freia  now 
hurries  in,  terrified  with  fear  that  the 
Giants  are  to  have  her.  The  Giants  fol- 
low shortly.  They  say  they  have  come 
for  their  wages.  Wotan  tells  them  she 
is  not  his  to  give.  The  Giants  are  furi- 
ous, Fasolt  saying  they  had  counted  on 
her  beauty,  Fafner  preferring  the  golden 
apples  of  youth  that  grow  in  her  garden. 
They  propose  to  seize  Freia,  but  Froh 
and  Donner  appear  to  shelter  her. 
Donner  threatens  them  with  his  thun- 
derous hammer,  but  Wotan  intervenes. 
The  an.xiously  awaited  Loge  now  ap- 
pears and  all  suspect  him  of  trickery  as 
he  flits  flame-lilie  about.  He  finally 
tells  how  he  has  ransacked  the  earth  for 
a  ransom  for  Freia,  but  nowhere  could 
he  find  anything  rated  so  high  as  woman 
and  love — only  one  being  in  the  uni- 
verse has  other  preference,  and  that  is 


Alberich.     He  tells  of  the  theft  of  the 
gold  and  of  the  ring  Alberich  has  made 
from  it.     Wotan  now  covets  the  ring 
and  so  do  the  Giants.     Loge  says  the 
ring  can  only   be  got   by   theft.     The 
Giants    offer   to    accept    it  as  ransom. 
Meanwhile  they  take  away  the  scream- 
ing Freia  as  hostage.      Immediately  the 
Gods  grow  wan  and  old  and   Loge  says 
that   the  apples  of  youth  which   renew 
the  universe  and   the  gods,  are  wither- 
ing in  Freia's  deserted  garden  ;  a  pallid 
mist    rises.      Wotan    resolves    to    wrest 
the  gold  from  Alberich,  and  Loge  leads 
him  into  a  cleft  of  the  earth  whence  sul- 
phurous   vapours    spread,    veiling    the  ! 
transformation  to  Scene  3.     A  subter-  t 
ranean  cavern.     Alberich   drags  in  the  1 
squealing  Mime,   who  pretends  not   to  » 
have  finished  his  appointed  task  of  mak-  ; 
ing  the  Tarnhelm  (a  helmet  conferring 
invisibility  on  the  bearer).    Inadvertently 
he  lets  it  fall.      Alberich  puts  it  on  and 
vanishes   into   mist  ;  invisible   now,  he 
beats  Mime,  then  is  heard  as  he  departs 
to  the  forge-room  beneath.  Loge  leads  in 
Wotan  and  they  question  the  whimper- 
ing Mime,  who  tells  them  that  Alberich  ; 
has  usurped  a  despotism  over  them  all  ' 
and  makes  them  slaves  to  his  greed.    He 
tells  of  the  new  helmet  of  darkness  and 
the  beating  he  had.     Alberic'h  comes  in, 
visible  now,  the  Tarnhelm  at  his  girdle, 
he  drives  in  a   herd  of  Nibelungs   who  , 
heap   up  gold  ;   he   then  scourges  them  i 
back  to  their  work.      He  gives  his  new  ' 
guests  bitter  greeting  and  says  he  will  1 
soon   have   them  all   in  his  grasp,  gods 
and  women.      Loge   hints  that  the  gold 
might  be  stolen  in  his  sleep.     Alberich 
trusts    in   the    Tarnhelm    to    hide    him. 
They  question  his  power  to  change  his 
shape.     To  prove  it  he  becomes  a  great 
serpent.      Loge    hints    that    he    cannot 
change  himself  to  anything  small  like  a 
toad.     Alberich  ingenuously  makes  this 
change.      Wotan  puts  his   foot   on  the 
toad,  Loge  snatches  the  Tarnhelm,  thus, 
bringing  Alberich   back   to  his   natural 
shape.      They  tie  him  up  and  drag  him 
back  to  the  upper      ir  and  to   scene  4, 
the    same  as  scene  2.     They  offer  him 


i 


STORIES    OF    THE    OPERAS     371 


freedom  for  all  his  gold  ;  he  murmurs 
to  his  ring  a  summons  to  his  dwarfs, 
who  appear  and  heap  up  the  gold.  Loge, 
in  spite  of  his  protest,  adds  the  Tarn- 
helm  to  the  heap.  Wotan  espies  the 
ring  and  wrenches  it  from  Alberich's 
finger.  Alberich,  released,  curses  the 
ring  and  loads  its  power  with  a  heritage 
of  death,  misery,  envy,  sleeplessness, 
and  crime  to  its  possessor.  He  then 
returns  to  his  forge.  (The  too-consist- 
ent mind  will  wonder  why  a  ring  which 
conferred  "measureless  might"  on  its 
wearer,  could  not  get  him  out  of  an 
ordinary  rope  ;  but  myths,  like  meta- 
phors, "  must  not  be  squeezed  till  thev 
squeal  ".)  The  Gods  and  the  Giants  as- 
semble. The  Giants  demand  that  the 
gold  be  heaped  up  to  hide  the  beautiful 
Freia  whom  they  are  so  loth  to  surren- 
der. They  stick  their  staves  in  the 
ground  in  front  of  her,  and  Loge  and 
Froh  heap  up  the  gold.  The  Giants 
can  still  see  her  hair  shining  through 
and  the  Tarnhelm  must  be  added  to  the 
heap.  Even  now  they  can  see  one  of 
her  eyes,  and  demand  the  ring  on  Wo- 
tan's  finger.  He  furiously  refuses  it. 
Now,  in  a  rocky  cleft  appears  the  awe- 
some Erda,  mother  of  the  three  Norns 
or  Fates ;  she  implores  Wotan  to  keep 
his  faith  and  yield  the  ring.  She  van- 
ishes, and  after  some  resistance  he 
throws  the  ring  on  the  heap.  Imme- 
diately the  Giants  quarrel  for  it,  and 
Fafner  kills  Fasolt,  places  the  treasure 
in  a  sack,  and  stalks  away.  The  Gods 
watch  him  with  horror  and  Wotan  re- 
solves to  visit  Erda  again.  Donner, 
hating  the  mists  that  veil  Walhalla,  dis- 
appears in  storm  clouds  ;  he  swings  his 
thunder  hammer  and  the  lightning  clears 
the  mists.  Froh  spans  the  gorge  with 
a  rainbow  bridge  to  Walhalla.  The 
Gods  move  toward  the  castle.  Loge, 
the  flame  demi-god,  looks  scornfully 
after  those  whom  he  has  saved,  and  is 
tempted  to  turn  against  them,  but  fol- 
lows for  the  nonce.  The  wail  of  the 
forlorn  Rhine  daughters  is  heard  from 
the  deeps  of  the  valley,  but  the  Gods 
mock  it  with  laughter.  ' 


2.   Die  Walkiire  (de  val-ku-re).     The 
Valkyrs. 

Music-drama  in  three  acts.     Begun, 

1852.     Finished,  1856. 

Produced  at  public  dress-rehearsal, 
Munich,  June  24,  1870.  With  the 
trilogy,  Bayreuth,  August  14,  1876. 

CH.ARACTF.RS    AND    THEIR    CREATORS 

(at  Munich). 
Volsungs  : 
SiEGMUND  (zekh'-moont),  Vogl,  tenor. 
SiEGLiNDE  (zekh-lln'-de). 

His  sister,  Hioidings  zoifc, 

Frau  \o%\,  sopr. 
HuNDiNG  (hoont'-Ing), 

A  jVeiJimg Bauserwein,  bass. 

Gods  : 

Wotan  (vo'-tan),  Kindermann,  bar. 
Fricka  (frik'-a), 

Frl.  Kauflmann,  m.  sopr. 
Valkyrs  : 
Bruennhilde  (brln-hll'-d^), 

Frl.  Stehle,  sopr. 

RosswEisE  (ros'-vl-ze)   sopr. 

Grimgerde  (grem'-ggrt-e) sopr. 

Helmwige  (helm'-ve-khe).  . .  .m.  sopr. 

Gerhilde  (ger'-hll-de) m.  sopr. 

Ortlinde   (6rt'-lln-de) m.  sopr.   ' 

Waltraute  (valt'-row-te) alto. 

Siegrune  (ze'-groo-ne) alto. 

Schvvertleite  (shvert'-ll-te)...  ,  .  .alto. 

With  this  work,  the  trilogy  proper 
begins.  As  gradually  transpires  :  since 
the  events  of  "  Das  Rheingold,"  the 
fickle  Wotan  has  bden  wandering  over 
the  now  populated  earth  under  the  name 
Walse  (vel-ze).  The  children  of  his 
roving  amours  have  formed  a  tribe 
called  Walsungen,  or  Volsungs,  who  are 
at  war  with  the  tribe  of  Neidungs  (ni'- 
doongs).  A  Volsung  woman  had  borne 
to  Wotan  the  twins  Siegmund  and  Sieg- 
linde,  but  the  children  were  soon  sep- 
arated. Over  the  conflicts  of  humanity 
Wotan  eagerly  watches,  and  those  who 
prove  heroes  and  are  killed  in  battle  are 


372 


THE    MUSICAL    GUIDE 


carried  aloft  to  form  a  blissful  garrison 
for  the  defence  of  Walhalla.  Over 
every  battlefield  hover,  for  this  purpose, 
the  heavenly  horse-women,  or  Valkyrs, 
who  are  all  illegitimate  daughters  of 
Wotan  by  Erda,  whom  he  had  seduced 
with  a  love-potion. 

Act  I. — Scene.  The  interior  of  a 
primitive  hut  built  round  a  great  tree  in 
which  a  sword  has  been  thrust  up  to  the 
hilt.  Siegmund  breathlessly  enters  from 
the  storm  outside.  Sieglinde  not  know- 
ing him,  gives  him  a  horn  of  mead,  and 
treats  him  kindly  ;  her  husband  Hund- 
ing,  one  of  the  Neidungs,  enters  and 
confirms  her  hospitality  but  with  suspi- 
cion. Siegmund,  asked  to  tell  who  he 
is,  describes  his  vile  life  in  the  woods 
with  his  father,  a  Volsung,  his  mother 
and  twin-sister  having  been  carried  off 
by  the  Neidungs.  To-day  he  has 
fought  single-handed  in  defence  of  a 
woman.  Hunding  recognises  him  as 
the  wretch  his  tribe  is  hunting,  and  says 
that  on  the  morrow  he  must  fight  out 
the  feud.  lie  gives  Siegmund  sanctu- 
ary for  the  night,  but  warns  him  to  have 
weapon  and  resolution  for  the  morning. 
Siegmund,  left  alone,  broods  over  the 
misfortune  that  hounds  him,  but  remem- 
bers that  his  father  had  said  a  sword 
would  be  at  hand  in  direst  need.  Sieg- 
linde enters,  having  drugged  her  hus- 
band, and  tells  him  of  the  sword  in  the 
tree,  thrust  there  by  a  strange  wanderer 
(Wotan).  No  one  has  ever  been  able 
to  draw  it  out.  She  longs  for  someone 
to  unsheath  it,  and  revenge  her.  The 
door  springs  open,  showing  moon-lit 
night  outside.  Siegmund  says  that  the 
mysterious  visitor  is  the  Spring  itself, 
and  sings  a  rapturous  idyll.  Sieglinde 
calls  him  the  Spring  she  has  longed  for. 
Not  knowing  that  they  are  brother  and 
sister,  they  grow  ardent  in  love.  He 
proclaims  Walse  (Wotan)  as  his  father, 
and  with  a  mighty  effort,  plucks  out  the 
sword,  which  is  called  "  Nothung"  (not- 
oong),  i.e.,  need.  Sieglinde  proclaims 
herself  his  sister.  He  embraces  her  fer- 
vently as  both  sister  and  bride  for  the 
restoration  of  the  Volsung  lineage. 


Act  II. — Scene.  A  gorge  in  the 
mountains.  Wotan  sends  Briinnhilde 
to  watch  an  impending  battle.  Fricka 
comes  angrily  in.  She  plays  the  Xan- 
thippe. To  her  as  goddess  of  wedlock, 
Hunding  had  appealed  to  punish  Sieg- 
mund and  Sieglinde,  who  have  fled.. 
After  a  bitter  quarrel  she  compels  Wo- 
tan to  swear  that  Siegmund  shall  die 
under  Hunding's  sword,  even  if  he  must 
intervene  himself.  When  she  has  gone, 
Briinnhilde  reappears  and  tries  to  con- 
sole her  dejected  father.  He  tells  her 
the  story  of  the  Rhine-gold  ;  of  Fafner 
who  holds  the  ring,  of  his  betraying 
Erda  for  his  purpose,  and  of  his  one 
hope  that  some  unaided  hero  shall  of 
his  own  volition  and  resource  win  the 
world-power.  He  bewails  his  oath  to 
Fricka,  but  when  Briinnhilde  hints  that 
she  will  save  Siegmund,  he  threatens  her 
wrathfully.  When  they  have  left  in 
opposite  directions,  Siegmund  and  Sieg- 
linde enter,  both  overcome  with  fatigue, 
and  she  also  with  shame  at  yielding  to 
him.  In  the  distance  the  horses  of  their 
pursuers  are  heard.  She  swoons  in  her 
anguish.  Briinnhilde  appears  and  bids 
Siegmund  follow  her  to  Walhalla,  but 
he  refuses  to  be  separated  from  Sieg- 
linde. He  even  threatens  to  kill  her 
and  himself  first,  and  Briinnhilde  pas- 
sionately vows  to  preserve  them  both. 
She  disappears,  and  a  great  storm 
arises.  Siegmund  leaves  Sieglinde  to  i 
meet  Hunding.  They  fight.  Briinn-  ■ 
hilde  protects  Siegmund  with  her  shield  ; ; 
but  Wotan  appears,  and  with  his  spear' 
shatters  the  sword  of  Siegmund  whom- 
Hunding  slays.  The  disobedient  Briinn-, 
hilde,  in  terror,  escapes  with  Sieglinde, 
and  Wotan  after  slaying  Hunding  with' 
one  scornful  glance,  follows  her. 

Act  III. — Scene.  A  mountain  peak 
and  cavern.  The  Valkyrs  gather,  each 
with  a  slain  hero  across  her  horse. 
They  await  Brunnhilde,  who  appears 
finally  in  great  panic  with  Sieglinde  on, 
her  saddle.  She  tells  what  she  has 
done  and  begs  shelter.  Sieglinde  pleads 
to  be  allowed  to  die,  but  Brunnhilde 
reminds  her  that  in  her  womb  she  bears 


i 


STORIES    OF    THE    OPERAS     373 


Siegmund's  son,  to  be  called  Siegfried 
(here  first  appears  the  motive  ' '  Sieg- 
fried and  the  sword  ").  Sieglinde  now 
wishes  to  live,  and  they  decide  that  a 
cave  near  Fafner's  lair  would  be  safe 
from  Wotan's  discovery.  She  gives 
Sieglinde  the  pieces  of  Siegmund's 
sword,  and  bids  her  save  them  for  her 
son.  Sieglinde  hurries  away,  just  be- 
fore Wotan  appears  and  denounces 
BrQnnhilde  bitterly.  He  disowns  her, 
and  tells  his  plan  to  disgrace  her  by 
making  her  a  prisoner  on  this  mountain. 
The  maidenhood  which  is  the  pride  of 
the  Valkyrs,  shall  be  the  prey  of  who- 
soever finds  her.  He  sends  the  other 
Valkyrs  away,  and  Briinnhilde  pleads 
earnestly  that  she  protected  Siegmund 
because  she  knew  Wotan  really  loved 
him  and  wished  him  to  win;  but  she  can- 
not alter  his  resolve.  She  begs  to  be 
surrounded  with  flames  that  only  a  fear- 
less hero  may  reach  her  to  make  her  his 
own.  Wotan  grants  this  wish,  and  bids 
her  a  tender  farewell,  kisses  her  divinity 
away  and  lays  her  fast  asleep  with 
closed  helmet  on  a  bank  of  moss.  He 
places  her  long  shield  over  her,  and  in- 
vokes Loge,  who  sends  a  circle  of  fire 
to  guard  the  sleeping  Valkyr.  He 
vanishes  after  a  last  charm  :  "He  who 
feareth  my  spear,  shall  never  fare 
through  this  fire  "  (in  which  again  the 
"  Siegfried  and  the  sword  "  motive  ap- 
pears). 

3.  Siegfried  (zekh'-fret). 

Three-act  music-drama.  Begun,  1856, 
finished,  1869.  Produced,  Bayreuth, 
August  15,  1876. 

CHARACTERS  AND  THEIR  CREATORS. 

Siegfried. Unger,  tenor. 

Mime  (me'-me) Schlosser,  tenor. 

Der  Wanderer  (der  van'-der-er), 

Betz,  bar. 

Alberich  (al'-bgr-Ikh) Hill,  bar. 

Fafner  (faf'-ner).  Von  Reichenberg,  bar. 

Erda  (grt'-a) Frau  Taida.  alto. 

Bruennhilde  (brin-hU'-dC), 

Frau  Friedrich  Materna,  sopr. 


Act  I. — Scene.  A  cave-dwelling  with 
primitive  forge  and  anvil.  The  dwarf 
Mime  is  forging  a  sword,  but  grumbles 
that  the  boy  Siegfried  breaks  the  strong- 
est blade  he  can  make.  If  he  could 
only  forge  the  pieces  of  Siegmund's 
sword  Nothung,  that  would  be  un- 
breakable ;  with  it  Siegfried  might 
even  slay  Fafner  who,  shaped  like  a 
dragon,  guards  the  all-powerful  Ring. 
Mime  would  then  possess  himself  of  the 
Ring.  But  he  winces  at  his  inability  to 
forge  Nothung.  The  boyish  Siegfried 
romps  in  with  a  bear  and  terrifies  the 
dwarf,  and  breaks  with  a  blow  the 
latest  sword  he  has  forged.  Mime  sobs 
that  all  his  fatherly  care  of  the  boy 
meets  only  hate  and  rebuff.  Siegfried 
confesses  an  unconquerable  repugnance 
to  the  dwarf  ;  he  only  tolerates  him  for 
the  knowledge  he  has.  He  has  learned 
that  all  animals  have  father  and 
mother  ;  he  asks  who  his  mother  was, 
and  Mime  claims  the  double  honour  of 
being  both  father  and  mother  to  the 
boy.  Siegfried  has  seen  his  own  image 
in  a  brook,  and  gives  Mime  the  lie.  He 
chokes  the  dwarf  into  telling  him  of  a 
nameless  woman  who  had  come  to  the 
cave  and  died  in  bearing  a  child.  She 
entrusted  him  to  Mime  after  naming  him 
Siegfried.  He  tells  over  in  little  slices 
the  story  of  his  devoted  care  for  the  boy, 
and  finally  produces  the  broken  sword. 
Siegfried  orders  him  to  forge  it  anew 
and  dashes  out  into  the  woods.  Mime, 
despairing  of  hoodwinking  the  lad  to 
his  own  purposes,  views  with  suspicion 
the  entrance  of  Wotan,  who  is  disguised 
as  a  wanderer.  In  a  long  colloquy, 
which  re-tells  the  stories  of  the  previous 
operas,  they  enter  into  a  contest  in 
which  each  is  to  ask  three  questions  ; 
the  one  failing  to  answer  forfeits  his 
head.  Mime  asks  (i)  What  race  dwells 
in  the  earth?  (2)  What  on  the  surface  ? 
(3)  What  in  the  clouds  ?  Wotan  answers 
(i)  The  Nibelungs,  vhom  Alberich  sub- 
jugated with  the  Ring.  (2)  The  Giants, 
of  whom  Fafner  guards  the  Ring.  (3) 
The  Gods,  of  whom  Wotan  is  the  chief, 
ruling  all  with  his  spear.   He  strikes  the 


374 


THE    MUSICAL    GUIDE 


spear  on  the  ground  and  a  thunder 
rumbles.  Wotan,  recognised,  asks 
Mime  three  questions:  (i)  What  race 
does  Wotan  persecute  though  he  loves 
them?  Mime  answers  correctly,  "the 
Volsungs."  (2)  What  sword  must  Sieg- 
fried use  to  slay  Fafner?  Mime  an- 
swers, "  Nothung."  (3)  Who  will  forge 
that  sword  anew?  Mime  can  find  no 
answer.  Wotan  laughs  and  says  that 
only  one  who  knows  no  fear  can  forge 
it  ;  to  that  hero  he  bequeathes  Mime's 
head.  When  he  is  gone,  Siegfried  re- 
turns to  find  Mime  hysterical  with  fright, 
lie  tries  to  teach  Siegfried  fear,  a  thing 
the  boy  has  never  felt  ;  as  a  last  resort 
he  will  show  him  the  dragon.  Siegfried 
resolves  to  forge  the  sword  himself  and 
with  growing  ecstasy  works  away. 
Mime  watches  him  and  plans  his  own 
ambitions,  brewing  the  while  a  poison 
for  Siegfried  when  he  has  won  the 
Ring.  The  sword  at  length  is  made  and 
Siegfried  exultantly  splits  the  anvil  in 
twain  with  its  resistless  edge. 

Act  II. — Scene.  The  heart  of  a  for- 
est at  night.  Alberich  lies  brooding. 
The  Wanderer  enters.  The  ancient 
enemies  quarrel.  They  speak  of  Sieg- 
fried who  is  coming  to  slay  Fafner. 
Alberich  calls  to  the  dragon  Fafner, 
whose  cave  is  near  by,  offering  to  pro- 
tect him  if  he  will  give  him  the  Ring. 
Fafner  yawningly  declines.  W'otan  ad- 
vises Alberich  to  trj'  Mime  next,  and 
vanishes.  Alberich  hides  as  in  the 
dawning  light  Mime  enters  with  Sieg- 
fried. His  descriptions  of  the  dragon 
fail  to  terrify  Siegfried,  who  finally 
orders  him  away.  The  boy,  alone,  muses 
on  his  father  and  his  mother.  The 
bird-choir  charms  him.  He  cuts  a  reed, 
fashions  a  pipe  and  tries  to  imitate 
them  on  it  and  on  his  horn.  Fafner 
thrusts  out  his  hideous  head  and  gapes. 
Siegfried  laughs.  After  some  banter  he 
closes  to  the  attack  and  kills  the  fire- 
breathing  dragon,  who  with  his  dying 
breath  warns  the  boy  against  conspir- 
acy. The  dragon's  blood  on  the  boy's 
hand  burns  him.  He  lifts  it  to  his  lips. 
Instantly     he     understands    the    bird- 


voices.  A  wood-bird  tells  him  of  the 
Tarnhelm  and  the  Ring  and  he  enters 
the  cave.  Mime  and  Alberich  steal  in  ; 
they  wrangle,  but  retire  when  Siegfried 
reissues  with  the  ring  and  Tarnhelm. 
The  wood-bird  tells  him  to  beware  of 
Mime,  whose  hypocrisy  he  can  see 
through,  thanks  to  the  taste  of  dragon's 
blood.  Mime  enters  and  while  trj-ing 
to  dissemble,  actually  tells  his  basest 
motives.  Siegfried  finally  slays  him 
and,  throwing  the  body  in  the  cave, 
calls  again  to  the  wood-bird  for  counsel. 
The  bird  tells  him  that  his  future  wife 
sleeps  on  a  lofty  peak  flame-girdled. 
He  bids  the  bird  lead  on  and  joyfully 
hastens  after. 

Act  III. — Scene  i.  The  mouth  of  a 
craggy  cavern  at  night.  Wotan  ap- 
pearing summons  Erda  to  a  long,  but 
bootless  conference,  in  which  he  ex- 
presses his  resignation  to  his  coming 
doom.  Erda  vanishes  and  Siegfried 
comes  along  the  path.  Wotan  questions 
him  and  is  told  all  that  has  happened. 
He  reproaches  the  boy  for  his  frank  in- 
solence and  tries  to  check  him,  but  has 
his  spear  hewn  in  two  for  his  counsel, 
and  vanishes.  Siegfried,  blowing  his 
horn,  plunges  into  the  mist  and  flames 
and  the  scene  is  changed  to  the  same  as 
Act  III.  of  "  Die  Walkure,"  where 
Briinnhilde  still  lies  sealed  in  sleep 
under  her  long  shield.  Siegfried,  seeing 
her,  thinks  her  a  man  till  he  has  opened 
her  helmet  and  lifted  her  breastplate. 
He  is  overcome  with  an  emotion  which 
he  thinks  may  be  fear,  but  at  length 
kisses  her.  She  wakes  and  greets  the 
sunlight,  and  knows  him  to  be  Siegfried. 
Her  joy  changes  to  fear  and  grief  as 
she  remembers  her  lost  Valkyr  estate, 
but  his  ardour  and  bravery  win  her  back 
to  rapture  in  his  arms. 

4.  Gotterdammerung  (get'-ter-d^m'- 
mer-oongk).  The  Gloaming  (or  Dusk 
or  Twilight)  of  the  Gods. 

Music-drama  in  three  acts  and  Pro- 
logue.  Begun,  1867.  Finished,  1876. 
Produced,  Bayreuth,  August  16,  1876, 


STORIES    OF    THE    OPERAS     375 


CHARACTERS    AND    THEIR    CREATORS. 

Siegfried  (zekh'-fret) Unger,  tenor. 

GuNTHER  (goon'-ter) Oura,  bar. 

Hagen  (ha'-geii), 

Von  Reichenberg,  bass. 

Alferich  (al'-ber-lkh) Hill,  bar. 

Bruennhilde  (brTn-hll'-de), 

Frau  Friedrich  Materna,  sopr. 
GuTRUNE  (goo-troo'-ne),  Frl.  Weckerlin. 
WALTR.'iuTE  (valt'-ro\v-te),  Frau  Jiiida. 
The  Three  Norns,  or  Fates. 
The  Three  Rhine-daughter& 


Prologue. — Scene,  on  the  Valkyrs' 
rock,  same  as  the  last  scenes  of  "  Die 
Walkiire  "  and  "  Siegfried."  The  three 
Norns  sit  idle  and  gloomy  under  a  fir- 
tree.  The  first  Norn  fastens  a  gold- 
en rope  to  the  tree,  and  tells  of  the 
coming  of  Wotan  long  before,  and  how 
he  had  paid  one  of  his  eyes  to  drink  at 
the  spring  of  wisdom,  and  broke  a  spear 
from  the  World-ash  tree  ;  thereafter  the 
tree  and  the  spring  failed.  She  throws 
the  rope  to  the  second  Norn,  who  winds 
it  round  a  rock  and  tells  how  Siegfried 
shattered  Wotan's  spear,  and  Wotan 
had  sent  his  Walhalla  heroes  to  chop 
up  the  World-ash  tree.  She  casts  the 
rope  to  the  third  Norn,  who  tells  that 
the  Gods  and  heroes  will  gather  in  Wal- 
halla round  a  fire  made  of  the  World- 
ash  boughs,  and  the  fire  will  waste 
Walhalla  and  leave  the  Gods  in  eternal 
night.  As  the  rope  is  passed  forward 
and  back,  they  talk  of  Loge's  plots 
against  Wotan  and  of  Alberich  ;  the 
sacred  rope  grows  frayed  and  finally 
parts.  They  wind  the  strands  about 
them  and  moaning  that  eternal  wisdom 
and  wise  counsel  are  lost  forever  to  the 
world,  sink  into  the  earth.  Day  dawns. 
Siegfried  comes  from  the  cave,  full- 
armed,  followed  by  Briinnhilde  leading 
her  horse  Grane,  which  had  been  pre- 
served in  sleep  during  her  own  long 
,  slumbers.  Siegfried  having  made  Briinn- 
hilde his  own,  and  learned  from  her  the 
story  of  the  Gods  and  the  meaning  of 
the  holy  runes,  is  now  eager  for  new 


deeds.  He  promises  to  remember  her 
faithfully,  and  gives  her  the  Ring  itself 
as  a  pledge.  She  gives  him  the  horse 
to  carry  him  back  to  the  world,  and 
they  part  in  mutual  idolatry. 

Act  I. — Scene  i.  The  Hall  of  the  Gi- 
bichungen  (ge'-bikh-oong-en),  on  the 
banks  of  the  Rhine.  Three  of  the 
Gibichs  or  Gibichungs,  a  race  of  heroes, 
are  seated  in  earnest  counsel  :  Gunther 
(who  is  wifeless  and  longs  for  Briinnhilde, 
whom  he  believes  to  be  still  surround- 
ed by  the  terrifying  flames  which  Sieg- 
fried had  pierced),  his  sister  Gutrune 
(who  is  husbandless  and  longs  to  wed 
Siegfried,  whose  fame  has  reached 
them),  and  their  half-brother,  the  vi- 
cious Hagen  (whom  their  mother  Grim- 
hilde  had  borne  when  seduced  by  Al- 
berich's  gold).  Hagen  is  suggesting 
that  they  persuade  Siegfried  to  marry 
Gutrune,  then  ask  him  to  bring  Briinn- 
hilde through  the  flames  to  wed  Gun- 
ther. .Siegfried's  horn  is  heard  and 
they  see  him  rowing  on  the  river.  The)' 
invite  him  to  land.  He  does  so,  and 
they  lead  his  horse  Grane  to  a  stall. 
He  tells  them  that  he  has  left  the  use- 
less gold  of  Alberich  in  the  dead  drag- 
on's cave,  and  brought  away  only  the 
Tarnhelm  and  the  Ring.  Now,  Hagen's 
father  Alberich  had  charged  him  to  re- 
cover the  Ring  (v.  "Das  Rheingold  "), 
and  he  learns  that  Siegfried  has  given 
it  to  Briinnhilde.  Gutrune  brings  in  a 
horn  full  of  a  magic  liquor  which  effaces 
all  remembrance.  Siegfried,  draining 
it,  forgets  Briinnhilde  utterly,  and  be- 
comes so  infatuated  with  Gutrune  that 
he  asks  for  her  hand.  Gunther  tells  of  the 
fire-guarded  Briinnhilde,  and  Siegfried 
promises  to  win  her  for  Gunther  by 
means  of  the  Tarnhelm.  The  two  men 
prick  their  arms  with  thei-  swords,  drop 
blood  into  their  wine-horn,  and  swear 
blood-brotherhood,  and  Hagen  cuts  the 
horn  in  two  to  complete  the  pact. 
When  asked  why  he  has  not  joined  the 
two,  he  evades  the  question.  Siegfried 
and  Gunther  set  forth  to  find  Briinn- 
hilde, while  Hagen  stays  to  guard  the 
house,  and  bide  his  time  to  seize  the 


376 


THE    MUSICAL    GUIDE 


Ring.  Scene  2,  same  as  the  Prologue. 
Briinnhilde,  alone,  is  visited  by  her  sis- 
ter Waltraute  (v.  "Die  Walkt'ire"). 
Asked  why  she  had  broken  the  ban  their 
father  Wotan  has  put  on  Briinnhilde, 
she  says  that  she  has  fled  from  Wal- 
halla  in  terror.  The  Valkyrs  no  longer 
seek  heroes  slain  on  battlefields  ;  Wotan 
has  come  home  with  his  spear  hewn 
asunder ;  the  sacred  ravens  have  flown 
away  ;  Wotan  has  made  a  great  pile  of 
logs  from  the  shattered  World-ash  tree 
and  sits  with  his  heroes  waiting  the 
general  doom.  Waltraute  has  wrung 
from  him  the  word  that  if  the  Ring  could 
be  found  and  flung  back  into  the  Rhine 
whence  it  was  stolen,  and  cursed  by  Al- 
berich  (v.  "Das  Rheingold  ")  the  doom 
would  be  averted.  Briinnhilde,  despite 
Waltraute's  frenzied  pleading,  sternly 
refuses  to  throw  back  into  the  Rhine- 
waves  the  pledge  of  love  Siegfried  has 
given  her,  and  Waltraute  rushes  away 
in  wild  despair.  Siegfried's  horn  is 
heard,  and  he  enters  in  Gunther's  form 
with  the  Tarnhelm  hiding  his  face. 
The  terrified  Briinnhilde  threatens  the 
stranger  with  the  Ring.  Siegfried  says 
it  shall  be  their  wedding-ring,  and  takes 
it  from  her  after  a  struggle.  He  orders 
her  into  the  cave,  and  drawing  his  sword 
Nothung  to  lay  between  them  as  a  proof 
of  faith  to  Gunther,  follows  her  in. 

Act  II. — Scene.  The  river-bank  be- 
fore the  Hall  of  the  Gibichungs.  Hagen 
is  seated,  asleep.  Alberich,  his  father, 
is  talking  to  him  in  his  dreams,  urging 
him  on  to  revenge  his  ancient  wrongs 
on  the  ignorant  Siegfried.  Hagen  vows 
and  Alberich  vanishes.  Siegfried  enters 
in  the  dawn  and  removes  the  Tarn- 
helm.  Hagen  wakes,  Gutrune  enters, 
and  Siegfried  tells  how  he  had  won 
Briinnhilde,  but  kept  the  sword  between 
them  till  he  gave  her  over  to  Gunther, 
who  was  waiting  at  the  foot  of  the 
mountains.  Siegfried  had  then  willed 
himself  back  to  the  Hall  by  his  Tarn- 
helm's  power.  Hagen  summons  the 
vassals  with  his  horn  ;  they  come  ex- 
pecting a  battle,  but  are  told  of  the 
wedding  festivities.  Gunther  and  Briinn- 


hilde arrive  in  a  boat.  Briinnhilde  is 
dumbfounded  at  seeing  Siegfried,  and 
swoons  in  his  arms,  but  he  still  fails  to 
recognise  her.  Then  she  sees  the  Ring 
on  his  finger.  Gunthe.  confesses  he 
had  not  given  it  to  Siegfried.  Hagen 
tells  Briinnhilde  that  Siegfried  had  won 
the  ring  from  Gunther  by  wiles,  and 
Briinnhilde  in  supreme  rage  accuses 
Siegfried  of  having  possessed  her  body 
as  well  as  her  soul  when  he  conquered 
her.  Siegfried  swears  to  Gunther  on  ; 
Hagen's  spear  that  Briinnhilde's  accu 
sation  is  false.  Brunnhilde  on  the  same  I 
spear  swears  her  own  statement,  and 
hallows  the  point  to  pierce  Siegfried's 
heart  in  revenge.  Siegfried  tries  to  re- 
assure Gunther,  and  embraces  Gutrune. 
Hagen  promises  the  distracted  Briinn- 
hilde revenge,  and  she  tells  him  that  he 
must  stab  .Siegfried  in  the  back,  his  only 
vulnerable  point.  Gunther,  overcome 
with  his  own  position,  and  believing 
that  Siegfried  has  played  him  false,  is 
drawn  into  the  plot.  Hagen  plans  to 
kill  Siegfried  out  of  Briinnhilde's  sight 
at  a  hunt.  The  three  then  vow  the' 
death  of  Siegfried,  who  enters,  wreathed 
as  a  bridegroom. 

Act  III. — Scene  I.  A  valley  through 
which  the  Rhine  sweeps.  In  the  strean 
the  Rhine-daughters  drift,  waiting  th< 
hero  who  shall  restore  them  the  los 
Rhine-gold.  Siegfried  appears  ;  he  hai 
lost  his  way,  following  a  bear.  Th( 
Rhine-daughters  tease  him  and  try  t( 
win  the  Ring  from  him,  but  their  prayer 
are  futile,  and  threats  do  not  avail  t( 
frighten  him,  so  they  swim  away.  Th 
hunters  now  gather  with  their  booty 
they  drink,  and  Siegfried,  under  th 
memory-waking  spell  of  a  herb  Hage 
has  put  in  his  drink,  tells  them  th 
whole  story  of  his  life,  and  how  h 
came  to  learn  the  language  of  birdf^ 
and  how  he  won  Briinnhilde.  The  sacre 
ravens  fly  past,  .Siegfried  starts  up  an 
looks  after  them.  Hagen  thrusts  h 
spear  into  his  back.  Siegfried  turninj' 
swings  his  shield  high  to  crush  Hagei 
but  with  sudden  weakness,  drops  it,  an 
falls  on  it.     Hagen  stalks  away.     Siej 


J 


STORIES    OF    THE    OPERAS     377 


fried,  seeing  Briinnhilde  in  a  vision 
welcoming  him,  dies  in  a  rapturous  de- 
lirium. His  body  is  raised  and  carried 
homeward.  Scene  2.  The  Hall  of 
the  Gibichungs  at  night.  Gutrune  is 
waiting  for  Siegfried.  Hagen  storms 
in,  announcing  Siegfried's  return,  say- 
ing that  a  wild  boar  has  killed  him. 
(iutrune  faints  as  the  body  is  brought 
in.  Gunther  declares  Hagen's  guilt. 
Hagen  admits  it,  and  claims  the  Ring. 
Gunther  opposes  him,  and  is  killed.  As 
Hagen  moves  to  take  the  Ring,  the  dead 
Siegfried's  arm  rises  threateningly  and 
all  fall  back  in  terror.  Briinnhilde  en- 
ters. She  proudly  claims  the  dead  hero 
as  her  husband,  and  Gutrune  now  real- 
ises for  the  first  time  the  truth.  While 
a  funeral  pyre  is  being  raised  and 
decked,  Briinnhilde  muses  upon  Sieg- 
fried, and  the  tangled  net  of  lies  that  has 
'  enmeshed  his  pure  soul  and  brought  her 
,  shame.  She  understands  all  Fate  now, 
and  taking  the  Ring  from  Siegfried's 
hand,  places  it  on  her  own.  His  body 
is  put  upon  the  pyre.  She  calls  to  the 
Rhine-maidens  that  they  will  find  the 
ring  burned  free  of  its  curse  in  her  own 
ashes.  She  seizes  a  firebrand,  and  sets 
the  pyre  ablaze.  The  ravens  fly  up 
and  disappear.  She  bids  all  look  to  the 
north  when  she  is  dead,  to  see  the  burn- 
ing of  Walhalla.  Her  horse  has  been 
brought  in.  Addressing  him  and  bidding 
him  neigh  gladly  to  rejoin  Siegfried  his 
lord  and  her  husband,  she  warns  man- 
kind to  trust  only  to  love  and  not  to  gain 
or  to  treachery,  and  dashes  into  the 
flames.  In  a  great  flash  the  Hall  of  the 
.  Gibichungs  catches  fire  and  is  ruined. 
The  pyre  dies  out  and  collapses.  The 
Rhine  overflows  and  comes  rippling 
across  the  Hall.  The  Rhine-daughters 
;\vim  in  on  the  waves.  Hagen,  who 
rushes  in  to  struggle  for  the  Ring,  is 
iragged  down  to  death  by  two  of  them 
.vhile  the  third  holds  up  exultantly  the 
Rhine-gold  that  has  returned  home  at 
ast  from  its  devastating  travels.  In 
he  north  a  great  glow  appears.  It  is 
he  flash  of  the  flames  consuming  Wal- 
lalla.     With  the  palace  built  by  deceit 


and  broken  faith,  the  fire  destroys  the 
race  of  gods  and  heroes,  and  their  mer- 
ciless, honourless  dynasty,  leaving  Free- 
will and  Love  as  the  inspiration  of  man- 
kind. 

VON  WEBER,    CARL  MARIA. 

Der  Freischiitz  (der  frl'-shiits),  G.,  II 
Franco  Arciero  (iir-cha'-ro),  /.  In 
French  first  produced  as  "  Robin  des 
Bois  "  ;  later  with  recitatives  by  Ber- 
lioz as  "  Le  Franc  Archer"  (lu-fran- 
kar-sha).  The  Free  Shot. 
Three-act  Romantic  opera.     Book  by 

F'riedrich  Kind.    Produced,  Berlin,  June 

i8,  1821. 

CHARACTERS    AND    THEIR    CRE.\TORS. 

Graf  Ot'tokar Rubinstein,  bar. 

KuNo  (koo'-no). 

His  chief  forester Waner,  bass. 

Kas'par, 

A  forester. . .  .Heinrich  Blume,  bass. 
Max  (max), 

A  forester  (in  Italian,  Giulio), 

Karl  Stumer,  tenor. 
Zamiel  (zam-I-el'), 

A  demon. 

A  Hermit Gern,  bass. 

Kil'lian, 

A  peasant Wiedemann,  tenor. 

Agathe  (a'-ga-te), 

Knnd s  daughter, 

Frl.  Karoline  Seidler,  sopr. 
Aennchen  (en'-khen). 

Her  friend, 

Frl.  Johanna  Eunike,  sopr. 

Act  I. — Scene.  Before  an  inn.  The 
peasants  are  congratulating  Killian,  the 
winner  of  a  shooting-match  ;  he  taunts 
Max,  who  has  lost.  Kuno  and  Kaspar 
enter  and  learn  of  Max's  humiliation. 
Kuno  tells  how  his  own  grandfather 
was  made  head-ranger  to  the  prince  by 
a  lucky  shot  that  saved  the  life  of  a 
man  bound  to  a  stag  ;  he  will  give  his 
own  daughter  to  the  best  marksman, 
and  make  him  his  successor.  He  hopes 
Max  may  win.  Killian  speaks  of  a 
certain  enchantment  with  seven  magic 


378 


THE    MUSICAL    GUIDE 


bullets  of  which  he  has  heard.  A  trio 
concerning  the  morrow's  match  is  fol- 
lowed by  a  hunting  chorus,  and  the  men 
and  women  dance  away.  Max  alone, 
bewails  his  recent  bad  luck  and  his  fear 
of  losing  Agathe  ("  Durch  die  Waldes, 
etc."),  while  Zamiel,  the  demon,  hovers 
about  unseen.  Kaspar  appears  and 
persuades  Max  to  drink,  singing  a 
boisterous  vine-song  ("  Hier  im  ird'- 
schen  Jammerthal  ").  He  persuades 
the  sceptical  Max  to  shoot  at  an  eagle 
almost  invisible  aloft ;  the  eagle  falls 
just  as  the  clock  strikes  seven  ;  Kaspar 
says  that  more  of  the  magic  bullets  may 
be  had,  and  after  winning  from  Max  a 
promise  to  meet  him  in  the  Wolf's  Glen 
at  midnight,  he  sings  a  song  of  diabolic 
triumph. 

Act  II. — Scene  i.  A  room  in  Kuno's 
house.  Agathe  preparing  for  her  wed- 
ding is  gloomy  with  foreboding  ;  a  pict- 
ure had  fallen  from  the  wall  and  cut 
her  forehead  just  as  the  clock  struck 
seven.  Aennchen  teases  her  and  sings 
a  little  ballad  of  a  young  lover 
("  Kommt  ein  schlanker  Bursch  gegan- 
gen  ").  But  Agathe  speaks  of  a  hermit 
who  frightened  her  with  his  prophecies. 
Aennchen  goes,  and  Agathe  leaning 
out  into  the  moonlight  has  a  blissful 
reverie  ("  Leise,  leise,  fromme  Weise  "). 
She  sees  her  lover  coming  ;  he  enters, 
and  Aennchen  returns.  Max  learns 
with  dread  that  Agathe's  forehead  was 
cut  by  the  picture  just  the  moment  he 
killed  the  eagle  with  the  magic  bullet. 
He  tells  her  he  must  go  to  bring  a  slain 
stag  from  the  Wolf's  Glen,  and  in  spite 
of  her  horror  of  the  place  he  goes. 
Scene  2.  The  wild  ravine  of  the  Wolf's 
Glen.  A  chorus  of  invisible  demons. 
Kaspar  appears  and  summons  Zamiel. 
The  demon  appears  to  him  ;  he  appeals 
to  be  released  from  his  unholy  compact 
— he  is  to  die  the  next  day  ;  he  offers  as 
a  bribe  to  Zamiel  to  bring  a  new  victim 
who  wishes  the  magic  "free  bullets." 
Zamiel  accepts,  saying  that  six  of  the 
bullets  shall  hit,  but  the  seventh  shall 
betray.  Kaspar  asks  that  the  seventh 
may  kill  Agathe  so  that  both  her  lover 
and  her  father  shall  go  mad  and  fall  in 


re-  •! 
ht-  I 
all      I 


Zamiel's  power.  Zamiel  consents,  say. 
ing-  "  Thou  or  he  to-morrow  must  be 
mine."  He  vanishes.  Max  enters  in 
much  terror.  They  set  about  casting 
the  bullets  from  unhallowed  materials  ; 
as  they  count  them  an  echo  repeats  their 
words.  After  the  fifth,  the  demons  cry 
out ;  after  the  sixth  the  echo  cries  "  Be- 
ware," but  Max  summons  Zamiel,  who 
appears  as  the  seventh  is  cast. 

Act  III. — Scene  i.  Agathe's  room. 
The  bride  is  still  sad  and  praying.  Aenn- 
chen enters  and  Agathe  tells  of  the 
fierce  storm  that  raged  at  midnight ;  she 
dreamed  she  was  a  dove  ;  a  huntsman 
appeared  ;  the  dove  vanished  and  an 
eagle  fell  dead.  Aennchen  tries  to  re^ 
assure  her  by  telling  comically  a  frigh 
ful  dream  her  grandmother  had, 
caused  by  the  family  dog  getting  into 
her  room.  The  bridesmaids  appear  and  ' 
sing  ("  Wir  winden  dir  den  Jungfern 
Kranz ").  When,  however,  the  bridal 
garland  is  produced,  it  proves  to  be  a  fu- 
neral wreath  ;  but  she  remembers  in  her  ' 
gloom  the  roses  left  for  her  by  the  her- 
mit and  plucks  up  courage.  .Scene  2.  The  ' 
Forest.  The  Graf  and  others  assembled. 
A  Hunters'  Chorus  ("  Was  gleicht  wohl  , 
auf  Erden  dem  Jagervergnugen  ").  Kas- 
par watching  from  behind  a  tree.  The 
match  has  taken  place  and  the  Graf  ac- 
cepts the  victorious  Max  as  Kuno's 
successor  ;  he  asks  Max  as  a  last  test 
(this  is  his  seventh  shot)  to  bring  down  ■ 
a  white  dove  flitting  about  in  the  ' 
branches.  Agathe's  sudden  absence  is 
noted.  Max  calls  on  his  last  bullet  to 
find  its  mark,  and  Kaspar  invokes  Za- 
miel. Agathe,  standing  near  the  tree 
where  Kaspar  hides,  cries,  "I  am  the 
dove  !  "  She  is  stunned  but  is  saved  by 
the  hermit's  wreath  ;  Kaspar  is  killed 
and  dies  cursing  as  Zamiel  appears  to 
him.  Max  confesses  his  league  with 
Zamiel  and  the  Graf  banishes  him  in 
spite  of  the  entreaties  of  all.  The  her- 
mit appears,  however,  and  pleads  for 
him  as  it  was  his  first  sin  ;  he  suggests' 
the  abolition  of  the  trial-shot,  a  year's, 
penance  for  Max,  and  then  his  wedding' 
to  Agathe.  The  opera  ends  in  rejoicing! 
and  religious  fervour.  \ 


0art  n 


I 


il 


pronouncing  Bictionar^ 

of 

Given  Names,  Titles,  Epithets, 
etc. 


abbate  (ab'-ba-te),  /.  abb6  (abba),  F. 
Abbot  (often  honorar}'). 

I'aine  (len-a),  F.  The  elder,  cadet 
(ka-da), /'".  The  younger.  Usually  of 
brothers. 

camerlingo  (ka-mer-len'-gd),  /.  Cham- 
berlain. 

cantab(rigiensis).  Of  Cambridge  Uni- 
versity. 

cavaliere  (ka-val-ya'-re),  /.  Knight, 
sir. 

chevalier  (shti-val-ya),  F.     Knight. 

cie,  F.    Company  ;  et  cie  (a  se).  &  Co. 

comte  (kont),  F. 

conte  (kon  -te),  /.     Count. 

detto  or  -a  (det'-t5).     "  Called." 

due  (diik),  F.  duca  (doo'-ka),  /. 
Uuke. 

Edler  von  (at'-ler  fon).     Nobleman  of. 

fils  (fes),  F.     Son. 

Frau  (frow),  G.  Mrs.  Fraulein  (fri'- 
lin).      Miss. 

Freiherr  (fri'-har),  G.     Baron. 

Geheimrath  (ge-hlm'-rat),  G.  Privy 
counsellor. 

Gesellschaft  (ge-zel'-shaft),  G.  Asso- 
ciation, society. 

Graf  (graf),  t7.  'Count.  Grafin  (gra- 
fln).     Countess. 

Herr  (har),  G.     Mr. 

Hauptkirche  (howpt-ker'-khe),  G. 
Chief  church. 

Hofkapellmeister  (mi-shter).  Court- 
conductor.  Hofmusikintendant 
(moo-zek'),  G.     Supt.  of  court-music. 

le  jeune  (hi  zhun),  F.     The  younger. 

Justizrath  (yoos'-tets-rat),  G.  Coun- 
sellor of  justice  ;    often  honorary. 

Kammersanger(zengk-er),  (7.  Cham- 
ber-singer (to  the  court). 

maestro  (ma-as'-tro),  /.     Master. 

il  maggiore  (el  mad-j5'-re),  /.  The 
greater. 


maistre  (old  French),  or  maitre 
(metr),  F.    Master. 

marchesa  (mar-ka'-za),  /.  Marchion- 
ess. 

il  minore  (el-me-no'-re),  /.    The  lesser. 

mus.  bach(elor)  and  mus.  doc(tor). 
Vide  the  D.  D. 

oxon(ensis).     Of  O.xford  University. 

pere  (par),  F.     Father. 

Reichsfreiherr  (rikhs'-frl-har),  G. 
Baron  of  the  empire. 

Ritter  (rlt'-ter),  G.     Knight,  chevalier. 

sieur  (s'yiir),  F.     Sir,  Mr. 

und  Sohn  (oont  zon),  G.  &  Son.  und 
Sohne  (oont  za'-ne),  G.     &  Sons. 

van  (viin),  Dutch,  von  (fon),  G.  de 
(du),  F.  di  (de),  /.  and  Sp.  From, 
of. 

vicomtesse  (ve-k6n-tes).    Viscountess. 

le  vieux  (lu  v'yu),  F.     The  elder. 

y  (e),  Sp.  "  And,"  used  in  joining  two 
proper  names  somewhat  as  we  use  a 
hyphen  ;  the  Spaniard  keeping  his 
mother's,  as  well  as  his  father's,  name. 

zu  (tsoo),  G.     To. 

(Others  will  be  found  in  the  D.  D.) 

Note. — In  the  Biographical  Diction- 
ary, given  names  are  regularly  abbrevi- 
ated as  in  the  following  list,  the  same 
abbreviation  serving  for  one  name  in  its 
different  forms  in  different  languages. 

Abramo  (a'-bra-mo),  /. 

Adam  (a -dam),  G. 

Adalbert  (a'-dal-bert),  G. 

Adelaide  (a-da-la-e'-de),  /.  and  G. 

(Ad.)  Adolf  (a'-dolf),  G. 

(Ad.)  Adolph,  G. 

(Ad.)  Adolphe  (ad-61f),  F. 

(Adr.)  Adriano  (a-drl-a -no),  / 

Adrian  (ad-rl-iifi),  F. 

Agathon  (a'-ga-ton),  G. 


IV 


THE    MUSICAL    GUIDE 


(Ag.)  Agostino  (a-gos-te'-no),  /. 

Aimable  (em-ab"l),  F. 

(Alb.)  Albrecht  (al-brekht),  G. 

(Ales.)  Alessandro  (a-les-san'-dro),  /. 

(Alex.)  Alexander. 

(Alex.)  Alexandre  (al-ex-andr'),  F. 

Alexis  (al-ex-es),  F. 

Aloys  (ji'-lois). 

Aloysia  (;i-loi'-zK-a),  G. 

Amadeo  (am-a-da'-6),  /.     -deus  (da- 

oos),  G. 
Amalie  (a'-mal-e),  G. 
Ambroise  (an-bwaz),  F. 
Amed^e  (am'-a-da),  F. 
Ani61ie  (am'-a-le),  F. 
Anatole  (an-a-tol),  F. 
Andr6  (aii-dra),  F. 
(And.)  Andrea  (an'-dra-a),  /. 
(Ands)  Andreas  (an'-dra-as),  G. 
Ange  (iinzh),  F. 
Angelica  (an-ja'-le-ka),  /. 
(Ang.)  Angelo  (an'-ja-lo),  /. 
(A.  ur  Ant.)  Antoine  (aiV-twan),  F. 
(Ant.)  Anton  (an'-ton),  G. 
(A.  or  Ant.)  Antonio,  /. 
(Ap.)  Apollon  (ap-61-I6n),  F. 
Aristide  (Ar-ls-ted),  F. 
Armin  (ar'-men).  G. 
Arnaud  (ar-no),  F. 
Arrigo  (ar'-re-go),  /. 
Arsene  (ar-sen),  F. 
Arthur  (ar-tur),  F. 
Attilio  (at-te-lI-6),  /. 
(Aug.)  August  (ow'-goost),  G. 
Auguste  (o-glist),  F. 
Augustin    (ow'-goos-ten,    G.)    (6-gus- 

taii,  F.). 
(Aug.)  August©  (a-oo-goost'-6),  /. 

Baldassare  (bal-das-sa'-re),  /. 
(Bal.)  Balthasar  (bal-ta-zar'),  F. 
(Bap.)  Baptiste  (bS-test),  F. 
(Bart.)     Bartolommeo     (bar-to-lom- 

ma'-6),  /. 
(Bat.)  Battista  (bat-te'-sta),  /. 
Benedikt  (ba'-ne-dekt),  G. 
Beniamino  (ban-y^-me'-no),  /. 
(Bv.)  Benvenuto  (ban-ve-noo'-to),  /. 
(Bdo.)  Bernardo  (ber-nar'-do),  /. 
(Bd.)  Bernhard  (barn'-hart),  G, 
Bertrand  (bar-tran),  F. 
Bianca  (be-an'-ka),  /. 


Blasius  (bla'-zl-oos),  G. 
Bonaventure  (bon-iv-an-tiir),  F. 
Bonifacio  (bo-ne-fa -cho),  /. 
Bonafazio  (bon-e-fa -tsl-o),  /. 
Brigida  (bre'-je-da),  /. 

Camille  (kam-e'-yii),  F. 

Carlo  (kar'-lo),  /. 

Casimir  (kas-I-mer),  F. 

Catherino  (kat-ter-re-no),  /. 

Caytan  (ka'e-tan),  Sp. 

C^sar  (sa-zar),  F. 

Cesare  (cha-za'-re),  /. 

(Chas.)  Charles  (sharl),  F. 

Chrisostomus  (kre-s6s'-t6-moos),  G 

(Chr.)  Christian  (krest'-I-an),  G. 

(Chp.)  Christoph  (kres'-toph),  G. 

Cinthie  (san-te),  F. 

Claude  (klod),  F. 

Clement  (kla-man),  F. 

Clotilde  (klo-tel'-de),  G. 

Colin  (ko-lan),  F. 

Constanze  (kon-stan'-tsS),  G. 

Cornelius  (kor-na'-lt-oos).  G. 

Costanzo  (ko-stan'-tso),  /. 

Damaso  (da-ma'-s6),  Sp. 

(D.)  David  (da-ved),  /'. 

(D.)  David  (da'-fet),  G. 

Delphin  (del-fan),  F. 

Dietrich  (det'-rlkh),  G. 

Dieudonn6  (d'yu-diin-na),  F. 

Diogenio  (de-6-ja-ne'-6),  /. 

Dioma  (de-6'-ma),  /. 

(Dion.)  Dionisio  (de-6-ne'-s!-o),  Sp. 

Dionys  (de'-o-nes),  G. 

(Dom.)  Domenico  (do-ma'-nl-ko),  /. 

(Dom.)  Dominique  (dom-I-nek),  F. 

Dufr^sne  (du-fren),  F. 

(Edm.)  Edmond  (ed-moii),  F. 
(Edm.)  Edmund  (at'-moont),  G. 
(Edw.)  Edward  (ad-var),  F. 
Egidio  (a-je'-dI-6),  /. 
Eleonore  (a-Ia-o-no'-re),  G. 
El^onore  (a-la-o-nor),  /'.     Also  a  ma* 

culine  name. 
Elias  (a-le'-as),  G. 
Eligio  (a-le'-j5),  /. 
Eliodoro  (a-lT-6-d6'-ro),  /. 
Eliseo  (a-le'-za-6),  /. 


fr 


LU_ 


PRONOUNCING   DICTIONARY      v 


Eliza  (a-le'-za),  /. 

(Em.)  Emanuel  (a-man-wel),  F, 

Emil  (a-mel),  G. 

Emilie  (a-ml-le),  F. 

(Em.)  Emilio  (a-mel'-yo),  /. 

(Emm.)    Emmanuele    (^m-man-oo-a'- 

15),  /. 
(En^.)  Engelbert  (eng'-el-Wrt),  G. 
Enrico  (en-re'-ko),  /. 
Erasmc  vil-ras'-mo),  /. 
Ercole  (ar-ko-la ),  /. 
(Erh.)  Erhard  (ar-hart),  G. 
Ernst  (arnst),  G. 
Errico  (er'-rl-ko),  /. 
(Et.)  Etienne  (at'-ygn),  F. 
(Eug.)  Eugen  (oi'-gan),  G. 
(Eug.)  Eugene  (u-zhen'),  F. 
(Eug.)  Eugenio  (a-oo-ja'  ne-6),  /. 
Eustache  (us-t5sh),  F. 
Evarista  (a-va-re'-sta),  /. 

Fabio  (fab'-yo),  /. 

(F.)  Felice  (fa-le'-che). 

F^licien  (fa-les-van),  F. 

(F.)  F61ix  (fa -I'ex),  F. 

(F.)  Felix  (fa-lex),  G. 

(Fd.)     Ferdinand     (far'-dl-nant,     G) 

(far-dT-niin,  F.). 
;Fdo.)  Ferdinando  (f^r-de-nan'-do),  /. 
Ferencz  (fer'-ens),  Hting. 
F6r6ol  (fa-ra-61),  F. 
Fernandez  (fer-nan'-deth),  Sp. 
Fernando  (fer-nan'-do),  /. 
Ferruccio  (fer-root'-cho),  /. 
Firmin  (fer-man),  F. 
Florence  (flor-afis),   F.     Commonly  a 

masculine  name. 
'lorian  (flor-yan,  F.)     (flor'-I-an,  G.). 

Ft.)  Fortunate  (for-too-na'-to),  /. 

Fran.)  Francesco  (fran-chas'-ko),  /. 

'rancesco  (fran-thas'-ko),  Sp. 

'rancisco  (fran-thes'-k5),  Sp. 

Fran.)  Francois  (frafi-swa),  F. 

''rantisek   (fran'-tl-shek),  Bohemian. 

Fz.)  Franz  (frants),  G. 

Fr.)  Fr6d6ric  (fra-da-rek),  F. 

,'ridolin  (fre'-do-len),  G. 

Fr.)  Friedrich  (fret'-rikh),  G. 

labriele  (ga-bri-a'-lg),  G. 
.    ^aet.)  Gaetano  (ga-a-ta'-no),  7. 
I    jasp.)  Gasparo  (gas-pa'-ro),  /. 


Gellio  (jel'-ll-o),  /. 

Geminiano  (jem-en-T-a-no),  /. 

Gennaro  (gen-na-ro),  /. 

(G.)  Georg  (ga-6rkh'),  G. 

(G.)  George,  E. 

(G.)  Georges  (zhorzh).  F. 

(Ger.)  Gerolamo  (j5-ro'-la-mo),  /. 

(Geron.)  Geronimo  (je-r6'-nT-m6),  /. 

Gervais  (zher-ve'),  F. 

Gesu  (ha'-zoo),  Sp. 

Ghislein  (ges-ldii),  F. 

Giacinto  (ja-chen'-to),  /. 

Giacomo  (jiik'-o-mo),  /. 

Gialdino  (jal-de'-n6);  I. 

Gioacchino  (jo-a-ke'-no),  7. 

Giordano  (j6r-da-n6),  7. 

Gioseffo  (jo-sef'-fo),  /. 

(Giov.)  Giovanne  (j6-van'-nS),  7. 

Giuditta  (joo-dKt'-ta),  7. 

Giulia  (jool'-ya),  7. 

Giulio  (jool'-yo),  7. 

(Gius.)  Giuseppe  (joo-sep'-pe),  I. 

Gjula  (gu'-la),  Huui;. 

Gotifredo  (go-te-fra'-do),  7. 

(Gf.)  Gottfried  (got'-fret),  G. 

Gotthard  (got'-hart),  G. 

(Gh.)  Gotthilf  (got -hllf),  G. 

(Gl.)  Gottlieb  (got'-lep),  G. 

Gottlob  (got'-lop),  G. 

Gregorio  (gra-g6'-rI-6),  7. 

Guido  (goo-e'-do),  7. 

(Guil.)  Guillaume  (ge-yom),  F. 

(Gv.)  Gustav  (goos'-taf),  G. 

(Gve.)  Gustave  (gus-tSv),  F. 

Hamish  (ha -mesh),  Gaelic. 

Hans  (bans),  G. 

(H.)  Heinrich  (hln'-rlkh). 

(H.)  Henri  (an-re),  F. 

(H.)  Henry. 

(Hn.)  Hermann  (hSr'-man),  G. 

Hieronymus  (he-5r-5n'-e-moos),  G. 

(Hip.)  Hippolyte  (ep-6-Iet),  F. 

Hugo  (hoo'-go,  G.)     (ii-go,  7^.). 

(Ign.)  Ignace  (en-ySs),  F. 
(Ign.)  Ignazio  (en-yat'-sl-o),  I 
(I.)  Igraz  (ekh'-rats),  G. 
Hitch  (e'-Htsh).  Riis. 
Ilja  (el'-jii),  Rus. 
Ingeborg  (Ing'-g-borkh),  G. 
(Ipp.)  Ippolito  (ep-po-le'-to),  I. 


y\ 


THE    MUSICAL    GUIDE 


Isidore  (e-ze-dor),  F. 
Italo  (et-a-16),  /. 

Jacob  (yak'-op),  G. 

Jacopo  (yak'-6-p6),  7. 

(Jac.)  Jacques  (zhak),  F. 

Jan  (yan),  Dutch. 

Jan  (yan),  Polish. 

Javier  (hav-var),  Sp. 

(J.)  Jean  (zhah),  F. 

Jefte  (yef-te),  /. 

Jdrome  (zha-rom),  F. 

(Joa.)  Joachim  (yo'-a-khem),  G. 

Joaquin  (wa'-ken);  Sp. 

(Jn.)  Johann  (yo'-han),  G. 

(Jns.)  Johannes  (yo-han'-nes),  G. 

(J.)  John. 

Jos6  (ho-za'),  Sp. 

(Jos.)  Josef,   or  Joseph  (yo'-zef,   G.) 

(zho-zef,  F.). 
Josquin  (zhos-kan),  F. 
Juan  (hoo-an'),  Sp. 
Jules  (zhun,  /■. 
Julie  (zhii-le),  F. 
Julien  (zhiil-vah),  F. 
Juliette  (zhii'l-yet),  F. 
Julius  (yoo-ll-oos),  G. 
Juste  (z'hiist),  /'. 
Justin  (zhiis-tafi),  F. 

Karl  (kiirl),  G. 
Karoline  (ka-ro-le'-ne),  G. 
Kasper  (kas'-per),  G. 
(Kd.)  Konrad  (kon  -rat),  G. 
(Konst.)   Konstantin  (kon-stan-ten), 
G. 

Ladislaw  (lad'-ls-laf),  Pol. 
Laure  (lor),  /'. 
Laurent  (16-ran),  F. 
Leberecht  (la'-be-rekht),  G. 
L6on  (la-6n),  F. 
Leonard  (la-6-nar),  F. 
L6once  (la-6ns),  F. 
Leone  (la-6'-ne).  I. 
(Ld.)  Leopold  (la-i.-p61d),  F. 
(Ld.)  Leopold  (la -6-polt),  G. 
Lopez  (l6'-peth),  Sp. 
(Lor.)  Lorenz  (lo'-rents),  G. 
(L.)  Louis  (loo-e),  F. 
Louise  (lOo-Cz),  F. 


Luca  (loo'-ka),  I. 
Lucien  (lUs-yan),  F. 
Lucrezia  (lo'o-kra'-tse-a),  I. 
(Lud.)  Ludovico  (loo-do-ve'-ko),  /. 
(L.)  Ludwig  (loot'-vlkh),  G. 
(L.)  Luigi  (loo-e'-je),  /. 
Luigia  (loo-e'-ja),  /. 
Luise  (loo-e'-ze),  G. 

Manfredo  (mjin-fra'-do),  7. 

Manuel  (man'-oo-el),  G. 

Marcello  (mar-chel'-l5),  I. 

Marco  (mar'-ko),  7. 

Marguerite  (mar-gCi-ret'),  F. 

(M.)  Maria  (ma-re'-a),  G.,  I.  and  .^. 

Commonly  a  masculine  name. 
Marie  (ma-re),  F.     Commonly  a  mas« 

CLilinc  name. 
Mathias  (mii-te'-as),  F.  and  G. 
Mathieu  (mat-yu),  F. 
(Mat.)  Matteo'  (mat-ta-6),  7. 
Matthaus  (mat-ta'-oos),  G. 
Mattia  (miit-te'-a),  7. 
Maturin  (mat-u-ran),  F. 
Maurice  (mo-res),  F. 
Max  (max),  G. 

Maximilian  (max-I-mel'-I-an),  G 
Melchior  (mel-shl-6r),  F. 
Melchiore  (mel-kl-6'-re),  7. 
Michael  (me'-ka-el),  I. 
Michel  (mc-shel),  F. 
Michele  (me-ka  -k),  7. 
Miroslaw  (me-ro-slrif),  Russian. 
Modeste  (mo-dest),  F. 
Moritz  (mo'-rets),  G. 
Muzio  (moo'-tsI-6),  7. 

Napoleon  (na-p6'-la-6n),  F. 

Natale  (na-ta'-le),  7. 

Nepomuk  (na'-p6-mook),  G. 

Niccola  (nek'-ko-la),  7. 

(N.)  Nicholas,  7\ 

(N.)  Nicolas  (ne-ko-las),  F. 

(N.)  Nicol6(ne-ko-l6'),  7. 

Nikolai  (ne'-ko-la),  G. 

(N.)  Nikolaus  (ne'-ko-lows),  G. 

Octave  (6k-tav),  F. 
Orazio  (6-ra'-tsl'-o),  7. 
Otto  (ot'-to),  G. 
Ottokar  (6t-t6-kar),  Pol. 


PRONOUNCING    DICTIONARY    vii 


Pantaloon  (piin-ta-la-on),  F. 
Paolo  (pa'-o-lo),  /. 
Pascal  (pas-kal),  F. 
Pasquale  (pas-kwa-le),  /. 
Paul  (pol),  F. 
Pedro  (pa'-dhro),  Sp. 
Peregrine  (pa-ra-gre'-no),  /. 
(P.)  Peter. 

(P.)  Peter  (pa'-ter),  G. 
Philibert  (fe-ll-bar),  F. 
(Ph.)  Philipp  (fe'-Iip),   G. 
(Ph.)  Philippe  (fe-lep),  F. 
Pierluigi  (pe-ar-loo-e'-je),  /. 
(P.)  Pierre  (pl-ar),  F. 
(P.)  Pietro  (pl-a -tro),  /. 
Polibio  (p5-le'-be-o),  /. 
Pompeo  (p6m-pa-6),  /. 
Primo  (pre'-mo),  /. 
Prosper  (pros'-par),  F. 
Prudent  (prli-dan),  F. 

Rafael  (ra'-fa-el),  /.  and  Sp. 

Regnault  (ren-)'6),  F. 

Reichardt  (rikh'-art),  G. 

Reinhold  (rin'-holt),  G. 

Rene  (ra-na),  /". 

(R.)  Rob'ert,  E.  (in  F.  ro'-bar,  in  G. 

ro'-bart). 
Roberte  (ro-bart),  F. 
(R.)  Roberto,  /. 
Romano,  /. 

Romualdo  (rom-oo-ar-do),  /. 
Rose  (roz),  F. 

(Rud.)  Rudolf  (roo'-dolf),  G. 
Ruggiero  (rood-ja'-ro),  /. 
Ruprecht  (roo'-prekht),  G. 

Sabine  (za-be'-ne),  G. 

(S.)  Salvatore  (sal-va-to'-re),  /. 

(Sml.)  Samuel  (zam'-oo-el),  G. 

Scipione  (she-pl-6'-ne),  /. 

Sebald  (za'-balt),   G. 

(Seb.)  Sebastian  (sa-bast-yafi),  F. 


(Seb.)  Sebastian©  (sa-bas-tl'-a'-no),  / 

and  Sp. 
Siegfried  (zekh'-fret),  G. 
Siegmund  (zekh'-moont),  G. 
Simon  (ze'-m6n),  G. 
(Sim.)  Simone  (se'-m6-ne),  /. 
Spiro  (spe'-ro). 
Steffano  (stef-fa -no),  /. 
Sy)v=iin  (sel-van),  F. 

'Abd:ulo  (ta-6-doo'-lo),  I. 
1   Besa  (ta-ra'-sa),  /. 
Theobald  (ta'-o-balt),  G. 
Theodor  (ta'-o-dor),  G. 
(The.)  Theodore  (ta-ii-dor),  F. 
(T.)  Thomas. 
Thueskon  (too-es'-kon),  G. 
(Tim.)  Timothee  (te-mo-ta'),  F. 
(T.)  Tommasso  (tom-mas'-so),  /. 
Traugott  (trow'-got),  G. 
Turlogh  (toor'-lokh),  G. 

(Val.)  Valentin  (val-afi-taii),  F. 
Venanzio  (va-nan'-tsl-6),  /. 
(V.)  Vincent  (van-san),  F. 
(V.)  Vincent  (fen'-tsent),  G. 
(V.)  Vincenzo  (ven-chan'-ts6),  /. 
Vincesleo  (ven-ches-Ia'-o),  /. 
Violante  (ve-o-lan'-te),  /. 

Wendela  (ven'-de-la),  G. 
Wenzel  (ven'-tsel),  G. 
Werner  (var-ner),  G. 
(Wm.)  Wilhelm(ver-helm),  G. 
Wilhelmine  (vel-hel-me'-ne),  G. 
Wilibald  (ve'-ll-balt),   G. 
Willem  (wll'-lem),  Dutch. 
(Wm.)  William,  E. 
Woldemar  (vol'-de-mar),  G. 
(Wg.)  Wolfgang  (volf-gang),  G. 
Wuif  (voolf),  G. 

(X.)  Xavier  (ksav-va),  F. 
(X.)  Xavier  (za-fer'),  G. 


35tog;rapj)ical  Bicttonar^ 

of 

Musicians 


N.B.  The  German  modified  vowels 
a,  6,  u,  are  often  spelled  ae,  oe,  ue. 
For  convenience  they  will  here  be  ar- 
ranged alphabetically  as  if  a,  o,  u. 

For  the  system  on  which  given  names 
are  abbreviated,  and  for  their  pronun- 
ciation, see  the  pages  devoted  to  them. 

The  word  "  Gerbert,"  or  "  Cousse- 
maker "  in  a  parenthesis  means  that 
some  of  the  composers  works  are  in 
the  great  collections  of  Gerbert  or  Cous- 
semaker  (q.  v.).  Where  not  otherwise 
stated  the  man  is  a  composer. 

A   ■ 

Aaron  (a'-ron),  (i)  d.  Cologne,  1052  ; 
abbot  and  theorist.  (2)  (or  Aron), 
Pietro,  Florence,  1480  or  '90 — bet. 
1545-62  ;  theorist. 

Abaco  (del  a -ba-ko),  E.  Fel.  dell", 
Verona,  1662 — Munich,  1726,  court- 
conductor  and  composer. 

Abba-Cornaglia  (ab-ba'  kor-nal'-ya), 
Alessandria,  Piedmont,  1851  —  1S94  ; 
composed  operas  and  church-music. 

Abbadia  (ab-ba-de'-a),  (i)  Natale, 
Genoa,  1792 — Milan,  ca.  1875;  dram, 
and  ch.  composer.  (2)  Luigia,  daugh- 
ter of  above,  b.  Genoa,  1821  ;  mezzo- 
soprano. 
^  Abbatini(ab-ba-te'-ne),  A.  M.,  Castel- 
lo,  1595? — 1677:  composer. 

Abbe  (ab-ba),  (i)  Philippe  P.  de  St. 
Sevin,  lived  i8th  cent.;  "cellist.  (2) 
Pierre  de  St.  Sevin,  bro.  of  above  ; 
'cellist. 

Abbey,  J.,  Northamptonshire,  1785 — 
Versailles,  1859;  organ-builder. 

Ab'bott,  (i)  Emma,  Chicago,  1850— 
New  York,  1888  ;  operatic  soprano  ; 
toured  America  with  great  popular 
success.  (2)  Bessie  (Pickens),  b. 
America  ;  soprano  ;  pupil  of  Mrs. 
Ashford,     N.   Y.,    and    of    Koenig, 


Paris  ;  debut  1902  at  the  Opera  there, 

after   singing   in    ballad   concerts   in 

England. 
Abd  el   Kadir  (Abdolkadir)  (ka -der), 

Ben  Isa,  lived  14th  cent.  ;  Arabian 

theorist  and  collector. 
Abd   EI   Mumin   (or  Abdolmumin). 

Vide  SSAFFIUDIN. 

Abeille   (a-bi'-lg),  Jn.   Chr.  L.,    Bay- 

reuth,  1761 — Stuttgart,  1838,  com- 
poser and  court-conductor. 

Abel  (a-bei),  (i)  Clamor  H.,  b. 
Westphalia  17th  cent.;  court-mus. 
(2)  Chr.  Fd.,  gambist  at  Kothen, 
1720-37.  (3)  Ld.  Aug.,  b.  Kothen, 
1720,  son  of  above  ;  court-violinist. 
(4)  K.  Fr.,  Kothen,  1725 — London, 
1787  ;  bro.  of  above  and  the  last  vir- 
tuoso on  the  gamba.  (5)  L.,  Eckarts- 
berga,Thuringia,  Jan.  14, 1835 — Neu- 
Pasing,  Aug.  13,  1895  ;  violinist. 

Abela  (a-ba'-la),  (i)  Don  Placido 
(don  pla-the'-do),  Syracuse,  1814 — 
Monte  Cassino,  1876  ;  prior.  (2)  K. 
Gl.,  Borne,  Saxony,  1803 — Halle, 
1841  ;  cantor  and  composer. 

Abel  la, — singing-teacher;  lived  in  New 
York,  1S67. 

Abeir,  J.,  London,  ca.  1660 — Cam- 
bridge (?)  ca.  1724;  alto  (musico) 
and  lutenist  ;  collector  and  composer. 

Abenheim  (a'-bSn-him),  Jos.,  Worms, 
1S04 — Stuttgart,  1891  ;  conductorand 
violinist. 

Abert  (a'-bert),  Jn.  Jos.,  b.  Kocho- 
witz,  Bohemia,  Sept.  21,  1832  ; 
double-bass  virtuoso  and  important 
composer  for  the  instr.  ;  also  com- 
posed operas,  etc. 

Abesser,  Edm.,  Matgolitz,  Saxony, 
1837 — Vienna,  1889  ;  dram,  com- 
poser. 

Abos  (a-bos)  (or  Avos,  Avos'sa), 
Gir.,  Malta,  ca.  1700 — Naples, 
1786  (?)  ;  composer  of  operas,  etc. 


379 


38o 


THE   MUSICAL   GUIDE 


A'braham,  (i)  John.  Vide  braham. 
{2)  (Dr.)  Max.     Vide  peters,  c.  f. 

A'brams,  three  Englisli  sisters,  1775- 
84.  (i)  Harriet,  soprano  and  com- 
poser. (2)  Theodosia,  contralto. 
(3)  Eliza. 

Abranyi  (a-bran'-ye),  Kornel,  b.  Szent 
Gyorgz  Abranyi,  1822 ;  Hungarian 
nobleman  ;  editor  and  composer. 

Abt  (apt),  (i)  Franz,  Eilenburg,  Dec. 
22,  18 19 — Wiesbaden,  March  31, 
1885  ;  court-conductor  at  Bernburg, 
Zurich  and  Brunswick  ;  visited  Amer- 
ica, 1872  ;  immensely  popular  as  a 
writer  in  the  folk-song  spirit,  of  such 
simple  and  pure  songs  as  "  When  the 
Swallows  Hoiiie'ward  Fly"  etc.  ;  c. 
500  works  comprising  over  3,000  num- 
bers (the  largest  are  7  secular  can- 
tatas) and  numerous  choruses  and 
other  cantatas.  (2)  Alfred,  Bruns- 
wick, 1855 —  (of  consumption)  Ge- 
neva, April  29,  1888  ;  son  of  above  ; 
conductor. 

Ab'yngdon,  Henry,  d.  Wells,  Eng- 
land, 1497  ;  composer. 

Achard  (a-shar),  L^on,  b.  Lyons,  Feb. 
16,  1831  ;  tenor. 

Achenbach.     Vide  alvary. 

Ack'ermann,  A,  J.,  b.  Rotterdam, 
April  2,  1836  ;  composer. 

Ac'ton,  J.  B.,  b.  Manchester  (?),  1863  ; 
singing-teacher  and  composer. 

Adam  '(id-ah),  (i)  Louis,  Mutter- 
sholtz,  Alsatia,  1758 — Paris,  1848  ; 
teacher  and  composer.  (2)  Adolphe 
Charles,  Paris,  July  24,  1802— May 
3,  1856  ;  son  of  above  ;  c.  many  suc- 
cessful operas  ;  Pierre  et  Catherine 
(1829),  Le  Chalet  (1834),  Postilion 
de  Longjnmeaii  (1836),  Le  Fidele 
Berger,  Le  Brasseur  de  Preston 
(1838),  Le  Roi  d'Yvetot  (1842),  La 
Ponpde  de  Nuremberg,  Cagliostro, 
and  Richard  en  Palestine  (1844),  the 
ballets  Giselle,  Le  Corsaire,  Faust, 
etc.  ;  in  1847  he  founded  the  Thea- 
tre National,  but  was  made  bank- 
rupt by  the  revolution  of  1848,  and 
entered  the  Conservatoire  as  prof, 
of  composition  to  succeed  his 
father. 


Adam  (at'-am),  K.  F.,  Zadel,  1806— 
Leisnig,  1868  ;  cantor  and  composer. 

Adam  de  la  Hale  (or  Halle)  (ad-an 
dii  la  al),  Arras,  ca.  1240 — Naples, 
1287;  called  "  Le  bossu  d'Arras " 
(Hunchback  of  Arras) ;  a  picturesque 
trouvere  of  great  historical  impor- 
tance; c.  chansons,  jeux  (operettas) and 
motets;  his  works  were  pub.  1872. 

Adam  Von  Fulda  (at'-am  fon  fool'- 
dii),  ca.  1450 — ca.  1537.    (Gerbert.) 

Adamberger  (at'-am-berkh-er),  Valen- 
tin (not  Joseph),  Munich,  1743— Vi-  j 
enna,    1804 ;    dram,    tenor  ;  assumed  | 
name    "Adamonti";    Mozart   wrote  i 
the  role  of  Belmonte,  etc.,  for  him. 

Adami  da  Bolsena  (or  da  Volterra)  \ 
(a'-dii-me  da  bol-sa'-na),  And.,  Bo-  | 
logna,  1664 — Rome,  1742  ;  theorist.     \ 

Adamon'ti.     Vide  adamberger.  j 

Adamowski  (ad-a-mof'-shkl),  (i)  ) 
Timothee,  b.  Warsaw,  March  24,  < 
1858  ;  violinist  and  composer  ;  pupil 
of  Kontchi,  Warsaw  Cons,  and  Mas- 
sart,  Paris  Cons.  ;  1879  travelled  to 
America  as  soloist  with  Clara  Louise 
Kellogg,  and  later  with  a  company! 
of  his  own  1885-86 ;  teacher.  New 
Engl.  Cons.,  Boston  ;  organised  the 
Adamowski  String-quartet  (18S8).  (2) 
Joseph,  bro.  of  above.  ;  'ceUist  ; 
member  of  the  same  quartet  ;  married 
Szumowska. 

Ad'ams,  (i)  Th.,  London,  1785— 1858; 
organist.  (2)  Charles  R.,  Charleston, 
Mass.,  ca.  1834 — July  3,  1900  ;  tenor. 
(3)  Stephen.     Vide  maybrick,  m. 

Ad'cock,  Jas.,  Eton,  England,  177S— 
Cambridge,  i860;  choir-master  anc 
composer. 

Ad'dison,  J.,  London,  1765 — 1S44 
double-bass  player,  dram,  composer. 

Adelboldus  (a'-del-bol-doos),  d.  1027 
Bishop  of  Utrecht ;  theorist.  (Ger 
bert.) 

Adelburg  (fon  a -del-boorkh),  Aug. 
Ritter  von,  Constantinople,  1830- 
(insane)  Vienna,  1873  ;  violinist. 

Adler  (at'-ler),  (i)  G.,  b.  Ofen,  1806* 
violinist,    pianist,    teacher   and    corr)     ■ 
poser.     (2)  Guido,  b.    Eibenschiit;: 
Moravia,    Nov.    i,    1855 ;     pupil    i     [ 


I 


DICTIONARY    OF   MUSICIANS     381 


Academic  Gym.  in  Vienna,  and  Vien- 
na Cons.;  ('78)  Dr.  jur.,  and  ('So) 
Ph.  D.;  18S5  prof,  of  mus.  science 
Prague  Univ.;  (95)  prof,  of  mus. 
history,  Univ.  of  Vienna  (vice  Hans- 

■  lick).  (3)  v.,  Raab,  Hungary,  April 
3,  1S26 — Geneva,  Jan.  4,  1871;  son 
of  above  ;  teacher  and  composer. 

Adlgasser  (at'-'l-gas-ser),  Anton  Ca- 
jotan,  Innzell,  Bavaria,  1728 — 1777  ; 
organist. 

Adiung  (at'-loongk),  or  A'delung,  Ja- 
kob, Bindersleben,  near  Erfurt, 
1699 — 1762  ;  organist,  teacher  and 
writer. 

Adolfati  (a-dol-fa-te),  And.,  Venice, 
1711 — Genoa  (?)  1760;  composer. 

Adras'tos,  lived  Philippopolis  ca.  330 
B.C.;  pupil  of  Aristotle,  and  theorist. 

Adriano     di    Bologna.      Vide    ban- 

CHIERI. 

Ad  Hansen  (or  Hadrianus),  Eman- 
uel ;  lived  Antwerp  i6th  cent.  ; 
lutenist  and  collector. 

Adrien  (ad-rt-an)  or  Andrien.  (i) 
Martin  Joseph  (called  la  Neu- 
ville,  or  I'Ain^),  Liege,  1767 — 
Paris,  1832  ;  bass  and  composer  ;  he 
had  two  brothers.  (2)  Name  un- 
known, b.  Liege,  1765.  (3)  Ferdi- 
nand, chorus-master  Paris  Opera 
(1799-1S01),  composer. 

^gid'ius  Zamoren'sis,  Joannes, 
Franciscan  monk,  Zamora,  Spain, 
1270  ;  theorist. 

^gidius  de  Muri'no,  15th  cent.; 
theorist.     (Coussemaker.) 

iElsters  (el-sters),  Georges  Jacques, 
Ghent,  1770 — 1849. 

^rts  (erts),  (i)  Egide,  Boom,  Ant- 
werp, 1S22— Brussels,  1853.  (2) 
Felix,  St.  Trond,  Belgium,  1827— 
Nivelles,  1888  ('89?);  violinist  and 
writer. 

Affilard  (laf'-fe-Iar'),  Michel  1',  1683— 
170S  ;  singer  to  Louis  XIV. 

Afranio  (a-fra'-nI-6),  b.  Pavia,  end  of 
15th  cent. ;  canon  at  Ferrara  ;  inv. 
the  bassoon. 

Afzelius  (af-tsa-li-oos),  Arvid  A., 
Enkoping,  Sweden,  1785 — 1871  ;  col- 
lector. 


Agazza'ri  (a-gad-za'-re),  Ag.,  Siena, 
157S — 1640;  church-conductor, 

Agelaos  of  Tegea,  lived  559  b.c; 
considered  the  first  solo  virtuoso  on 
the  cithera. 

Agnelli  (an-yel'-le),  Salv.,  b.  Paler- 
mo, 1817 ;  pupil  of  Naples  Cons.; 
lived  Marseilles  and  c.  operas,  can- 
tata Apothdose  de  Napoleon  /., 
etc. 

Agnesi  (dan-ya'-se),  (i)  M.  Theresia 
d',  Milan,  1724— 1780  (?)  ;  pianist  and 
dram,  composer.  (2)  Luigi  (right- 
ly F.  L.  Agniez),  Erpent,  Namur, 
1833 — London,  1875  ;  bass. 

Agniez  (an-yez).     Vide  agnesi  (2). 

Agobar'dus,  d.  Saintonge,  840 ;  arch- 
bishop of  Lyons  ;  theorist. 

Agostini  (ag-6s-te'-ne),  (i)  Lud. 
Ferrara,  1534—1590;  court-conduc- 
tor. (2)  Paolo,  Vallerano,  1593 — 
Rome,  1629 ;  wonderful  contrapun- 
tist, some  of  his  works  being  in  48 
parts.  (3)  P.  Simone,  b.  Rome, 
ca.   1650.     c.  an  opera,  etc. 

Agramonte    (ag-ra-mon'-ta),    Emilio, 

b.  Puerto  Principe,  Cuba,  Nov.  28, 
1844 ;  eminent  vocal  teacher,  lect- 
urer, conductor,  and  friend  of  Amer- 
ican music ;  studied  comp.  under 
Maiden  in  Spain,  and  David  in 
Paris  ;  piano  in  Paris  ;  singing  under 
Roger,  Selva,  and  Delle  Sedie  ;  1865 
LL.D.  at  Univ.  of  Madrid;  taught 
singing  in  Barcelona,  1865,  Cuba, 
1 866-68  ;   lived  since  in  New  York  ; 

c.  (in  MS.)  a  Stabat  Mater,  etc. 
Agrel  (ji'-grel),  J.,  Loth,  Sweden,  1701 

— Niirnberg,  1769;  court-violinist  and 
conductor. 
Agric'ola,  (i)  Alex..,  Germany  (?) 
ca.  1470 — Valladolid,  Spain,  1530  ; 
court-singer  and  church-composer. 
(2)  Martin,  Sorau,  Saxony,  i486 — 
Magdeburg,  June  10,  1556  ;  emi- 
nent writer  and  theorist.  (3)  jn.,  b. 
Niirnberg  ca.  1570;  prof,  and  com- 
poser. (4)  Wolfgang  Chp.,  Ger- 
man composer  (1651)  ;  (5)  G.  L., 
Grossfurra,  1643 — Gotha,  1676  ; 
conductor.  (6)  Jn.  Fr.,  Dobitschen, 
1720 — Berlin,  1774;   court-cond. 


382 


THE    MUSICAL    GUIDE 


Agthe  (akh'-te),  K.  Ch.,  (i)  Hettstadt, 
1762— Ballenstedt,  1797;  composer. 
(2)  W.  Jos,  Albrecht,  Ballenstedt, 
lygo — ca.  1848  ;  son  of  above  ;  teach- 
er. (3)  Fr.  W.,  Sangershausen, 
1794 — (insane)  Sonnenstein,  ca.  1828  ; 
cantor. 
Aguado  (a-gwa'-dh5),  Dionisio,  Ma- 
drid, 1784— 1849;  performer  and 
composer  for  guitar. 
Aguilar    (a-gwe-lar),     Emanuel,    b. 

1824  ;  composer. 
Aguiari,  Lucrezia.     Vide  agujari. 
Aguilera  de  Heredia  (ii-gwt-la'-ra  da 
a-ra'-dhe-a),  Seb.,  b.   Sargossa.  17th 
cent. ;  monk  and  composer. 
Agujari       (a-goo-ha'-re),       Lucrezia 
(called  La  Bastardina,  or  Bastar- 
della,  being  the  natural  daughter  of 
a  nobleman),  Ferrara,  1743 — Parma, 
May  18,  1783;  a  phenomenal,  singer; 
Mozart  remarked  her  "lovely  voice, 
flexible  throat,   and    incredibly  high 
range,"  which  reached  from  middle  C 
three  octaves  up  ;  she  could  shake  on 
f"  (vide  CHART   OF   pitch)  ;  she  m. 
Colla,  1780,  and  retired  from  the  stage. 
Agus    (a-zhlis),    H„    France,    I749— 
1798  ;  singing-teacher  and  composer. 
Able    (a-lg),    (i)    Jn.    Rud.,    Muhl- 
hausen,     1625— 1673  ;     theorist    and 
church-composer.     (2)  Jn.  G.,  Mul- 
hausen,   1650 — 1706;  son  of  above; 
organist,  poet  and  theorist. 
Ahlstrom    (iil'-shtram),    (i)  A.  J.  R., 
Stockholm,  1762— ca.  1827;  organist. 
(2)  Johan  Niklas,  Wisby,  Sweden, 
June   5,   1805 — Stockholm,    May   14, 
1857  ;  probably  son  of  above  ;  dram, 
composer. 
Ahna.     Vide  de  ahna. 
Aibl  (I'-bl),   Jos.,   founded   publishing 
firm,  Munich,  1824;  later  heads  were 
Eduard  Spitzweg  (1836)  and  his  sons, 
Eugen  and  Otto. 
Aiblinger  (T'-bllng-Sr),   Jn.    Kasper, 
Wasserburg,  Bavaria,  1779— Munich, 
1867  ;  court-conductor,  collector  and 
composer. 
Aichinger  (i'-khtng-Sr),  Gregor,  Augs- 
burg (?)  ca.    1561— 1628  ;  canon   and 
composer. 


Aid€  (a-e-da),  Hamilton,  b.  Paris, 
1830,  of  Greek  parents  ;  poet,  com- 
poser of  pop.  songs. 

Aigner  (ikh'-ner),  Engelbert,  Vienna, 
1798 — ca.  1852  ;  dram,  composer. 

Aimo  (a'-e-mo).     Vide  haym,  n.  f. 

Aimon(em-6n),  Pamphile  Ld.  Fran.,  ! 
b.  L'Isle.  near  Avignon,  1779  ;  'eel-  ,1 
list,  conductor,  theorist. 

Aireton  (ar'-tun),  Edw.,  London,  '■ 
1727 — 1807  ;  violin-maker. 

Ajolla.     Vide  layoi.le. 

A  Kem'pis,  Florentine  ;  org.  at  Brus-  ; 
sels,  1650. 

Akeroyde  (ak'-e-roid),  Samuel,  b.  : 
Yorkshire  ca.  1650  ;  song-writer.  j 

Ala  (a-la),  Giov.  Bat.,  Monza,  1580—  ! 
1612  (?) ;  organist  and  composer.  j 

Alabieff  (a-la-bl-ef),  Alex.,  Moscow,  i 
1802 — 1852  ;  composer.  ' 

Alard  (ai-ar),  (i)  C^sar,  b.  Gosse-  1 
lies,  Belgium,  May  4,  1837  ;  'cellist, 
entered  Brussels  Cons,  at  9,  as  vio- 
linist ;  took  up  the  'cello  and  won 
prizes ;  travelled  as  soloist.  (2)  J. 
Delphin,  Bayonne,  March  8,  1815 — 
Paris,  Feb.  22,  1888  ;  violinist,  teach- 
er and  composer. 

Alary  (al-a-re),  Giulio  Eugenio 
Abramo,  Mantua,  1814— Paris,  1891; 
flutist. 

Al'ayrac.     Vide  dalayrac. 

Albanese  (al-ba-na -ze),  Albano,  1729 
— Paris,  1800;  musico  and  com- 
poser. 

Albanesi  (al-ba-na-ze).  Carlo,  b.  Na- 
pies,  1856— London,  1893  ;  piano- 
prof  R.  A.  M. 
Albani  (al-bii' -nl)  (stage  name  of  Ma- 
rie Louise  Cecilia  Emma  La 
Jeunesse),  b.  Chambly,  near  Mon- 
treal, Nov.  I,  1852;  operatic  soprano; 
sang  in  Cn'-hedral,  Albany,  N.  ¥., 
whence  her  name  was  mistakenly 
supposed  to  have  been  taken  ;  pupil 
of  Duprez,  and  of  Lamperti ;  debut 
at  Messina  in  1870. 
Albani,  Mathias,  Bozen,  1621 — 1673  ; 
famous  father  of  more  famous  son  of 
same  name  and  trade,  violin-making ; 
the  younger  A.'s  violins  (1702-9) 
rival  Amati's. 


i 


DICTIONARY    OF    MUSICIANS     383 


Albeniz  (al-ba'-neth),  (i)  Pedro,   Lo- 
groiio,  1795 — Madrid,  1855  ;  court-or- 
ganist.     (2)  Isaac,    b.    Camprodon, 
Spain,  May  20,  1S61  ;    grandnephevv 
of  above  ;  lives  in  London  as  pianist ; 
composed  operas,  etc.     (3)  Pedro,  b. 
Biscay,  San  Sebastian,   1S21  ;  monk, 
church-cond.  and  composer. 
Albergati   (dal-ber-ga-te),    (i)    Pirro 
Capacelli,   Conte  d'.     Lived  in  Bo- 
logna, 17th  cent.  ;  composer.  (2)  Al- 
dobrandini,  lived  in  Bologna,    17th 
cent.;  dram,  composer. 
Al  bert,    Prinz  von  Sachsen-Coburg 
Gotha,  Schloss  Rosenau,  1819 — 1861; 
consort  of  Queen  Victoria,  patron  of 
music    and    composer   of   an   opera, 
Jean    Ic  Fol  (Bagnieres   de   Bigorre, 
1S65),  an  operetta,  masses,  etc. 
Albert    (al'-bert),   (i)  H.,   Lobenstein, 
Sa.xony,     1604  —  Konigsberg,     1651  ; 
poet,  organist  and  composer ;  called 
the  father  of  the   German  Lied,  and, 
as  he  alludes  to  a  "  Comodien-musik  " 
(1644),    he    must    have     been,    with 
Schiiltz,  one  of  the  founders  of  Ger- 
man opera.     (2)  Max,  Munich,  1833 
— Berlin,    1882  ;     zither-virtuoso    and 
inventor.      (3)  Charles    L.    N.    d', 
Nienstetten,   near   Hamburg,  1S09 — 
London,   1866  ;  dancing  master  and 
composer.      (4)  Eugen    d',    rightly 
Eugene    (Francis    Charles)   (dal- 
:     bar,  or  dal'-bert),   b.  Glasgow,  April 
I     10,    1864 ;  son  and   pupil   of   above; 
!     pianist ;     Newcastle    scholar    in    the 
;     London  Nat.  Training  School,  1876; 
i     pupil   of    Pauer   (pf.)    and    Stainer, 
'     Proutand  Sullivan  (harm,  and  comp.); 
1     1881,    Mendelssohn  scholar  and   pu- 
.     pil  of  Richter  and   Liszt,  who  called 
\     him  "the  young  Tausig  "  ;   1881,  he 
played  the  Schumann  concerto  at  the 
Crystal    Palace,    London ;    Oct.    24, 
a  concerto  of  his  own,  at  a    Richter 
concert ;  he  performed    5    Beethoven 
sonatas  (op.  31,  53.  90,  109,  no)  at  a 
Gewandhaus  recital,  1893  ;    he  mar- 
ried the  pianist   Carreno  in  1892  (di- 
vorced 1S95)  ;  first  conductor  at  Wei- 
mar, vice  Lassen,  but  soon  resigned  ; 
composed   a    symphony,  2  overtures, 


(^Hyperion  and  Esther),  2  pf. -concer- 
tos, libretto  and  music  of  the  operas 
De>-  Rubin  (Carlsruhe,  Oct.  12,  1893), 
Ghismonda  (Dresden,  1895),  Gemot 
(Mannheim,  1897),  i-act  mus.  comedy 
Die  Abreise  (Frankfort,  1898),  etc. 

Albertazzi  (al-bgr-tad'-ze),  Emma 
(neeHowson),  London,  1814 — 1847  ; 
operatic  contralto. 

Alberti(al-ber'-te),(i)Jn.  Fr.,Tonning, 
1642 — Merseburg,  1710  ;  organist. 
(2)  Giuso  Matteo,  Bologna,  1685 — 
1746;  violinist  and  composer.  (3) 
Domenico,  Venice,  1707 — Formio, 
1740  ;  singer  then  pianist  ;  in  his 
piano  music  he  made  use  of  the  since- 
called  "  Alberti  bass  "  (vide  D.  D.).  (4) 
K.  Edm.  Robt.,  Danzig,  1801 — Ber- 
lin, 1S74  ;  writer. 

Alberti'ni  (iil-ber-te'-ne),  (i)  Gioac- 
chino,  b.  1751 — Warsaw,  April, 
181 1  ;  conductor  and  dram,  com- 
poser. (2)  Michael  (called  Momo- 
let'to),  soprano  musico  at  Cassel, 
i8th  cent.,  where  his  sister  (3)  Gio- 
vanna  (called  Romanina)  was  prima 
donna. 

Albicas'tro,  Henrico  (rightly,  Weis- 
senburg),  b.  Switzerland,  17th  cent.  ; 
court-violinist. 

Albino'ni,  Tommaso,  Venice,  1674 — 
1745  ;  violinist. 

Alboni,  Marietta,  Cesena,  Romagna, 
March  10,  1S23 — Ville  d'Avray,  near 
Paris,  June  23,  1894;  eminent  dram, 
contralto,  compass  %-^'  (vide  PITCH, 
D.  D.) ;  pupil  of  Rossini  ;  debut  La 
Scala,  Milan,  1843 ;  m.  Count  Pe- 
poli,  1854. 

Albrecht  (al'-br^kht),  (i)  Jn,  Lor., 
Gormar  (Thuringia),  1732 — MiihU 
hausen,  1773  ;  writer.  (2)  Jn.  Matt., 
Osterbehringen,  near  Gotha,  1701 — 
Frankfort,  1769;  organist.  (3)  Karl, 
Breslau,  18 17  (?)  —  Moscow,  1893  ; 
court-conductor.  (4)  Eugen  Maria, 
St.  Petersburg,  1842 — 1894  ;  son  of 
(3) ;  violinist  and  conductor. 

Albrechtsberger(al-br^khts-b$rkh-er), 
Jn.  G.,  Klosternenburg,  near  Vi- 
enna, Feb.  3,  1736 — Vienna,  March 
7,  1809  ;    eminent   composer,    court- 


384 


THE    MUSICAL    GUIDE 


organist,  theorist  and  teacher  (Bee- 
thoven was  his  unappreciated  pupil). 

Albri'ci  (al-bre'-che),  V.,  Rome,  1631 
— Prague,  1696  ;  court-conductor. 

Alcarrot  ti,  Giov.  Fran.,  lived  in 
Italy  i6th  cent.  ;  organist,   1740-91. 

Al'cock,  (i)  John,  London,  1715 — 
Lichfield,  1S06  ;  organist.  (2)  J.,  son 
of  above  ;  organist. 

Alday  (al-de),  French  family,  (i)  The 
father  (b.  Perpignan,  1737),  a  man- 
dolinist.  His  two  sons  (2)  A.  le 
vieux  (b.  1763)  ;  violinist.  (3)  A. 
lejeiDie  (b.  1764) ;  violinist. 

Alden,  J,  Carver,  b.  Boston,  :Mass., 
Sept.  II,  1S52  ;  pupil  of  Carl  Fael- 
ten,  and  of  Paul,  Plaidy,  and  Pap- 
peritz  in  Leipzig  ;  teacher  at  the  N. 
E.  Cons.,  later  at  Wollaston,  Mass.  ; 
c.  pf.-concerto,  etc. 

Aldovrandini  (al-do-vran-de-ne), 

Gius.  A.  v.,  b.  Bologna,  1665  ; 
court-conductor  and  dram,  composer. 

Al'drich,  (i)  H.,  Westminster,  1647 — 
O.xford,  1710  ;  theorist  and  composer. 
(2)  Richard,  b.  Providence,  R.  I., 
July  31,  1S63 ;  graduated  Harvard, 
1885,  where  he  took  several  scholar- 
ships and  honours ;  studied  music 
under  J.  K.  Paine  ;  1S85  he  went  on 
the  staff  of  the  Providence  Journal, 
soon  reaching  an  editorial  position, 
and  being  put  in  charge  of  the  musi- 
cal and  other  critical  departments  of 
the  paper ;  iSSS  he  spent  in  study 
abroad,  chiefly  of  music ;  1889  to 
1891,  private  secretarj'  to  U.  S.  Sena- 
tor N.  F.  Di.\on ;  1891  joined  the 
staff  of  the  Neiv  York  Tribune  as 
associate  musical  critic  with  H.  E. 
Krehbiel,  and  as  collaborator  in  their 
''''History  of  the  PhilharDionic  Soci- 
ety ;  "  author  of  various  magazine  ar- 
ticles, and  editor  of  a  series  of  musical 
biographies  to  be  published  in  New 
York,  the  volume  on  Schumann  being 
in  preparation  by  him. 

Alembert  (dal-ah'-bar),  J.  Le  Rond 
d',  Paris,  1717—1783  ;  theorist. 

Alessan'dri,  (i)  Giulio,  c.  an  orato- 
rio (ca.  1690).  (2)  Felice,  Rome, 
1742 — Berlin  (?),  1811. 


Alessan'dro  Merlo  (or  Alless.  Ro- 
mano),   called     Delia    Viola,     b. 

Rome  (?)  ca.  1530  ;  monk,  singer  and 
composer. 

Alexander,  John  (or  Joseph),  'cellist 
at  Duisburg,  1801. 

Alfarabi  (al-fa-ra'-be),  or  Alphara'- 
bius,  properly  El  Farabi  (abbr. 
Farabi)  Farab  (now  Othrax,)  900  (?) 
— Damascus,  950  ;  Arabian  theorist 
who  vainly  advocated  Greek  theories. 

Alfieri  (al-fe-a'-re),  Abbate  Pietro, 
Rome,  1801  —  1863  ;  Camadulian 
monk  ;  teacher  and  theorist. 

Al'ford,  J.,  lutenist  at  London,  1568. 

Algarot  ti,  Count  Fran.,  Venice,  1712 
— Pisa,  1764;  writer. 

Aliani  (al-l-ii'-ne),  Francesco,  b.  Pia-  > 
cenza  ;  'cellist,  1820  ;  son  and  pupil  of  ; 
a  violinist. 

Alipran'di,  (i)  Bdo.,  b.  Tuscany,  i 
Bavaria,  ca.  1730;  his  son  (2)  Bdo.,  j 
'cellist  at  Munich,  1780.  I 

Alizard  (al-l-zar').  Ad.  Jos,  L.,  Paris,  j 
1S14 — (of  consumption)  Marseilles,} 
1S50  ;  bass,  later  bar}-tone. 

Alkan  (al-kah),  (i)  Chas.  H.  Val. 
{I'aitie),  Paris,  Nov.  30,  1813 — March 
29,  iSSS;  pianist,  teacher,  and  brilliant  j 
composer  for  piano.  (2)  Napoleon- 
Morhange  (mor-anzh)  {le  jeune),  b. 
Paris,  Feb.  2,  1826  ;  brother  of  above ; 
pianist. 

Allacci  (al-lat'-che),  Leone  (or  Leo" 
Allatius),  Chios,  15S6 — Rome,  1669; 
writer. 

Al'lanson,  1690 — 1705  ;  EngHsh  or- 
ganist, and  church-composer. 

All  chin;  conductor  Oxford  Music  S( 
ciety,  1869-S1. 

Allegran  ti,  Maddalena  ;  dram,  so-! 
prano  ;  debut,  Venice,  1771. 

Allegri  (al-la'-gre),  (i)  Gregorio. 
Rome,  15S4 — Feb.  18,  1662  ;  pupi 
of  Nanini ;  composed  a  celebratec, 
Miserere  in  9  parts,  sung  during 
Holy  Week  at  the  Sistine  Chapel  1 
its  publication  was  forbidden  on  pair 
of  excommunication ;  but  Mozar' 
after  twice  hearing  it,  wrote  it  out 
and  it  has  since  been  frequently  pub 
blished.     (2)  Dom.;  lived  1610-29  a 


DICTIONARY    OF   MUSICIANS     385 


Rome  ;  one  of  the  first  to  write  in- 
strumental accompaniments  not  in 
mere  unison  with  the  voices. 

Al'len,  (i)  H.  R.,  Cork,  1S09— Lon- 
don, 1S76 ;  bass.  (2)  G.  B.,  Lon- 
don, 1822 — Brisbane,  Queensland, 
1897 ;  singer,  organist,  conductor, 
manager,  and  composer.  (3)  Na- 
than H.,  b.  Marion,  Mass.,  1848  ; 
pupil  of  Haupt,  Berlin  ;  organist  and 
teacher  in  Hartford,  Conn.;  compos- 
er of  cantatas,  etc. 

AUihn  (al-len'),  H.  Max.,  b.  Halle-on- 
Saale,  Aug.  31,  1841 ;  writer  on  or- 
gan-building. 

Al'lison,  (i)  Richard,  teacher  at 
London,  1592.  (2)  Robt.,  member 
of  Chapel  Royal  till  1609. 

Al'litsen,  Frances,  English  singer  and 
composer ;  debut,  London,  1882. 

AU'woode,  ,  English  church- 
composer,  i6th  cent. 

Alma'gro,  A.  Lopez,  b.  Murcia, 
Spain,  Sept.  17,  1839  ;  pianist  and 
composer. 

Almeida  (dal-ma'-e-dha),  Fernando 
d',  Lisbon,  ca.  1618 — 1660  ;  monk 
and  church-composer. 

Almenrader  (al'-men-ra-der),  Karl, 
Ronsdorf,  1786 — Nassau,  1843;  virtu- 
oso and  manufacturer  of  the  bassoon. 

Aloysius,  Baini's  name  for  palestrina 
(q.v.). 

Alphara'bius.     Vide  alfarabi. 

Alquen  (dal-kah  or  dal'-kwan),  (i)  P. 
Jn.  d',  Arnsberg,  Westphalia,  1795 
— Mulheim-on-Rhine,  1863  ;  com- 
poser. (2)  Fz.  d',  Arnsberg,  18 10 
— London,  1887,  bro.  of  above ; 
pianist. 

Al'sager,  Thos.  Massa,  Cheshire, 
1779 — 1846  ;  English  amateur  and 
patron. 

Alshala'bi,  Mohammed,  15th  cent.; 
Arabian  theorist. 

Alsleben  (als'-la-ben),  Julius,  BerHn, 
1832 — 1894  ;  editor  and  writer. 

Alsted(t)  (al'-shtat),  Jn.  H.,  Herborn, 
Nassau,  1588 — Weissenburg,  1638  ; 
writer. 

Altenburg  (al'-ten-boorkh),  (i)  Mi- 
chael, Alach,  near  Erfurt,  1584— Er- 


furt,  1640  ;  pastor  and  composer.  (2) 
Jn.  Ernst,  Weissenfels,  1734 — Bitter- 
field,  1796  ;  trumpet-virtuoso  ;  son  of 
(3)  Jn.  Kasper,  do. 

Alt^s  (al-tes),  (1)  Jos.  H.,  Rouen,  1826 
— Paris.  1895  ;  flutist.  (2)  Ernest- 
Eugene,  b.  Paris,  March  28,  1830, 
bro.  of  above ;  pupil  Paris  Cons.; 
violinist  and  conductor  ;  1871  deputy 
conductor  of  the  Opera ;  1879-87, 
conductor. 

Altnikol  (alt'-ne-kol),  Jn.  Chp.,  d. 
Naumberg,  1759  :  son-in-law  and  pu- 
pil of  J.  S.  Bach  ;  organist  and  com- 
poser. 

Alvary  I'al-va-re),  Max  (rightly 
Achenbach),  Hamburg  (?)  1858— 
Datenberg,  Thuringia,  Nov.  8,  1898  ; 
eminent  Wagnerian  tenor ;  debut  at 
Weimar. 

Alvsleben,  Melitta.   Vide  otto-alvs- 

LEBEN. 

Alyp'ios,  lived  ca.  360  b.c,-  Greek 
theorist. 

Amade  (am-a-da ),  (i)  Ladislaw, 
Baron  von,  Kaschau,  Hungary,  1703 
— Felbar,  1764;  poet  and  composer. 
(2)  Thaddaus,  Graf  von  Pressburg, 
1783 — Vienna,  1845  ;  pianist. 

Amadei  (am-a-da-e),  R.,  b.  Loreto, 
Italy,  Nov.  29,  1840  ;  succeeded  his 
father  as  organist  and  conductor. 

Amalia  (a-ma'-ll-a).  the  name  of  three 
princesses  who  composed,  (i)  Anna 
A.,  sister  of  Frederick  the  Great, 
1723 — 1782.  (2)  Anna  A.,  mother 
of  the  Grand  Duke  Ernst  August, 
1739— 1S07.  (3)  Marie  A.  Fried- 
erike,  sister  of  King  John  of  Saxony, 
Dresden,  1794 — 1S70. 

Amati  (a-ma'-te),  a  family  of  famous 
violin-makers  at  Cremona,  Italy,  (i) 
Andrea,  1520  (?) — 1577  (?),  evolved 
the  violin  from  the  viol ;  his  younger 
bro.,(2)Niccol6,  made  fine  bass-viols, 
1568-86.  A.'s  2  sons,  (3)  Antonio, 
1550 — 1635,  and  (4)  Geronimo,  d. 
1638,  produced  violins  of  the  same 
style.  The  most  ''amous  was  Gero- 
nimo's  son,  (5)  Ntccolo,  Sept.  3, 
1596 — Aug.  12,  1684,  who  built  the 
"Grand    Amatis,"  large    violins  of 


386 


THE    MUSICAL    GUIDE 


powerful  tone;  his  label  is  "  Nico- 
laus  Amati  Cremonens.  Hieronimi 
filius  Antonii  nepos.  Fecit  anno 
i6-" ;  he  trained  Andrea  Guarneri 
and  Antonio  Stradivari.  (6)  His  son 
Geronimo,  the  last  of  the  family,  was 
inferior.  (7)  Giuseppe  A.,  b.  17th 
cent.,  Bologna,  a  violin-maker,  may 
have  been  of  the  same  family. 
(8)  V.  (called  Amatus),  Cimmina, 
Sicily,  1629 — Palermo,  1670  ;  con- 
ductor and  composer.  (9)  Antonio 
and  (10)  Angelo,  brothers,  and  ur- 
gan-builders  at  Pavia,  ca.   1S30. 

Ambragetti  (am-bra-jet'-te),  G.,  1S17 
— 1S35;  basso-buffo. 

Ambros  (am'-bros),  Aug.  W.,  Mauth, 
near  Prague,  Nov.  17,  1816 — Vienna, 
June  28,  1876 ;  eminent  historian 
and  critic. 

Ambrose  (Ambro'sius),  Treves,  .a.d. 
333 — Milan,  April  4,  397  ;  Bishop  of 
Milan ;  regulated  (384),  and  devel- 
oped Western  church-music  by  intro- 
ducing ritual  as  practised  in  the  East- 
ern Church  ;  the  adoption  of  the  four 
authentic  church-modes  was  probably 
due  to  him  ;  he  has  been  called  "  The 
Father  of  Christian  Hymnology," 
though  his  authorship  of  the  so-called 
Ambrosian  Hymn  is  discredited,  fur- 
ther than  the  translation  of  the  te.vt 
into  the  "  Te  Deum  "  ;  U  is  improL 
able  that  he  was  acquainted  with  the 
use  of  letters  for  notation. 

Ames,  John  Carlowitz,  b.  Bristol, 
England,  1S60;  composer  of  opera 
The  Last  of  the  Incas  (1S9S). 

Ameyden  (a-ml-den),  Christ,  i6th 
century  church-composer. 

Am(m)erbach  (iim'-er-bakh),  Elias 
Nikolaus,  ca.  1540 — Leipzig,  1597; 
organist,  theorist,  and  composer. 

Amiot  (am-yo).  Father,  b.  Toulon, 
171S;  Jesuit  missionarj'  and  writer 
on  Chinese  music. 

Am(m')on  (am'-mon),  (i)  Blasius,  b.  in 
the  Tyrol — d.  Vienna,  June,  1590  ; 
court-sopranist,  later  Franciscan 
friar ;  composer.  (2)  Jn.  Ands., 
Bamberg,  1763 — Ottingen,  1825;  vir- 
tuoso on  the  Waldhorn. 


Am'ner,  (i)  John,  b.  late  i6th  cent. 
— d.  1641  ;  organist.  (2)  His  son 
Ralph,  bass  at  Windsor,  1623 — 1663. 

Amphi  on,  the  earliest  traditional 
Greek  musician. 

Amorevoli  (a-mo-ra'-v5-le),  Angelo, 
Venice,  1716 — Dresden,  179S  ;  singer. 

Anacker  (a-nak-er),  Aug.  Fd.,  Frei- 
berg, .Sa.xony,  1790 — 1S54  ;  cantor 
and  composer. 

Ancot  (ah-k5),  a  family  of  pianists  1 
and  composers  at  Bruges,  (i)  Jean 
(pere),    1779 — 1S48.       His  two  sons, 

(2)  Jean(yf/j-),  1799 — Boulogne,  1829, 

(3)  Louis,  1S03 — Bruges,  1836. 
Ander  (an'-der),  Aloys,  Liebititz,  Bo- 
hemia, 1824 — Bad  Wartenberg,  1864  ;; 
tenor. 

Anders,  Gf.  Eng.,  Bonn,  1795—, 
Paris,  1866  ;   writer. 

Andersen,  Joachim,  b.  Copenhagen, 
April  29,  1S47  ;  flute-virtuoso;  soloist 
at  14 ;  toured  widely  ;  1S77,  court- 
musician,  Petersburg  ;  iSSi,  Berlin, 
soloist  court-opera  ;  from  1895  livec 
in  Copenhagen  as  court-conductor 
composed  notable  flute-pieces,  etc. 

Anderson-Boker,  Orleana,  b.  Xcm 
York,  1S35  ;  pianist  and  composer. 

Anderson,  (i)  Lucy,  nee  Philpot 
Bath,  1790 — London,  1S7S  ;  pianist 
(2)  Geo.  Fr.,  King's  bandmaster  ii 
England,  184S.  (3)  Angela,  b 
New  York  ;  great-granddaughter  o 
da  Ponte  ;  pianist,  pupil  of  .Stojowsk, 
and  Paderewski  ;  debut,   Paris.  iSgg. 

An'derton,  Thos.,  b.  Birmingham 
England,  April  15,  1836;  organist 
critic  and  composer. 

An'ding,  Jn.  Michael,  near  Meining 
en,  1810 — Hildburghausen,  1S79 
teacher. 

Andrade  (dan-dra'-dhe),  Fran,  d',  I 
Lisbon,  1859  ;  barytone  ;  studie 
with  Miraglia  and  Ronconi  ;  san 
leading  roles  in  many  Europea 
cities. 

Andre    (ah-dra),   a   musical    family  < 
Offenbach,   (i)  Jn.,  1741 — 1799;  JduI 
lisher  and   pianist  ;  he   originated 
1783    the    dtirchkompotiirte   Balla> 
(vide  D.  D.).      (2)  Jn.  Ant.,  1^5- 


1 


DICTIONARY    OF    MUSICIANS     387 


1 


1842 ;  third  son  of  above ;  pianist, 
publisher,  theorist.  (3)  Karl"  Aug., 
1806  —  Frankfort,  1887;  publisher 
and  writer.  (4)  Julius,  1808 — 
Frankfort,  1880 ;  organist.  (5)  Jn. 
Aug.,  1817 — 1887;  publisher;  his  2 
sons,  (6)  Karl  (b.  1853)  and  (7) 
Adolf  (b.  18S5),  are  the  present  pro- 
prietors. (8)  Jean  Baptiste  (de  St. 
Gilles),  1823 — Frankfort,  1882  ;  pian- 
ist and  composer. 

Andreoli  (an-dra-6'-le),  (i)  Evanga- 
lista,  iSio — 1875  ;  organist  at  Mi- 
randola  ;  his  two  sons,  (2)  Guglieno 
(Modena,  1835 — Nice,  i860)  and  (3) 
Carlo  (b.  Mirandola,  1840),  were 
pianists,  the  latter  also  organist  and 
composer.  (4)  Giuseppe,  Milan, 
1757 — 1832  ;  double-bassist  and  harp- 
ist. 

Andreozzi  (an-dra-od'-ze),  Gaetano, 
Naples,  1763 — Paris,  1826  ;  dram, 
composer. 

Andrevi  (an-dra-ve),  Fran.,  Sana- 
buya,  near  Lerida,  1786 — Barcelona, 
1853  ;    critic  and  writer. 

Andrien.     Vide  adrien. 

An'dries,  Jean,  Ghent,  1798— 1872; 
teacher  and  writer. 

Andriessen.     Vide  stahmer. 

Anerio  (a-na -re-6),  (i)  Felice,  Rome. 
ca.  1560 — ca.  1630  ;  successor  to  Pa- 
lestrina.  (2)  Giovanni  Fran., 
Rome,  ca.  1569 — 1620  (?),  bro.  of 
above ;  conductor  and  church-com- 
poser. 

Anet,  Baptiste.     Vide  kai'Tiste. 

Anforge  (an'-forkh-e),  Kd.,  b.  Buch- 
wald,  near  Liebau,  Oct.  15,  1862 ; 
pianist ;  pupil,  Leipzig  Cons,  and  of 
Liszt ;  toured  Europe  and  America  ; 
lives  in  Berlin  ;  composer. 

Anfos'si,  Pasquale,  Taggia,  near 
Naples,  1727 — Rome,  1797;  pupil 
and  rival  of  Piccinni ;  composed  54 
operas,  etc. 

Angelet  (afi'-zhu-la),  Chas.  Fran., 
Ghent,  1797 — Brussels,  1832. 

Angelini  (an-ja-le'-nl),  Bontempi 
Giov.  And.,  Perugia,  ca.  1624 — 
1705  ;  court-singer  and  dram,  com- 
poser. 


Angeloni  (an-ja-lo'-nl),  Luigi,  Frosi- 
none,  Papal  States,  1758 — London, 
1842  ;  writer. 

Anglebert  (dah-glii-bar),  J.  Bapt.  H. 
d',  162S  (?)— Paris,  1691  ;  court-cla- 
vicembalist  to  Louis  XIV. 

Animuccia  (an-e-moot'-cha),  (i)  Giov., 
Florence,  ca.  1500 — Rome,  March, 
1571  ;  wrote  the  first  Laudi  spirituali 
for  the  lectures  of  Neri  in  the  oratory 
of  S.  Philippo,  has  hence  been  called 
"Father  of  Oratorio";  he  was  Pa- 
lestrina's  predecessor  as  conductor  at 
the  Vatican.  (2)  Paolo,  d.  Rome, 
1563,  bro.  of  above. 

Ankerts,  D'.     Vide  dankers,  ghise- 

LIN. 

Anna  Amalia.     Vide  amalia. 

Annibale  (an-ni-ba'-le),  (i)  (called  II 
Padova'no,  or  Patavi'nus,  from 
Padua,  where  he  was  born  in  the 
15th  cent.)  organist  and  composer. 
(2)  Domenico,  Italian  sopranist  in 
London,  1756. 

Ansani  (an-sa'-ne)  Giovanni,  b.  Rome, 
iSth  cent.;  dram,  tenor. 

Anschutz  (an'-shiits),  (i)  Jn.  And., 
Coblenz,  1772 — 1858  ;  pianist.  (2) 
K.,  Coblenz,  1815 — New  Vork,  1870; 
son  of  above  ;  cond.  and  composer. 

Anselm  of  Parma  (Anselmus  Par- 
mensis),  b.  Parma,  1443  ;  theorist. 

Antegnati  (an-tan-ya'-tl),  Costanzo, 
Brescia,  ca.  1550 — ca.  1620;  organ- 
builder,  etc. 

An'tico,    Andrea.     Vide    antiquus, 

ANDREAS. 

Antiquis  (an'-te-kwes),  Johannes  (or 
Giovanni)  de,  1.  1574,  Bari,  Na- 
ples ;  composer. 

Antiquus  (an'-te-kwoos),  Andreas  (or 
A.  de  Antiquiis  Venetus,  or 
Andrea  Antico),  b.  Montana 
(Istria),  15th  cent.;  music-printer  in 
Rome. 

Anton  (an'-tdn),  Konrad  G.,  Lauban, 
Prussia,  1746 — 1819;   writer. 

Antonio  da  Bologna  (bo-l6n'-ya), 
1543  ;  organist  and  composer. 

Antony  (an'-to-ne),  (i)  Joseph,  1758 
■■ — 1836  ;  writer  and  composer.  (2) 
Fr.     Jos.,     Munster,     Westphalia, 


388 


THE    MUSICAL   GUIDE 


1790 — 1836  ;  son  of  above ;  organ- 
ist, conductor,  and  composer. 

Apel  (a'-pel),  Jn.  Aug.,  Leipzig,  1771 
— 18 16  ;  writer. 

Apell  (a-pel),  Jn,  D.  von,  Cassel, 
1754 — 1833;  conductor  and  dram, 
composer. 

Apollo,  Greek  sun-god,  and  god  of 
music. 

Appel  (ap'-pel),  K.,  b.  Dessau,  1812  ; 
violinist,  court-leader,  composed 
opera  Die  Raubet-bratit  (Dessau, 
1840),  and  humorous  male  quartets. 

Appun  (ap-poon),  G.  A.  I.,  Hanau, 
1816 — 1885  ;  versatile  performer  on 
nearly  every  instr. ;  writer  on  and  ex- 
perimenter in  acoustics ;  made  an 
harmonium  of  53  degrees  to  the  oc- 
tave. 

Aprile  (a-pre'-lg),  Gius,  Bisceglia, 
1738 — Martins,  1814  ;  celebrated  con- 
tralto musico  and  vocal  teacher ; 
writer  and  composer. 

Ap  thorp,  W.  Foster,  b.  Boston, 
Mass.,  Oct.  24,  1848.  Harvard,  '69, 
studied  piano,  harmony,  cpt.  with  J. 
K.  Paine,  and  B,  J.  Lang  ;  teacher 
of  theory,  and  for  many  years  distin- 
guished critic  and  writer  on  music ; 
anthor  oi  "//ecfor  Bar /ioz'  ;  '■'Musi- 
cians and  Music-Lovers,  and  other 
Essays";  "  By  the  IVay,  About  Mu- 
sic and  Musicians"  {lit^q);  ^'Opera 
and  Opera  Singers"  (1901),  etc. 

Aptom'mas,  (i)  John,  (2)  Thomas, 
brothers;  b.  Bridgend,  England,  1S26, 
and  1829 ;  harp-players  and  teach- 
ers. 

Araja  (a-ra'-ya),  Fran.,  Naples,  ca. 
1700 — Bologna,  ca.  1770;  dram, 
composer ;  composed  the  first  opera 
written  in  Russian. 

Aranaz  (ar-a-nath'),  Pedro,  d.  Cuen- 
ca,  Spain,  1825  ;  priest  and  composer. 

Aranda  d'  (da-ran'-dha),  Pasha,  b. 
Spain  ;  contemporary  court-conductor 
to  the  sultan  with  rank  of  General  de 
Division. 

Aranda  (a-ran'-da),  Matheo  de, 
Portuguese  prof,  of  mus.  (1544). 

Arando  (djir-an'-do),  del  Sessa  d', 
Italian  composer,  i6th  cent. 


Arauxo  (a-ra-ooks'-5)  (or  Araujo  (a- 
ra-oo'-ho)),  Francisco  Correa  de, 
ca.  1581 — Segovia,  1663  ;  bishop,  the- 
orist. 

Arban  (ar-bafi),  Jos.  J.  Bap.  Lau- 
rent, Lyons,  1825 — Paris,  1889; 
cornet-virtuoso  ;  teacher  at  Paris  Con- 
servatoire. 

Arbeau,     Thoinot     (twa-no    ar-bo). 

Vide  TABOUROT. 

Ar'buckle,  Matthew,  1828 — New 
York,  1883  ;  cornetist  and  bandmas- 
ter. 

Ar'cadelt,  Jacob  (or  Jachet  Arka- 
delt,  Archadet,  Arcadet,  Harca- 
delt),  1541 — bet.  1570-75  ;  distin- 
guished Flemish  composer  and  teach- 
er ;  1540,  singer  in  Paris ;  1557, 
Regius  musicus ;  composed  masses, 
etc. 

Arcais  (dar-ka'-es),  Fran.,  Marchese 
d',  Cagliari,  Sardinia,  1830 — near 
Rome,   1890  ;  writer  and  composer. 

Archadet    (ar-cha-da').     Vide    arca- 

DELT. 

Archambeau  (dar'-shafi-bo),  J.  Mi- 
chel d',  b.  Herve,  Belgium,  March 
3,  i8?3  ;  organist  and  composer. 

Archer,  Fredk.,  Oxford,  England, 
June  16,  1838— Pittsburg,  Pa.,  Oct. 
22,  19O1  ;  pupil  of  his  father ;  stud- 
ied in  London  and  Leipzig ;  or- 
ganist and  opera-director  in  London; 
1 88 1,  organist  of  Plymouth  Church, 
Brooklyn,  later  in  New  York ;  1887. 
conductor  of  Boston  Oratorio  Soc; 
1895-98,  Pittsburg  (Pa.)  Orchestra; 
composed  cantata,  organ-pieces,  etc. 

Archy'tas,  Tarentum,  ca.  400 — 365, 
B.C.;  Greek  mathematician. 

Arditi  (ar-de'-te),  (i)  Michele,  Mar- 
chese,  Naples,  1745 — 1S38  ;  com- 
poser. (2)  Luigi,  b.  Crescentino, 
Piedmont,  July  16,  1822 ;  pupil  of 
Milan  Cons.;  violinist,  then  director 
of  opera,  1843,  Milan,  Turin,  and 
Havana.  He  visited  New  York  with- 
the  Havana  opera  company ;  has 
since  travelled  widely.  Composed 
3  operas,  vocal  waltzes,  //  Bacio, 
etc.;  wrote  "'My  Reminiscences" 
(London,  1896). 


i 


I 


DICTIONARY    OF    MUSICIANS    389 


Arens  (a'-r^ns),  Fz.  Xavier,  b.  near 
the  Mosel,  Germany,  Oct.  28.  1856; 
came  to  America  early  in  youth  ;  pu- 
pil of  .lis  father,  and  of  Rheinberger, 
etc. ;  conductor,  organist ;  composer 
of  symphonic  fantasia,  etc. 

Arensky  (a-ren'-shkl),  Anton  Step- 
anovitch,  b.  Novgorod,  Russia, 
July  30,  1S62  ;  composer  and  pianist; 
pupil  of  Johanssen  and  Rimsky-Kor- 
sakov  ;  Prof.  Imp.  Cons.  Moscow, 
and  conductor  Imperial  Court  Choir ; 
composed  a  symphony,  4  suites  for 
orch.,  i-act  opera  Rafaello,  string 
quartets,  concerto  for  piano,  etc.,  in- 
cluding "  Essais  siir  des  rythmes  ou- 
bli/s"  f.  pf.  4  hands. 

Aretino.     Vide  guido  d'arezzo. 

Argine  (dal  ar'-je-ne),  Constantino 
dair,  Parma,  1842 — Milan,  1877  ; 
composed  pop.  operas  and  ballets. 

Aria  (a'-rl-a),  Cesare,  Bologna,  1820 — 
1894 ;  singing-teacher. 

Aribo  (a-re'-bo),  Scholas'ticus,  d.  ca. 
1078 ;  probably  from  the  Nether- 
lands ;  writer.     (Gerbert.) 

Arien'zo  (dar-!-en'-tso),  Nicola  d',  b. 
Naples,  Dec.  24,  1843  (or  '42)  ; 
composed  5  operas  in  Neapolitan  dia- 
lect, Monzit  Gnazio  (Naples,  i860), 
and  /  Due  Mariti  (Naples,  1866), 
the  most  successful,  realistic  and  orig- 
inal ;  also  an  oratorio,  a  Pensie.ro 
Sinfonico,  overtures,  etc.;  wrote  a 
treatise  (1879)  advocating  pure  in- 
tonation instead  of  temperament,  and 
a  third  mode  (the  Minor  Second),  be- 
sides the  usual  major  and  minor. 

A'rion,  partly  traditional  Greek  singer 
and  lyrist  (7th  cent.,  B.C.);  hence,  the 
name  of  a  vocal  society. 

Arios'ti,  Attilio,  Bologna,  1660 — ca. 
1740;  composed  15  operas;  1716  a 
rival  of  Buononcini,  and  of  Handel ; 
in  London  in  1720,  the  three  com- 
posed the  opera  Muzio  Scaevola. 

Aristi'des  Quintilia'nus,  Greek  teach- 
er and  writer  on  music,  ca.  160. 

Ar'istotle,  (i)  Stagyra,  384  B.C. — 
322  B.C.;  Greek  philosopher,  whose 
works  include  valuable  information 
concerning  Greek   music.     (2)  Pseu- 


donym of  a  writer  on  mensurable 
music,  I2th — 13th  cent. 

Aristox'enos,  b.  Tarentum,  ca.  354 
B.C. ;  one  of  the  first  Greek  writers  on 
music. 

Armbrust  (arm'-broost),  K,  F,,  Ham- 
burg, 1849 — Hanover,  1896  ;  teacher 
and  critic. 

Armbruster  (arm'-broo-ster),  K.,  b. 
Andernach-on-Rhine,  July  13,  1846  ; 
pupil  of  Hompesch  ;  pianist  and  lect- 
urer ;  Hans  Richter's  assistant  con- 
ductor at  the  Wagner  concerts,  1882- 
84 ;  later  conducted  at  various  Lon- 
don theatres. 

Armes,  Philip,  b.  Norwich,  England, 
1836 ;  Mus.  Doc.  Oxon,  1864 ;  or- 
gan composer. 

Armingaud  (ar-mSn-go),  Jules,  b.  Ba- 
yonne,  May  3,  1820  ;  was  refused  ad- 
mission to  the  Paris  Cons,  at  19  since 
he  was  "too  far  advanced";  leader 
of  a  string  quartet  enlarged  to  the 
Socie'te  Classiqtte  ;  said  to  have  intro- 
duced Beethoven's  quartets  into  Paris. 

Arnaud  (ar-n5),  (i)  Abbe  Fran,,  Au- 
bignan,  1721 — Paris,  17S4;  writer. 
(2)  J.  Et.  Guil.,  Marseilles,  1807— 
Jan.,  1863;   composer. 

Arne  (arn),  (i)  Dr.  Thomas  Augus- 
tine, London,  March  12,1710 — March 
5,  1778  ;  by  secret  nightly  practice  he 
learned  the  spinet  and  violin,  his  fa- 
ther wishing  him  to  study  law  ;  1736, 
m.  Cecilia  Young,  a  favourite  singer 
of  Handel's  ;  1738,  he  was  composer 
to  the  Drury  Lane  Th.  and  set  Dal- 
ton's  adaptation  of  Milton's  Covins; 
in  his  masque  Alfred {\']\o)  is  "  Rule 
Britannia";  in  Dublin  (1742-44)  he 
produced  two  operas,  Britannia  and 
Eliza,  and  a  musical  farce  Iliomas 
and  Sally ;  1745,  composer  to  Vaux- 
hall  Gardens,  London  ;  set  to  mu- 
sic the  songs  in  As  Yon  Like  It, 
"  Where  the  Bee  Sucks,"  in  The 
Tempest,  etc.;  Mus.  Doc.  Oxon, 
1759  ;  he  was  the  first  to  use  female 
voices  in  oratorio-choruses  {Judith) ; 
composed  2  oratorios,  many  masques, 
orch.  overtures,  vln.-sonatas,  organ- 
music,     harpsichord-sonatas,      glees, 


390 


THE    MUSICAL    GUIDE 


catches,  canons,  etc.  (2)  Michael, 
London,  1741 — Jan.  14,  1786  (not 
1806) ;  natural  son  of  above ;  con- 
ductor and  dram,  composer. 

Arneiro  (dar-na -e-ro),  Jose  Aug. 
Ferreira  Veiga,  Viscount  d',  b. 
Macao,  China,  Nov.  22,  1838,  of 
Portuguese  parents ;  composed  2 
operas. 

Arnold  (ar'-nolt),  (i)  G.,  b.  Welds- 
berg,  Tyrol,  17th  cent.;  organist. 
(2)  Samuel,  London,  1740 — 1802  ; 
organist  Westminster  Abbey.  (3)  Jn. 
Gottf.,  near  Oehringen,  1773— 
Frankfort,  1806 ;  'cellist,  etc.  (4) 
Ignaz  Ernst  Fd.,  Erfurt,  1774 — 
1S12  ;  writer.  (5)  K.,  near  Mergen- 
theim,  Wiirtemberg,  1794 — Christia- 
nia,  1873  ;  son  of  (3)  J.  G.  ;  pianist 
and  composer.  (6)  K.,  b.  St.  Peters- 
burg, 1820 ;  son  of  (5) ;  'cellist  in 
Royal  Orch.  ;  studied  Stockholm. 
(7)  Fr.  W.,  near  Heilbronn,  1810 — 
Elberfeld,  1864  ;  collector  and  com- 
poser. (8)  Yourij  von,  St.  Peters- 
burg, 181 1 — Simferopol,  Crimea, 
i8g8 ;  singing-teacher  and  dram, 
composer.  (9)  Richard,  b.  Eilen- 
burg,  Jan.  10,  1845  ;  at  8  taken  to  U. 
S.;  pupil  of  Fd.  David,  1869-76  ;  ist 
violinist  of  Theo.  Thomas'  orch., 
1878  ;  leader  New  York  Philh.  Club, 
1891  ;  1897,  organised  a  se.xtet.  (10) 
Maurice  (real  name  Strothotte),  b. 
St.  Louis,  Jan.  19,  1865  ;  pupil  of 
his  mother  ;  then  at  the  Cincinnati 
Coll.,  1883  ;  Vierlingand  Urban,  Ber- 
lin ;  Cologne  Cons,  and  Max  Bruch, 
Breslau  ;  lived  St.  Louis,  then  New 
York  as  teacher  in  the  Nat.  Cons,  and 
pupil  of  D"orak  ;  composed  notable 
^Plantation  Dances"  a  ''Dramatic 
Overture,''  2  comic  operas,  etc.  Wrote 
"  Some  Points  on  Moderti  Orchestra- 
tion.^' (11)  Hubert,  talented  violin- 
ist ;  lives  in  N.  Y. 

Ar'noldson,  (i)  Oscar,  1843  (?)— 
Stockholm,  188 1 ;  tenor.  (2)  Sigrid, 
b.  Stockholm,  ca.  1865,  daughter  of 
above ;  operatic  soprano ;  pupil  of 
Maurice  Strakosch  ;  debut,  Moscow, 
18S6  ;  has  sung  in  Europe  and  Amer- 


ica with  success,  particularly  in  Rus- 
sia ;  m.  Alfred  Fischof  ;  lives  in  Paris, 
singing  at  the  Op.  Com.,  1901-2. 

Arnould  (Ir-noo),  Madeleine  Sophie, 
Paris,  1744 — 1803  ;  soprano,  created 
Gluck's   ''  Iphigenie." 

Ar'nulf  von  St.  Gillen,  15th  cent.; 
theorist.     (Gerbert.) 

Arquier  (ar-kl-a'),  Jos.,  Toulon,  1763 
— Bordeaux,  1816  ;  'cellist  and  dram, 
composer. 

Arrhen  (ar'-^n),  V.  K.,  Swedish  song- 
composer  ;  early  part  of  19th  cent. 

Arriaga  y  Balzola  (dar-rl-a -gii  e  biil'- 
tho-lji),  Juan  C.  J.  A.  d'.  Bilboa, 
1806— 1825. 

Arrieta  (ar-rl-a -tii),  J.  Emilio,  Puenta 
la  Reina,  1823 — Madrid,  1894  ;  dram, 
composer.  ' 

Arrigo  (ar-re'-go),  Tedesco  (Henry 
the  German),  pseud,  of  Isaac,  in 
Italy. 

Arrigoni  (ar-re-g5'-ne).  Carlo,  Flor- 
ence, ca.  1705 — Tuscany  (?)  ca.  1743  ; 
lutenist  and  composer,  rival  in  Lon- 
don to  Handel. 

Arrange  (lar-rohzh),  Adolf  1',  b. 
Hamburg,  March  8,  1838  ;  pupil  of 
Genee,  and  at  Leipzig  Cons.;  1874, 
theatre-manager,  Breslau  ;  composed 
comic  operas,  "  Singspiele"  etc. 

Artaria  (ar-ta-re'-a),  music  publishing 
house  in  Vienna,  founded  by  Carlo 
A.,  17S0. 

Artchibousheff  (art-she'-boo-shef), 
Nicholas  Vassilievitch,  b.  Tsars- 
koje-Sielo,  Russia,  March  7,  I'^sS  ; 
lawyer,  pianist  and  composer  ;  pupil 
of  Soloviev  and  Rimsky-Korsakov. 

Arteaga  (ar-ta-ag'-ii),  Stefano,  Ma- 
drid (?),  1730  (?) — Paris,  1799  ;  Span- 
ish Jesuit  ;   theorist. 

Ar'thur,  Alfred,  b.  near  Pittsburg, 
Pa.,  Oct.  8,  1844;  studied  in  Boston; 
1S69-71,  tenor;  since  1S78  as  choir- 
master, Cleveland,  O.  ;  conductor 
since  1873  Vocal  Society;  director 
Cleveland  School  of  Music  ;  com- 
posed three  operas,  etc. 

Artot  (ar-t5),  (i)  Maurice  Montag- 
ney  (ancestor  of  a  line  of  musicians 
named    Montagney),    Gray    (Haute- 


DICTIONARY    OF    MUSICIANS     391 


Saone),  1772 — Brussels,  1829  ;  band- 
master. (2)  J.  D6sir6  M.,  Paris,  1S03 
— St.  Josse  ten  \oode,  1SS7  ;  son  of 
above  ;  horn-player  and  teacher.  (3) 
Alex.  Jos.,  son  of  Maurice,  Brussels, 
1815— Ville-d'Avray,  1845;  notable 
violinist  and  composer.  (4)  Margue- 
rite Josephine  D6sir6e,  b.  Paris, 
July  21,  1835  ;  daughter  of  (2)  Jean- 
Desire  ;  dram. -soprano,  pupil  of  Viar- 
dot-Garcia  (1S55-57)  ;  debut  Brus- 
sels, 1S57  ;  sang  Grand  Opera,  Paris, 
1858,  etc.,  m.  the  Spanish  baritone, 
Padilla,  in  1869. 
Artschibuschew.  Vide  artschibous- 

HEFF. 

Artusi  (ar-too'-ze),  Giov.  M.,  Bologna 
ca.  1550 — 1613  ;  canon  and  theo- 
rist. 

Asantchevski  (Asantschewski, 

Assantchevski)  (a-sant-shef'-shkl), 
Michael  Pavlovitch,  Moscow,  1838 
— 188 1  ;  composer. 

Aschenbren  ner  (a'-shen-)  Chr.  H., 
Altstettin,  1654 — Jena,  1732  ;  violin- 
ist and  court-conductor. 

Ascher(ash'-er),  Jos.,  Groningen,  Hol- 
land, 1829 — London,  1869  ;  pianist. 

Ash'down,  Edwin,  London  music- 
publisher,  succeeded  (1884)  Ashdown 
&  Parry,  who  succeeded  (1S60)  Wes- 
sel  &  Co. 

Ashe,  Andrew,  Lisburn,  Ireland,  ca. 
1759 — London  after  1822  ;  flutist  and 
conductor  ;  1799  married  Miss  Comer, 
who,  as  Mrs.  Ashe,  was  a  public 
singer  ;  their  two  daughters  were  harp- 
ist and  pianist. 

Ash'ley,  (i)  John,  b.  1805  ;  bassoonist 
and  manager  ;  his  three  sons  were  (2) 
General,  d.  1S18,  violinist.  (3) 
Chas.  Jane,  1773 — 1843,  'cellist  and 
manager.  (4)  J.  Jas.,  1771 — 1815, 
organist  and  singing  teacher.  (5)  J., 
"Ashley  of  Bath,"  1780 — 1830,  bas- 
soonist. (6)  Richard,  1775 — 1837, 
London  viola-player. 

Ash'ton,  Algernon  Bennet  Lang- 
ton,  b.  Durham,  England,  Dec.  9, 
1859  ;  pupil  of  Leipzig  Conservatory, 
pf.  teacher,  R.  C.  M.,  London  ;  com- 
poser. 


Ash'well,  Thos.,  i6th  cent.,  organist 
and  composer  in  England. 

Asioli  (as-e-6-le),  Bonifacio,  Cor- 
reggio,  1769 — 1832  ;  at  the  age  of  8 
he  had  composed  3  masses,  20  other 
sacred  works,  a  harpsichord-concerto, 
a  vln.  concerto,  with  orch.,  and  2 
harp-sonatas  for  4  hands  ;  pupil  of 
Morigi  ;  successful  cembalist,  impro- 
viser  ;  his  first  opera  buffa,  La  Volu- 
bile  (1785)  was  successful  ;  his  opera 
Cinna,  favourably  received  in  1793  ; 
prof,  of  cpt.  at  Milan  Cons. 

Asola  (or)  Asula  (a-so-la),  Giov. 
Mat.,  Verona  ca.  1560  —  Venice, 
1609  ;  church-composer. 

Aspa  (as-pa),  Mario,  Messina,  1799 
— 1868  ;  composed  42  operas. 

As'pull,  G.,  18 14 — (of  consumption), 
Leamington,  England,  1833  ;  pianist 
and  composer. 

Assantsheffsky.  Vide  asantchevski. 

Assmayer  (as'-ml-er),  Ignaz,  Salz- 
burg, 1790 — Vienna,  1862  ;  conduc- 
tor. 

Astarit'ta,  Gennaro,  Naples,  ca.  1749 
— 1803  ;  composed  20  operas. 

Aston,  Hugh,  English  organist  and 
composer  in  reign  of  Henry  VIH. 

Astorga  (das-tor'ga),  Emmanuele, 
Baron  d',  Palermo,  168 1 — Prague, 
1736  ;  church-composer. 

Attaignant  (at-tln'-yah),  Pierre  (also 
Attaingnant,  Atteignant),  i6th 
cent,  music-printer. 

Attenhofer  (at'-ten-hof-er),  K.,  b. 
Wettingen,  Switzerland,  May  5, 
1837  ;  pupil  of  Leipzig  Cons.;  cond., 
organist,  and  teacher ;  notable  com- 
poser of  male  choruses. 

At'terbury,  Luffmann,  d.  London, 
1796  ;  ct.-mus.  and  composer. 

Aftey,  J.,  d.  Ross,  England,  ca.  1640  ; 
composer. 

Attrup  (at'-troop),  K.,  b.  Copenhagen, 
March  4,  1848  :  pupil  of  Gade,  whom 
he  succeeded  as  organ-teacher  Copen- 
hagen Cons.;  composed  studies  for 
organ  and  songs. 

Att'wood,  Thos.,  London,  Nov.  23, 
1765 — Chelsea,  March  24,  1838  ;  im- 
portant English  composer  ;   chorister 


392 


THE    MUSICAL    GUIDE 


and  court-organist  ;  pupil  of  Mozart ; 
1796  organist  St.  Paul's  Cathedral, 
composed  19  operas,  anthems,  sonatas 
for  piano,  etc. 

Auber  (6-bar),  Daniel  Francois  Es- 
prit, Caen,  Normandy,  Jan.  29,  1782 
— Paris,  May  14,  1871  ;  notable 
opera-composer ;  his  father  an  art- 
dealer  in  Paris,  sent  him  to  London 
to  learn  the  trade  ;  but  in  1804  he  re- 
turned to  Paris  ;  composed  opera 
Julie,  produced  by  amateurs  in  18 12 
with  an  orch.  of  six  stringed  instrs.  ; 
Cherubini  heard  of  it,  recognised  A.'s 
talent  and  taught  him  ;  1842  dir.  the 
Cons,  of  Music,  Paris,  as  Cherubi- 
ni's  successor;  1857  imperial  conduct- 
or to  Napoleon  III.  A.'s  first  public 
productions  were  2  unsuccessful 
operas  ;  La  Bergere  Chatelaine  (1820) 
was  a  success  ;  before  1869,  he  com- 
posed over  forty  operas  ;  his  one  se- 
rious opera,  Masaniello  on  la  Muette 
de  Portici  (1828),  with  Meyerbeer's 
Robert  te  Diable  and  Rossini's  Gidl- 
lawite  Tell,  established  French  grand 
opera  ;  its  vivid  portrayal  of  popular 
fury  caused  riots  in  Brussels ;  his 
comic  operas  (to  Scribe's  librettos) 
are  the  best  of  France  ;  his  last  opera 
Reves  d' Amour,  was  produced  when 
he  was  87  years  old.  Other  operas 
are :  La  Marquise  de  Brinvilliers 
(1831  with  eight  other  composers), 
Le  Dotnitio  A^oir  (1837),  Zanetta 
(1840),  Les  Diamaiits  de  la  Couronne 
(1841),  La  Sir  hie  (1S44),  Hay  dee 
(1847),  VEufant  Prodigue  (1850), 
Zerline,  Mano7i  L.escaut  (1856). 

Aubert  (5-bar),  (i)  Jac.  ("levieux"), 
b.  166S — Belleville,  1753  ;  violinist. 
(2)  Louis,  1720 — after  1771  ;  son  of 
above  ;  violinist,  etc.  (3)  T.  Fran. 
Olivier,  b.  Amiens,  1763  ;  'cellist 
and  composer. 

Aubery  du  Boulley  (6-ba-re'  dii  bool- 
le ),  Prudent-L.,  Verneuii,  Eure, 
1796 — 1870  ;  teacher  and  composer. 

Audran  (6-dran),  (i)  Marius-P.,  Aix, 
Provence,  18 16 — Marseilles,  1S87  ;  ist 
tenor  at  the  Paris  Opera-Comique. 
(2)    Edmond,      Lyons,      April     11, 


1842 — Tierceville,  n.  Gisors,  Aug. 
17,  1901  ;  son  of  above ;  pupil  of 
Ecole  Niedermeyer,  Paris;  Marseilles, 
1862,  his  first  opera;  produced  36 
others,  chiefly  of  a  light  character. 
Among  his  most  pop.  works  are.  Oli- 
vette, La  Mascotte  (1880),  given  over 
1700  times  ;  Miss  Helyett,  La  Poupt/e, 
etc. 
Auer  (ow'-er),  (i)  Ld.,  b.  Veszprem, 
Hungary,  May  28, 1845;  vln. -virtuoso; 
pupil  of  Khonetol  at  Pesth,  of  Dont, 
Vienna,  then  of  Joachim  ;  soloist  to 
the  Czar,  who  conferred  on  him  the 
order  of  St.  Vladimir,  carrying  hered- 
itary nobility  ;  violin-Prof,  at  the  St. 
Petersburg    Cons.       (2)    Carl,    vide 

FROTZLER. 

Au'gener    &    Co.,    London     firm     of 

music  pub.,  founded  by  G.  A.,  1853. 

Auletta  (a-oo-let'-ta),  (i)  Dom., 
dram,  composer,  Naples,  1760.  (2) 
Pietro,  ct.-cond.,  1728-52;  prod.  11 
operas. 

Aulin  (ow'-len),  Tor,  "  b.  Stockholm, 
Sept.  10,  1866  ;  violinist  ;  pupil  of 
Sauret  and  Ph.  Scharwenka  ;  from 
1889  Konzertmeister  Stockholm, 
court-opera  ;  1887  organised  the 
Aulin  Quartet. 

Aulnaye,  de  1'.     Vide  de  l'aulnaye. 

Aurelia'nus  Reomen'sis,  gth  cent, 
theorist.    (Gerbert.) 

Aurenhammer  (ow-ren-ham-mer), 

Josepha,  1776 — 1814;  pianist. 

Aus  der  Ohe  (ows'-der  o'-e),  Adele, 
contemporary  pianist  ;  pupil  of 
Kullak  and  Liszt  ;  composed  2  piano 
suites,  concert  etude,  etc.  Has  toured 
widely  with  great  success. 

Auspitz-Kolar  (ow'-shplts-ko-lar), 
Augusta,  Prague,  ca.  1843 — Vienna, 
1878  ;  pianist  and  composer. 

Auteri-Manzocchi  (a-oo-ta-rl  miin- 
ts6k'-ke),  Salv.,  b.  Palermo,  Dec.  25, 
1845  ;  pupil  of  Platania  at  Palermo, 
and  Mabellini  at  Florence  ;  com- 
posed successful  operas,  among  them 
Graziella  (Milan,  1894)  ;  lives  in 
Trieste. 

Auvergne  (do-v^rn),  A.  d',  Clermont- 
Ferrand,   Oct.  4,  1713 — Lyons,  Feb.  ; 


DICTIONARY    OF    MUSICIANS    393 


12,   1797 ;  violinist   and   dram,  com- 
poser. 

Aventi'nus,  Jns.  (rightly  Thurnmay- 
er,  or  Turmair),  Abensberg  (whence 
Aventinus),  July  4,  1477 — Jan.  g, 
1534 ;  writer. 

A'very,  J.,  d.  England,  1S08  ;  organ- 
builder. 

Av  ison,  Chas.,  Newcastle-on-Tyne, 
1710 — May  9,  1770  ;  organist,  writer 
and  composer  ;  vide  Robert  Brown- 
ing's "  PARLEYINGS." 

Avoglio  (a-val'-yo),  Italian  so- 
prano in  England,  1741. 

Aylward  (al'-ward),  Th.,  ca.  1730 — 
1801  ;  teacher  and  composer. 

Ayrer  (I'-rer),  Jakob,  lived  in  Ger- 
many 1618  ;  reformed  the  Singspiel. 
(Vide  D.  D.) 

Ayrton   (ar'-tiin),   (i)    Edm.,    Ripon, 
Yorks,     1734  —  Westminster,    1808; 
■     composer.     (2)  W.,  London,  1777 — 
I     1858  ;  son  of  above ,   writer  and  ed- 
itor. 
'Ayton  (a'-tun),    Fanny,   b.    Maccles- 
field, 1806  ;   English  dram,  singer. 

Azzopardi  (iid-zo-piir'-de),  Frances- 
co, conductor  and  theorist  at  Malta, 
1786. 

(Vzvedo  (ath-va'-dho),  Alexis  Jacob, 
Bordeaux,  1813 — Paris,  1875  ;  writer. 


1  ^ 

Ifi'Jaader     (ba'-der),     K.,     viola-player 
lived   in  Vienna  and    Liverpool,    re 
'.,     tired  1869. 

;■;  Jaban     (ba'-ban),     Gracian,     cathe^ 
dral  conductor  and  composer,  Valen 
,.,     cia,  1650-65. 

.;'  la'bell,  Wm.,  ca.   1690 — Canonbury 
England,  1723  ;  organist,  teacher  and 
.,     composer  ;  son  of  a  bassoon-player. 
;  Ubbi  (bab'-be),  Christoph  (or  Cris 
toforo),     Cesena,      1748  — Dresden 
18 14  ;  violinist  and  composer. 
.  iabini    (ba-be'-ne),     Mat.,    Bologna 
,  ;     1754— 1816;  tenor,  debut,  1780. 

iacchi'us  (Senior),  ca.  150A.D.,  Greek 
.,,    theorist. 
1^^  {laccusi  (bak-koo'-se),  Ippolito,  monk 


composer  and  cathedral  cond.,  Ve- 
rona, 1590. 

Bac  fart  (or  Bacfarre),  Valentin 
(rightly  Graew  (grav)),  Transylvania, 
1515 — Padua,  1576;  lutenist  and 
writer. 

Bach  (bakh),  the  name  of  a  Thurin- 
gian  family  prominent  for  two  centu- 
ries in  music  and  furnishing  so  many 
organists.  Kapellmeisters  and  cantors 
that  town  musicians  were  called  "  the 
Bachs,"  after  them.  See  the  chart. 
(19)  Bach,  Jn.  Sebastian,  Eisenach, 
March  21,  iGSs^Leipzig,  July  28, 
1750  ;  youngest  son  of  Jn.  Ambro- 
sius  B.  and  Elizabeth  (nee  Lam- 
merhit),  of  Erfurt  (vide  chart  ok 
backs)  ;  both  parents  died  when  he 
was  10,  his  father  having  begun  teach- 
ing him  the  violin.  He  went  to  the 
home  of  his  brother  Jn.  Christoph, 
who  taught  him  the  clavichord,  but 
forbade  him  inspection  of  a  MS.  vol.  of 
works  by  Frohberger,  Bu.xtehude,  etc., 
obtaining  it  secretly  B.  copied  it  by 
moonlight  for  6  months,  though  near- 
sighted, with  results  fatal  to  his  eyes 
in  later  life.  This  desire  to  study 
other  men's  work  characterised  his 
whole  career.  At  15  his  fine  soprano 
voice  secured  him  free  tuition  at  St. 
Michael's  Ch.  in  Llineberg  (he  hav- 
ing already  attended  the  Ohrdruff 
Lyceum).  He  went  on  foot  on  holi- 
days to  Hamburg  to  hear  the  great 
Dutch  organist  Reinken,  and  at  Celle 
he  heard  the  French  instr.  music  used 
in  the  Royal  Chapel.  He  studied 
also  the  work  of  Bohm,  organist  at 
Li'ineberg,  and  practised  violin,  clavi- 
chord and  org.  often  all  night  ;  1703, 
in  the  Weimar  ct.-orch.  ;  1704,  or- 
ganist at  Arnstadt  ;  1705,  walked  50 
miles  to  Liibeck  to  hear  Buxtehude, 
and  stayed  till  a  peremptory  recall  from 
the  Church  at  Arnstadt  ;  1707,  organ- 
ist at  Miihlhausen.  On  Oct.  17,  he 
m.  Maria  Barbara  Bach,  his  cousin, 
who  bore  him  7  children,  of  whom 
4  died,  leaving  a  daughter,  Wm. 
Friedemann,  and  K.  P.  E.  (See 
below.)     1708,  he  played  before  the 


394 


THE    MUSICAL    GUIDE 


Duke  at  Weimar,  and  was  made  ct.- 
organist  ;  1714  Konzertmeister.  In 
his  vacations  he  made  clavichord  and 
org.  tours.  1714.,  he  furnished  the 
organ-music  for  a  service  conducted 
in  the  Thomaskirche,  Leipzig,  and 
produced  a  cantata.  Dresden,  1717, 
he  challenged  Marchand,  a  French 
organist  of  high  reputation,  who  was 
afraid  to  compete.  1717  Kapellmeis- 
ter to  Prince  Leopold  of  Anhalt,  at 
Kothen,  and  composed  much  orch.- 
and  chamber-music.  In  1719  he  re- 
visited Halle,  to  meet  Handel,  but  he 
had  just  gone  to  England.  1720.  his 
wife  died.  He  applied  for  the  organ  of 
the  Jacobskirche,  Hamburg.  B.  was 
now  famous,  but  a  young  rival  offered 
to  pay  4,000  marks  for  the  place  and 
got  it.  In  1 72 1  he  m.  Anna  Magda- 
lene Wiilken,  daughter  of  the  ct.- 
trumpeter  at  Weissenfels.  She  bore 
him  13  children,  9  of  them  sons,  of 
whom  only  2  survived  him  :  Jn., 
Christoph,  Fr.,  and  Jn.  Christian. 
His  second  wife  had  a  fine  voice  and 
musical  taste,  and  wrote  out  the  parts 
of  many  of  his  cantatas  ;  for  her  he 
prepared  2  books  of  music.  In  May, 
1723,  cantor  at  the  Thomasschule, 
Leipzig,  vice  Jn.  Kiihnau  ;  also  or- 
ganist and  dir.  of  mus.  at  the  Thom- 
askirche and  the  Nicolaikirche,  con- 
tinuing as  "  Kapellmeister  vom  Haus 
aus."  to  Prince  Leopold.  He  was 
made,  1736,  hon.  cond.  to  the  Duke 
of  Weissenfels,  and  court-composer 
to  the  King  of  Poland,  and  Elector 
of  Saxony.  He  kept  his  place  at 
Leipzig  for  twenty-seven  years,  and 
there  wrote  most  of  his  sacred  music. 
He  often  visited  Dresden,  where  he 
could  hear  the  Italian  opera,  cond.  by 
Hasse.  Frederick  the  Great  having 
asked  to  hear  him,  on  May  7,  1747, 
with  his  son  Wilhelm  Friedemann,  B. 
arrived  at  Potsdam  He  improvised 
upon  the  various  Silbermann  pianos 
in  the  palace,  followed  from  room  to 
room  by  the  king  and  his  musicians. 
The  next  day  he  tried  the  principal 
organs  in  Potsdam,  improvising  a  6- 


part  fugue  on  a  theme  proposed  by 
the  king.  He  afterward  wrote  a  3- 
part  fugue  on  this  theme,  a  Ricercare 
in  6  parts,  several  canons  inscribed 
"  Thematis  regii  elaborationes  canon- 
icae,"and  a  trio  for  flute,  violin,  and 
bass,  dedicating  the  ''  Miisikalisches 
Opfer  "  to  the  king.  1749,  two  oper- 
ations to  restore  his  sight,  weakened 
by  copying  his  own  and  other  men's 
works  and  engraving  his  "  Art  of 
Fitgiic"  left  him  totally  blind  and 
ruined  his  previous  vigour.  His  sight 
was  suddenly  restored,  July  10,  1750; 
but  ro  days  later  he  died  of  apoplexy. 
He  dictated  the  choral  "  Vor  dei- 
nen  lltron  tret'  ich  hie/nit,  shortly 
before  his  death. 

Among  his  distinguished  pupils  were 
Krebs,  Homilius,  Agricola,  Kirnber- 
ger,   Goldberg,    Marpurg;    J.  Kasper 
Vogler  ;  Altnikol,  his  son-in-law,  and 
his   sons,    for   whom   he    wrote    the 
''KlavierbUchleiit"2.nA  the  "  Kunsi 
der  Ftige."     He  engraved  on  copper  : 
invented  the   "viola    pomposa "  and 
the    "  Lauten-Clavicembalum  "  ;     hi 
advocated  equal    temperament    (vidfj 
D.  D.),  tuning  his  own  pianos  and  writj 
ing  "Z>(?j  IVohltcmpcrirte  K lavi er ,'' X.^ 
further  the  cause.     This  work  (knowr: 
in    English    as    "  The    well-temperec 
Clavichord,'"  or  "  The  ^S-Fiigties" 
is  a  set  of   48  preludes  and   fugues 
two  of  each  to  each  key,  major  am 
minor.     The  works  are  very  chromati 
and    use    the    keys   enharmonically 
Some  of  his  improvements  in  finger; 
ing    still    survive.     Bach    was    littl; 
known  as  a  composer  during  his  life 
and  few  of  his  works  were  publishC'l 
then.      He  was  not  indeed  establishe 
on   his  present  pinnacle  till  Mendel 
sohn    took    up   his    cause 
Franz  was  also  an  important 
preparing  his  scores  for  general  us( 
In    1850,   a    hundred   years    after  h 
death,   the    Bach-Gf.sei.i,schaft  b 
gan  to    publish  his    complete  work' 
Many  other  Bach  societies  now  exis 
B's.  enormous  list  of  works  includes. 
Vocal,  5  sets  of  church  Cantatas  ft:    l 


Mendehi  ,-,,^ 
in  1829!  j|^'- 
t  agent  il  '#*t  r 


I 


DICTIONARY    OF    MUSICIANS     393 

Sundays  and  feast-days,  "  Gottes  Zeit  6  "  small  "  French  suites  ;  6  "  large" 
ist  die  beste  Zeit"  etc.,  secular  be-  English  suites  ;  Preludes  and  Fugues, 
trothal  cantatas,  2  comic  cantatas,  the  incl.  "Das  JVohlteinperirte  Klavier"  ; 
"Batierii  Cantate  "  and  "  Coffee-Can-  pf. -sonatas  with  instrs. ,  incl.  6  famous 
tate''  a  protest  against  the  excessive  sonatas  for  pf.  and  vln.  ;  solo  son- 
use  of  the  beverage,  and  Trauerode,  atas  for  vln.  and  'cello  ;  solos,  trios, 
on  the  death  of  the  Electress  of  Sa.x-  etc.,  for  various  combinations  of 
ony  ;  5  Passions,  incl.  the  St.  A  fat-  instrs.,  concertos  for  i  to  4  pfs.,  vln. 
thew,  the  St.  John,  and  the  St.  Luke  and  other  instrs.,  concertos  with  orch. 
(doubtful) ;  a  Christmas  Oratorio,  in  overtures  and  suites,  and  fantasias, 
5  parts  ;  4  small  masses  and  the  toccatas,  preludes,  fugues,  and  chor- 
Grand  Mass  in  B  min.  ;  motets  ;  2  ale-arrangements  for  organ.  The 
Magnificats ;  5  Sanctus.  Instru-  best  biography  of  B.  is  by  Spitta 
MKNTAL,  numerous  pieces  for  clav-  (Leipzig,  1873-80,  2  vols.;  Eng. 
ichord  :  inventions  in  2  and  3  parts  ;  transl.,  London,  1884-85). 


The  Art  of  Johann  Sebastian  Bach. 

By  Sir   Charles  Hubert  H.    Parry. 

FOR  more  than  a  century  before  J.  S.  Bach  came  upon  the  scene,  a 
succession  of  exceptionally  gifted  and  earnest  composers  had  been  hard 
at  work  developing  the  methods  and  style  of  organ-music.  Andrea 
Gabrieli  and  his  nephew  Giovanni  Gabrieli  and  Claudio  Merulo  in  Venice 
md  Ian  Pieterzoon  Swelinck  in  Amsterdam  had  already  done  much  to  define 
:ts  true  sphere  and  style  before  the  era  of  pure  choral-music  was  ended.  The 
;arly  years  of  the  seventeenth  century  saw  Frescobaldi  in  the  zenith  of  his 
"ame,  and  his  pupil  Froberger  following  worthily  in  his  footsteps  ;  and  through- 
)ut  the  century  rapid  progress  in  the  accumulation  of  artistic  methods  and  the 
ievelopment  of  true  instrumental  forms  was  made  by  such  famous  organists  as 
Kheidt,  Scheidemann,  Pachelbel,  MufFat,  Reinken,  and  Buxtehude.  And 
vhen  it  is  considered  that  this  branch  of  art  already  enjoyed  an  advantage 
iver  the  new  secular  form  of  art  which  began  to  be  cultivated  at  the  end  of 
he  sixteenth  century,  through  having  its  foundation  securely  laid  in  the  old 
tyle  of  sacred  choral-music,  it  seems  natural  that  by  the  beginning  of  the 
ighteenth  century  it  should  appear  to  be  the  most  mature  of  all  the  branches  of 
rt  then  cultivated.  ^These  circumstances  had  profound  and  far-reaching 
ifluence  upon  J.  S.  Bach's  musical  character.  In  unravelling  the  secrets  of 
rt  he  was  naturally  attracted  by  that  branch  which  possessed  methods  most 
illy  developed  for  the  formulation  of  the  artistic  impulses  which  were  urging 
im  to  utterance.  But  the  attraction  was  enhanced  by  the  fact  that  organ- 
uisic  had  already  become  a  kind  of  appanage  of  German  composers,  and 
ad  proved  the  one  special  form  of  art  in  which  the  fervent  religion  of  Teutonic 
rotestants  found  the  highest  artistic  expression.      ^  Hence  it  came  about 


396  THE    MUSICAL    GUIDE 


that,  great  as  his   powers  were  as  a  composer  of  choral-music  and  of  suites 
and  secular  instrumental  music,  he  was  first  and  foremost  a  writer  of  organ- 
music,  and    inasmuch   as  organ-music   was  the  only  branch  of  art  which  was 
even  approximately  mature  in  his  youthful  and  most  impressionable  days,  the 
methods  and  diction  of  organ-music  permeated  and  served  as  the  foundation! 
of  his  style  in  all   branches  of  art  which   he  attempted.      In  his  earlier  years! 
he  copied  out  and   studied  the  works  of  great  composers  for  the  organ,  and! 
watched  with  critical  appreciation  the  performances  of  great  organists  such  as; 
Reinken  and  Buxtehude.     It  is  easy  to  trace  in  his  own  work  the  impressioni 
made  on  him   by  the  interlinked   suspensions   of  Frescobaldi   and  Frobergeij 
and  by  the  vivacity  of  their  fugue  subjects  ;  by  the  treatment  of  chorale  melo-j 
dies  with  elaborate  figuration  of  accompanying  counterpoint  in  which  Pachelbe' 
excelled,  by  the  copious  picturesqueness  of  detail  and  the  richness  and  emo. 
tional  force  of  the  harmonisation  of  Buxtehude.    ^  He  brought  all  such  special 
ities  of  earlier  composers  into   the  sphere  of  his  own  operations,  and   fusei 
them  into  consistency  by  the  force  of  his  personality,  and  this  assimilation  be 
came  the  foundation  of  his  life's  work.      Most  of_his  best  organ-music,  sue 
as  the  sonatas,  preludes,  fugues,   fantasias,  canzonas  and  movements  founde 
on  chorales,  and   the  great  passacaglio  in  C  minor,  belong  to  comparative! 
early  years,  and  his  concentration  on  this  branch  of  work  was  only  relieve 
by  the  production  of  a  few  church  cantatas,  which  showed  that  he  had  begu 
to  consider  other  forms  of  art,  in  which  in  later  years  he  attained  such  con 
prehensive  mastery.      After  many  years  spent  in  several  organistships,  can 
the  singular  central  episode  of  his  life,  when  the  appointment  as  Capellmeist' 
to  the   Prince  of  Anhalt-Cothen  caused  him  to  apply  his  mind  almost  excli, 
sively  for  some  years  to  secular  instrumental  music,  mainly  of  a  domestic  kin(i 
^He  sought  for  his  models  and   types  of  procedure  in  the  suites  and  ordr, 
of  the  French   composers,  such  as  Couperin  and  Dieupart ;  and  among  {. 
examples  of  the  so-called  French  overture,  which  came  into  prominence 
Lulli's   operas,    and   had  found    such    a  brilliant  imitator   in    Muffat.      I 
studied  also  the  instrumental   compositions  of  the   Italians,  such   as  the  co 
certos  of  Vivaldi,  and   the  sonatas   for  stringed  instruments  of  other  Itali; 
composers   such  as  Albinoni   and   Legrenzi  and    even   German  imitations 
such  works  like  Reinken' s  "  Hortus  Musicus''''  ,•  and  the  outcome  was 
feet  outpouring  of  suites  and  partitas  for  the  domestic  keyed  instruments 
sonatas  for  violin,  flute,  viole  de  gamba  and  concertos  for  strings  and  vari(ji 
combinations  of  orchestral  instruments  ;   and  last  and  perhaps  most  notablejt 
all,  the  collection  of  the    twenty-four  preludes  and  fugues  in  all  keys,  whji 
he  called — as  a  sort  of  manifesto  of  his  belief  in  the  system  of  equal  tempej- 
ment,  which   made  all   keys   equally  available  for   the  purposes  of  the  cc- 
poser — "  Das    Wohltemperirte    Clavier.''''      Underlying  a  very    large  p-  piit 


I'^ll" 


( 


DICTIONARY   OF  MUSICIANS     397 

portion  of  the  works  of  various  kinds,  even  dance  tunes  or  movements  for  a 
solo  instrument  like  the  violin,  fugue  principles  of  procedure  are  predominant. 
The  lightest  dance  tunes  have  a  contrapuntal  texture,  and  in  the  more  serious 
and  artistic  examples  it  is  so  woven  as  to   display  beautiful  combinations  of 
ornament  and  melodic  designs,  ingenious  sophistications  of  accent  and  subtleties 
of  rhythm  such  as  are  only  possible  in  the  style  of  instrumental  counterpoint 
ivhich  had  sprung  up  in  the  development  of  the  artistic  requirements  of  organ 
iigues.      ^  In  the  famous  collection  of  preludes  and  fugues,  which  he  ultimately 
'  ncreased  to  forty-eight  by  the  addition  of  a  second  collection,  the  style  of  in- 
strumental counterpoint  which  had  been  developed  for  organ-music  found  a 
lew  but  most  congenial  sphere.      As  the  works  are  written  for  the  domestic 
:eyed  instruments   such  as    the    tender   expressive  clavichord,   or   the  pict- 
iresque  harpsichord,  they   necessarily  illustrated    different   artistic   intentions 
,  rem  such  as  characterised  genuine  organ-music.      Large  scope  of  design  and 
'  lowerful  effects  of  tune  were  obviously  out  of  place,  and  more  subtle  treat- 
,|hent  and   greater   intrinsic  interest   of  detail   were  inevitable.      ^Thus  the 
'ligue  became  much  more  compact  than  the  organ-fugues,  and  the  treatment 
",  f  melodic  line  and  expressive  harmony  more  intimately  human.      The  com- 
oser  deals  with  more  variety  of  style  than  in   his  organ-compositions,    and 
lany  of  the  fugues  may  be  taken   as  studies  in  human    moods,   such  a  play- 
ilness    and    gaiety,    pathos    and    melancholy,    contemplation    and    fervour, 
=  lerriment,  dignity,  and  confidence.      The  adaptation  of  known  principles  of 
dstic  procedure  to  a  purpose,  at   that  time  so  novel,  was  characteristic  of 
ach's  attitude  toward   art  ;   and  this  is  as  true   of  the   preludes   as  of  the 
gues.      The  genealogy  of  the  preludes  may  in  some  cases  be  traced  back  as 
r  as  the  figurate  preludes  and  little   fantasias  of  such   early  types  as  were 
' '  'oduced  by    the   Elizabethan   composers   of  virginal    music  and  their  con- 
'  imporaries  in  other  countries  ;  though   the  form  is  enormously  enhanced  in 
''';;S.  Bach's  hands  by  the  skilful  use  of  more  definite  and  attractive  figures, 
||d  a  higher  balance  of  organisation  in  each  work.      However,  the  forms  of 
]'     s  preludes  are  extremely  various.      Some  seem  to  be  almost  without  prec- 
ent.      As,  for  instance,  the  rapturous  instrumental  song  with  solo  part  and 
■  i:ompaniment  all  combined  for  one  instrument.      ^Among  the  preludes  are 
'•'^  ijO  a  few  of  the  rare  anticipations  of  complete  sonatas  of  the  harmonic  kind, 
^*Hii)vements  with  distinct  contrast  of  key  in  the  first  half,  "  working  out," 
'<i  modulation  in   the   central  part,    and   a   recapitulation  of  the   concrete 
i.terial  of  the  opening  portion  to  conclude  with.      These  occasional  excur- 
sns  out  of  what  seemed  to  be  his  most  congenial  ground,  are  often  thoroughly 
s:cessful,   but  all   the  same  his  venture   into   the    Italian    manner  and    the 
Hian  type  of  form  prove   rather  that   he  grasped  their  artistic  meaning  fully 
t  n  that  he  believed  in  their  efHciency  as  vehicles  for  the  highest  aspirations 


398  THE    MUSICAL    GUIDE 


of  the  composer.      In  the  latter  part  of  his  life  J.  S.  Bach  dealt  more  in  the 
grand   forms   which   bring  into   play   the   methods   and    resources  of  many 
subordinate  forms  of  art,    both   instrumental  and   vocal — such   as   the  noble 
settings  of  the  Passion,  the  masses — especially  the  great  one  in  B  minor — the 
work  known  as  the  ♦'  Christ?nas   Oratorio''''  and  the  immense  collection  ol 
church  cantatas  written  for  Sundays  and  festivals  in  the  churches  in  Leipzig 
In  all  of  these  branches  of  art  he   had  precursors,  and   the   types  of  variou; 
kinds  had  been  explored.       The    Italian   aria-form   had  been   more  or  less 
transformed    for    German    purposes  before   he  gave  it   his  own  exceptiona 
character  and  high  artistic  organisation.      ^  The  peculiar  form  of  expressive 
recitative,  so  earnest  and    deeply   emotional,  which   became  a  characteristic 
feature   of  German   music   and   prefigured  much  in  its   latest    dramatic  mani 
festations,  had  found  worthy  exposition.      The  treatment   of  chorales  witl 
rich  harmonisation  and  elaborate  part-writing  and  the  development  of  the  so; 
called  motet  choruses  and   choral  fugues   and  even  the  peculiar  contrapuntal 
treatment  of  the  accompanying  instruments  had  all  found  characteristic  Ger' 
man  exponents.      Moreover,  the  form  of  Passion  music  had  engaged  the  at' 
tention    of  composers   for  nearly  two  hundred  years  and  had   arrived  at  \ 
considerable  degree  of  development  recently  in  the  hands  of  Kuhnau,  Keis(i 
and  Handel  himself      But  Bach's  treatment  of  the  scheme  so  immeasurabli 
distanced  all   those  who  went  before  him   that  in  later  time  his  settings  •'  a. 
cord'mg  to  St.  Matthew  "  and  *'  St.  John  "  seem  to  stand  almost  alone  i 
their  pre-eminent   glory.      The  same  is   the  case  with   his  church  cantata 
^The  best  work  even  of  such  composers  as  Buxtehude  and  John  Christopl; 
Bach  seems  singularly  bald  by  the  side  of  the  copious  variety  and  the  inve: 
tive  vigour  of  his  work  of  this  kind.      True  it  is  that  in  all  such  cases,  ai 
even   in  such   mighty  phenomena  as  the  choruses   in  the  B  minor  mass,  . 
built  upon   the  foundation   his  predecessors  supplied   and  with  methods  th 
had  helped  to  make  available.      ^[His  peculiar  quality  was  to  divine  how  t 
resources   of  art  which   he  found  in   being  could   be  applied  to   purposes 
grand  and   comprehensive  that  it  is  difficult  to  realise  that  the  methods  w( 
in  truth  the  same  as  had  been  used  by  his  forerunners.      His  artistic  pow-i 
and  insight  were  at  such   an  immeasurably  higher  plane  than  those  who  p- 
ceded  him   that  music  seems   at  once  to  have   stepped  out  of  childishness  ii' 
maturity  at  his  bidding.      ^[In  a  sense  his  work   is  final  and   isolated.      Ii 
work  stands  alone  as  the  summing-up  of  a  long  period  of  preparation  ;  al 
the  summing-up  in  his  characteristically  Teutonic  direction  seemed  so  co- 
plete  that  nothing  remained  to  be  said  in  the  lines  which  he  had  illustrate . 
No  composer  followed  in  his    footsteps.      Those  who   understood    him  i'' 
that  they  could  not  approach  him  ;  and  the  world  in  general  wanted  a  me 
easy-going  and  accommodating  standard  of  art.      So  the  succeeding  generatn 


DICTIONARY   OF  MUSICIANS    399 

of  composers  cultivated  the  more  plausible  Italian  manner  and  the  easily  manip- 
ulated Italian  form.  ^[It  was  not  for  a  century  that  his  style  and  methods  be- 
gan to  exert  influence,  and  they  came  back  to  regenerate  the  world  growing 
stale  with  the  overpersistency  of  harmonic  forms  of  the  sonata  order.  ^In- 
deed it  was  the  rise  of  what  was  called  the  romantic  movement  which 
brought  J.  S.  Bach  back  into  the  hearts  of  men,  and  made  his  ways  of  pro- 
cedure suggestive  of  new  developments.  The  foremost  prophets  of  the 
Romantic  movement,  Schumann  and  Chopin,  were  his  most  ardent  admirers. 
•[[To  the  Classicists  the  style  of  J.  S.  Bach  had  seemed  somewhat  archaic. 
But  as  men  began  to  long  for  human  expression  in  art  and  the  greater  elasticity 
of  form  which  helps  to  closer  characterisation  of  mood  and  feeling,  the  richness 
of  possibilities  and  the  greater  pliancy  of  the  forms  Bach  used  became  more 
and  more  apparent.  At  the  same  time  the  perfect  adaptation  of  means  to 
ends  which  his  perfect  self-containment  manifest  may  serve  as  a  corrective 
and  a  counterpoise  in  the  turbulent  times  which  follow  the  opening  of  the 
floodgates  of  dramatic  passion.  Those  who  cherish  a  constant  love  of  the 
human  art  of  John  Sebastian  Bach  have  still  a  guiding  light  which  will  not 
betray  them. 


it 


15)  Karl  Philipp  Emanuel  ("the 
Berlin  "or  "  Hamburg  Bach  "),  Wei- 
mar, March  (S  ?)  14,  1714 — Hamburg 
(Sept.  ?)  Dec.  14,  178S.  Son  of  above 
(vide  CHART  OK  BACHS).  Studied  phi- 
losophy and  law  at  Leipzig  and 
Frankfort  ;  cond.  a  singing  society  at 
Frankfort,  for  which  he  composed. 
1737  (38?)  in  Berlin.  Chamber-mus. 
and  clavecinist  to  Frederick  the  Great, 
1746-57  [or  1740-67?].  1757  Ham- 
burg as  Ch.mus.-dir.  ;  1767  as  Musik- 
director  of  the  principal  church  there, 
vice  Telemann,  a  position  held  till 
death.  He  was  one  of  the  chief  vir- 
tuosos of  the  day.  He  was  the  found- 
er of  the  modern  school  of  piano- 
playing,  and  a  pioneer  of  greatest 
importance  in  the  sonata  and  sym- 
phony-forms and  orchestration,  his 
works  having  a  graceful  modernity 
not  possessed  even  by  most  of  his 
father's.  He  wrote  "  Versuch  iiber 
die  -iuahre  Art  das  Clavier  zu  spie- 
len "  (2  parts,  1753-62),  an  impor- 
tant work  containing  detailed  expla- 
nations concerning  ornaments.  His 
very  numerous   comps.    include   210 


solo  pieces  ;  52  concertos  with  orch.  ; 
quartets,  trios,  duets,  sonatas,  son- 
atinas, minuets,  polonaises,  solfeggi, 
fugues,  marches,  etc.,  for  clavier  ;  18 
symphonies  ;  34  miscellaneous  pieces 
for  wind-instrs.,  trios  ;  flute-,  'cello-, 
and  oboe-concertos ;  soli  for  flute, 
viola  di  gamba,  oboe,  cello,  and  harp, 
etc.,  and  2  oratorios  ("  Die Israeliten 
in  der  IVilste"  and  "  Die  A  lifers teh- 
ttng  und  Himmelfdkrt  Jesit "),  22 
Passions  ;  cantatas,  etc. 
(26)  Aug.  Wm.,  Berlin,  1796 — 1869  ; 
organist,  teacher,  and  composer.  (27) 
(Rightly  Bak),  Albert  Ed.,  b. 
Gyula,  Hungary,  March  22,  1S44 ; 
teacher,  critic,  writer  and  dram,  bass  ; 
debut,  1S71.  (28)  (Dr.)  Otto,  Vienna, 
1S33 — Unter-Waltersdorf,  1893  ;  con- 
ductor and  composer.  (29)  Leon- 
hard  Emil,  b.  Posen,  March  11, 
1849;  pianist,  pupil  of  Kullak,  Wuerst 
and  Kiel  ;  1874,  court-pianist  to 
Prince  George  of  Prussia  ;  ca.  1890, 
London.  Composed  opera  Irmen- 
gard  (London,  1892)  ;  succ.  i-act 
opera.  The  Lady  of  Longford  (Lon- 
don, 1894)  ;  succ.   i-act  comic  opera, 


400 


THE    MUSICAL    GUIDE 


Des  Konigs  Garde  (Cologne,  1895), 
etc. 

Bache  (bach),  (i)  Francis  Edw,,  Bir- 
mingham, 1833 — 185S  ;  violinist.  (2) 
Walter,  Birmingham,  1842 — Lon- 
don, iSSS,  bro.  of  above  ;  pianist  and 
teacher.  (3)  Constance,  b.  Birming- 
ham, sister  and  pupil  of  above  ;  pupil 
of  Klindworth  and  Hartvigson  ;  since 
1883  teacher,  translator,  and  com- 
poser in  London. 

Bachmann  (bakh'-man),  (i)  Anton, 
1716 — iSoo  ;  court-musician  at  Ber- 
lin, instr. -maker  ;  inv.  the  machine- 
head.  His  son  and  successor,  (2) 
Karl  L.,  1743 — 1800,  court-violinist, 
plaver,  married  the  pianist  and  singer 

(3)  Charlotte  Karoline  Wilhel- 
mine    Stowe,    Berlin,    1757 — 1S17. 

(4)  Pater  Sixtus,  Ketterhausen,  Ba- 
varia, July  iS,  1754 — Marchthal,  near 
Vienna,  1818  ;  organist  and  pianist  of 
unusual  precocity,  and  memory  ;  said 
to  have  played  by  heart  over  200 
pieces  at  9  ;  at  12  equalled  Mozart, 
then  10  years  old,  in  organ-competi- 
tion, at  Biberach  ;  became  a  Preraon- 
strant  monk,   composed  masses,   etc. 

(5)  G.  Chr.,  Paderborn,  1S04— Brus- 
sels, 1842  ;  clarinet-maker,  soloist  and 
teacher.  (6)  Georges,  ca.  1848 — 
Paris,  1894.  (7)  Gottlob,  Bornitz, 
Saxony,  1763 — Zeitz,  1840,  organ- 
ist. 

Bachofen  (bakh'-of-en),  Jn,  Kaspar, 
Zurich,  1692 — 1755  ;  organist. 

Bachrich  (bakh'-rikh),  Sigismund,  b. 
Zsambokreth,  Hungary,  Jan.  23, 
1841  ;  violinist,  pupil  and  now  teach- 
er at  Vienna  Cons.;  composed  4 
comic  operas  incl.  Der  Fiuhs-Major 
(Prague,  1SS9),  etc. 

Ba(c)ker-Grdndahl  (bak'-er  gr5n'-dal), 
Agathe,  b.  Holmestrand,  Norway, 
Dec.  I,  1847  ;  pianist  and  composer  ; 
pupil  of  Kjerulf,  Biilow  and  Liszt  ; 
she  married  1875,  Grondahl,  singing- 
teacher  in  Christiania. 

Backers,  Americus.  Vide  broad- 
wood.  , 

Back  ofen,  Jn.  G.  H.,  Durlach,  Baden, 
1768  —  Darmstadt,    1839;     virtuoso 


and  manufacturer  of  wind-instrs.  at 
Darmstadt  ;  writer  and  composer. 

Bacon,  Richard  Mackenzie,  Nor- 
wich, Engl.,  1776 — 1844;  teacher 
and  writer. 

Badarczevska  (ba-dar-chef'-shka), 
Thela,  \Yarsaw,  1838  — 1862  ;  she 
composed  ''  La priire  d'line  vierge" 
etc. 

Bader  (ba'-der),  K.  Adam,  Bamberg, 
17S9 — Berlin,  1870;  cathedral-organ- 
ist, Bamberg  (1807)  ;  later  first  tenor 
Berlin  court  opera  (1820-45). 

Badia  (ba-de -a),  (i)  Carlo  Ag.,  Ven- 
ice, 1672 — Vienna,  1738  ;  court-com- 
poser at  Vienna.  (2)  Luigi,  Tirano,: 
Naples,  1822 — Milan,  1899;  com-; 
posed  4  operas. 

Bagge  (biig'-ge),  Selmar,  Coburg, 
1S23 — Basel,  1896  ;  editor  and  com-i 
poser. 

Bagnolesi  (ban-yo-la'-ze).  Italian  con-; 
tralto  in  London,  1732. 

Bahn,  Martin.     Vide  trautwein. 

Bahr  (of  Bar,  or  Beer)  (bar),  Jn.,  St.; 
Georg  (Austria),  1652— 1770;  court-j 
conductor  and  writer  of  satiricoj 
musical  pamphlets  signed  "  Ursu\ 
7niirmt()-at,"  "  Ursus  triu7nphat^\ 
etc.  j 

Bai  (or  Baj)  (ba'-e),  Tommaso,  Cre' 
valcuore,  near  Bologna,  ca.  1660— 
Rome,  Dec.  22,  1714  ;  tenor  at  th 
Vatican;  conductor,  1713  ;  composei 
a  A/iserere,  sung  in  the  Papal  Chap, 
el,  during  Holy  Week,  alternatel. 
with  those  by  Allegri  and  Baini. 

Baif  (blf),  Jn.  A.  de,  Venice,  1532- 
Paris,   1589  ;  composer. 

Baildon  (bal'-dun),  d.  London,  177. 
Gentleman  of  the  Chapel  Royal,  an 
composer. 

Bailey,  Marie  Louise,  b.  Nashvilli 
Tenn.,  Oct.  24,  1S76  ;  Leipzig,  Con 
Pupil  of  C.  Reinecke,  winning 
scholarship,  and  with  Leschetizk) 
debut,  1893,  Gewandhaus,  Leipzig 
Chamber-virtuoso  to  King  Albert ' 
Saxonv  ;  now  lives  in  Vienna. 

Baillot'(bl'-yo),  (i)  P.  M.  Fran,  c 
Sales,  Passy,  Oct.  1,1771  — Pari 
Sept.  15, 1842  ;  eminent  violinist,  pu} 


^- 


!^U 


DICTIONARY  OF  MUSICIANS   401 


of  Polidori,  Sainte,  Marie,  and   PoU- 
ani  ;  later  prof,  of  vin.  at   the   Paris 
Cons.;  toured  Europe  ;  1821,  leader  at 
the  Grand  Opera  ;  1825,  solo  violinist, 
RovalOrch. ;  wrote  famous  ''LArt 
dii  'Violon  "  (1834)  and  ''  Me'thode  du 
Violon ;"  composed   10  vln.   concer- 
tos, 3  string-quartets,  24  preludes  in 
all  keys,  etc.    (2)  R6n6  Paul,  Paris, 
1S13 — 1SS9  ;  son  of  above.  Prof,  at 
Paris  Cons. 
Baini     (ba-e'-ne),     Abbate,     Gins., 
Rome,    1775 — 1844;    composer  and 
conductor  at  St.  Peter's  ;  wrote  famous 
life  of  Palestrina. 
3aj  (ba -e).     Vide  bai. 
Bajetti  (ba-yet'-te),  Giov.,  Brescia,  ca. 
1S15  —  Milan,    1876;  violinist,    con- 
ductor and  dram,  composer. 
Baker.,  (i)  G.,  E.xeter,  England,  1773 
— Rugeley,  1847  ;  organist,   violinist, 
1  i  and  composer.     (2)  Benj.  Franklin, 
'  b.  Wenham,   Mass.,    July    10,  1811  ; 
;     singer,  teacher,  and  editor. 
Jalakirew    (ba-la-ke'-ref),    Mily  Al- 
exejevitch,      b.      Nijni-Novgorod, 
Russia,     1836 ;      studied    at    Kasan 
Univ.,  as    a    musician,   self-taught; 
debut   as   pianist    in  St.   Petersburg, 
1855  ;    founded     the    "  Free    Music 
School,"  1862  ;  1866,  opera-conductor 
Prague ;     1867-70,    conductor    Imp. 
Music    Society^    St.    Petersburg,    re- 
tired   1872  ;     composed    a     symph. 
poem  "  Tamara"  ;  music  to  ''  Kitig 
Lear  "  /  Russian,  Czech  and  Spanish 
overtures  ;      an      Oriental     fantasia, 
''  Islamci"  for  pf. ,  etc.;  pub.  1866,  a 
coll.  of    Russian    Folk-songs.     190 1, 
r    ;  Symphony  in  C. 

alart  (ba-lart'),  Gabriel,  Barcelona, 
1824 — i8g3  ;  studied  in  Paris  ;  con- 
ductor, later  director  Barcelona  Cons.; 
composed  zarzuelas  (Vide  D.  D.). 
alat'ka,  Hans,  Hoffnungsthal,  Mo- 
ravia, 1827 — Chicago,  1899  ;  studied 
at  Vienna  ;  1849,  America  ;  1851, 
founded  the  Milwaukee  Musikverein  ; 
i860,  conductor  of  Chicago  Philh. 
Soc;  composed  cantatas,  etc. 
,  albatre  or  Balbastre  (bal-batr), 
Claude  Louis,  Dijon,  1729  —  Paris, 


1799  ;  pupil  and  friend  of  Rameau  ; 
organist  and  composer. 

Balbi  (bal'-be),  (i)  Ludovico,  com- 
poser and  conductor  at  S.  Antonio, 
Padua  ;  ca.  1606,  Franciscan  mon- 
astery, Venice.  (2)  (Cav.),  Melchi- 
ore,  Venice,  1796 — Padua,  1879, 
church-conductor,  theorist  and  com 
poser. 

Baldassari  (bal-das-sa-re),  Benedet- 
to, Italian  tenor  in  London,  1721. 

Bal'denecker,  (i)  Nikolaus,  b. 
Mayence,  1782  ;  violinist.  (2)  Kon- 
rad,  b.  1828  ;  pianist. 

Baldewin    (bal-de-ven).     Vide    baul- 

DEWIJN. 

Balfe  (balf),  Michael  Wm.,  Dublin, 
May  15,  1808 — Rowney  Abbey,  Hert- 
fordshire, Oct.  20,  1S70 ;  operatic 
composer ;  pupil  of  O'Rourke,  Ire- 
land, and  C.  F.  Horn,  London  ; 
1824,  violinist  Drury  Lane;  also 
sang  in  London  ;  went  to  Italy  with 
his  patron  Count  Mazzara,  and  stud- 
ied comp.  with  Frederic!  at  Rome, 
and  singing  with  F.  Galli  at  Milan  ; 
his  ballet  La  Perotise,  prod,  there 
(1826)  ;  pupil  of  Bordogni,  and  first 
barytone  at  the  Ital.  Opera,  Paris 
(1828),  and  elsewhere  till  1835  \  com- 
posed several  Italian  operas  ;  m.  the 
Hungarian  singer  Lina  Rosen  (1808 
— London,  1888) ;  he  ret.  to  England, 
1835,  and  prod.  The  Siege  of  Ko- 
chelle  (Drury  Lane) ;  failed  as  man- 
ager ;  went  to  Paris,  returned  1843, 
and  prod.  The  Bohemian  Girl,  very 
successful  everywhere ;  prod.  Paris, 
1856,  in  5-act  version  as  "  Za  Bohi- 
mienne."  In  1857.  his  daughter 
Victorie  made  her  debut  in  Italian 
opera  ;  1 864,  he  retired  to  his  country- 
seat,  Rowney  Abbey  ;  he  composed 
31  operas  in  all,  including  7'he  Rose 
of  Castile  (1857)  ;  Satanclla  (1858); 
//  Talisniano  (1874)  ;  biog.  by  C.  L. 
Kenny  (London,  1S78),  and  W.  A. 
Barrett  (do.  1882). 

Ballabene  (bal-la-ba'-ne),  Gregorio, 
lived  1 8th  cent.  (?)  ;  composed  a  re- 
markable Kyrie  and  Gloria  in  48  leai 
parts,  performed  at  Rome,  1770. 


402 


THE    MUSICAL    GUIDE 


Ballazarini  (bal-la-tsa-re'-ne)  (or  Bal- 
tagerini),  Italian  violinist ;  came 
from  Piedmont  to  Paris,  1577,  and 
was  court-intendant  to  Catherine  de 
Medicis,  who  gave  him  the  name  "  M. 
de  Beaujoyeulx  " ;  founder  of  the 
ballet,  and  indirectly  of  French 
opera. 

Ballard  (bil'-lir'),  a  family  of  French 
music-printers  ;  founded  1552  by 
Robert  B.,  with  a  patent,  from 
Henri  II.,  as  "  Seul  imprimeur  de  la 
musique  de  la  chambre,  chapelle  et 
menus  plaisirs  du  roy."  The  patent 
expired  1776  after  being  held  by  R., 
and  his  brother-in-law,  Adrien  la 
Roy ;  by  Pierre  B.,  1633  ;  Robt. 
Ed.  Christophe,  1673 ;  J.  Bapt. 
Christophe,  1695  ;  Chp.  J.  Fran., 
1750  ;  P.  Robt,  Chp.,  1763. 

Baltagerini.     Vide  ballazarini. 

Balthasar  (called  Balthasar-Flo- 
rence)  (bai-ta-zar  flo-rahs),  H.  Mat., 
b.  Arlon,  Belgium,  Oct.  21,  1844; 
pupil  of  Fetis ;  m.  (1863)  a  daughter 
of  the  instr. -maker  Florence;  com- 
posed operas,  etc. 

Baltzar  (balt'-tsar),  Thos.,  Lubeck, 
ca.  1630 — London,  1663  ;  eminent 
court-violinist  in  England  from  1656. 

Balt'zell,WillardJ.,  b.  Philadelphia, 
U.  S.  A.,  d.  1900  ;  teacher  Ohio  Wes- 
leyan  University,  Ohio ;  composed 
songs. 

Banchieri  (ban-klt-a'-re),  Adr.,  Bo- 
logna, 1567  (?) — 1634;  theorist  and 
organist. 

Banck  (bank),  K.,  Magdeburg,  1809 — 
Dresden,  1889 ;  critic  and  vocal 
teacher. 

Banderali  (ban-da-ra-le),  Davidde, 
Lodi,  1780 — Paris,  1849  ;  buffo  tenor, 
then  teacher  at  Paris  Cons. 

Bandini  (ban-de'-ne),  (1)  Primo,  b. 
Parma,  Nov.  29,  1857 ;  pupil  R. 
School  of  Music  there  ;  composed 
successful  operas  Eufentio  di  Messi- 
na (Parma,  187S),  Fausta  (Milan, 
1886),  Janko  (Turin,  1897).  (2) 
Uberto  Rieti,  b.  Umbria,  March 
28,  i860 ;  pupil  of  Giustiniani,  Bol- 
doni,  Rossi  Tergiani,  and  Sgambati ; 


composed  prize  overture  "  Eleonora^ 
symphony,  etc. 

Bandrowski    (ban-drof'-shkl),    Alex. 
Ritter   von,    b.    Lubackzon,  Galicia, 
April  22,  i860  ;  operatic   tenor,  stud- 
ied Cracow  University,  then  with  San- 
giovanni,   Milan,  and  .Salvi,  Vienna: 
debut  Berlin  ;  for  some  years  leading  I 
tenor  Cologne  opera  ;  has  sung  also  ; 
in  Russia,  and  oratorio  in  England ; 
sang  Paderewski's  Manrii  at  Warsaw  ' 
and  in  New  York  1902. 

Banes  (ba-nes),  A.  Anatole,  b.  Paris, ; 
June  8,  1856;  pupil  of  E.  Durand;; 
officer  of  pub.  instruction  ;  composer' 
of  operettas  ;  lives  in  Paris. 

Ban'ester,  Gilbert,  i6th  cent.;  Eng-; 
lish  composer  of  Flemish  influences.   ; 

Banister,     (i)    J.,     London,     1630—; 
1676(79  ?);  court-violinist  and  compos-,' 
er.    (2)  J.  (Jr.),  d.  1735  ;  son  of  above  ; 
court-violinist.    (3)  Chas.  Wm.,  1768 
— 1 83 1 ;  composer.    (4)  Hy.  Joshua, 
London,  1803 — 1847.  (5)  Hy.  Chas. 
London,     1831 — 1897,    son    of    (3) 
pianist,    teacher,    and    writer ;    pub 
"  Lectures    on    Musical    Analysis,'] 
etc. 

Banks,  (r)  Benj.,  vln. -maker,  Lon 
don,  1750 — 1795,  succeeded  by  hi 
son  (2)  Benj.  (Jr.).  Two  other  son; 
(3)  James,  and  (4)  H.,  were  also  vln., 
makers. 

Bannelier  (ba-nel-ya),  Chas.,  Pari:; 
1840 — 1899;  writer.  ; 

Banti-Giorgi  (ban'-te-j6r'-je),  Bri 
gida,  Crema,  Lombardy,  1759 — ^' 
logna,  Feb.  18,  1806  ;  dram,  sopran'; 
first  a  chanteuse  in  a  Paris  cafe,  lat; 
engaged  at  the  Grand  Opera  ;  toun 
Europe  with  great  success  ;  her  voi'' 
was  remarkable  in  compass  and  eve  i 
ness,  but  she  was  musically  illiterat(i 
m.  the  dancer  Zaccaria  Banti. 

Ban'tock,  Granville,  b.  London,  Au| 
7,  1S68  ;  studied  R.  A.  M.,  took  i;i 
Macfarren  Prize  for  comp.,  hisfiv 
work,  dram,  cantata  "  The  Fire-Wi- 
shippers,"  successfully  prod.,  l88'i 
successful  i-act  romantic  opera  Ca,- 
mar  (London,  1892) ;  conductor  f 
Gaiety    Theatre    Troupe;    compos! 


'Hi 


DICTIONARY  OF  MUSICIANS   403 


other  operas  (text  and  mus.),  also 
symph.  overture  "  Saul"  ;  dram. 
symphony  in  24  parts,  "  The  Curse 
of  Keha7)ia"  etc. 

Bap  tie,  David,  b.  Edinburgh,  Nov. 
30,  1822  ;  Uves  in  Glasgow  ;  com- 
posed anthems,  etc. ;  compiled  hymn- 
books. 

Baptiste  (rightly  Baptiste  Anet) 
(bap-test-d-na),  violinist  at  Paris, 
1700,  where  he  introduced  Corelli's 
works. 

Barbaco'la.     Vide  barbireau. 

Barbedette  (barb-det),  H.,  b.  1825  ; 
writer  and  composer. 

Barbaja  (biir-ba  -ya),  Domenico,  Mi- 
lan, 177S — Posiiippo,  1841  ;  impre- 
sario. 

Barbarieu.     Vide  barbireau. 

Barbarini    (bar-ba-re'-ne),   Manfredo 

Lupi ;    lived    i6th   cent.;    composed 

motets  under  the  name   of  "  Lupi  " 

(q.  v.). 

Sarbel'la,     Emanuele,     d.     Naples, 

1773  ;  violinist  and  composer. 
Barbereau   (bar-bu-ro),  (r)  Maturin- 
Aug.  Bal.,  Paris,    1799 — 1879;  con- 
(     ductor  and   theorist.     (2)  Vide  bar- 
I     bireau. 

i  Barbier  (barb-ya),  (i)  Fr.  Et.,  Metz, 

•  1829 — Paris,  1889  ;  teacher  and  lead- 
er ;  composed  over  30  operas.  (2> 
Jules  Paul,  Paris,  1825— Jan.,  1901. 
collaborator  with  Carre,  in  the  lib- 
retti of  many  operas,  including  Les 
Noces  de  Jeannette  (Masse)  ;  Le  Par- 
don de  /'/is^Vw^/ (Meyerbeer)  ;  Faust 
(Gounod)  ;  Philemon  et  Baucis  (Gou- 
nod) ;  Romeo  et  Juliette  (Gounod) ; 
Hamlet  (Ambr.  Thomas).  (3)  Paul, 
b.  Paris,  1854,  son  of  above,  libret- 
tist. 
larbieri  (bar-bt-a'-re),  (i)  Carlo 
Emm.    di,    b.  Genoa,   1822— Pesth, 

j,  '  1867  ;  conductor  and  dram,  compos- 

[  ;  er.     (2)    Francisco    Asenjo,    Ma- 

I  drid,  1823 — 1894;  very  pop.  com- 
poser of  Zarzuelas  (Vide  D.  D.). 
tarbireau  (bar-bl-ro)  (or  Barbiriau, 
Barbarieu,  Barbyria'nus,  Barbe- 
rau,  Barbingaut  (bar-bih-go),  or 
Barbaco'la),  d.  Aug.  8,  1491  ;  from 


1448  choirmaster  of  Notre-Dame, 
notable  cptist.,  composed  masses,  etc. 

Barbot  (bar-bo),  Jos.  Th.  D€sir6, 
Toulouse,  1824 — Paris,  1897  ;  tenor  ; 
created  "  Faust,"  1859  ;  1S75,  prof. 
Paris  Cons. 

Bardi  (bar'-de),  Giov.,  conte  del  Ver- 
nio,  Florentine  nobleman  and  patron 
of  the  i6th  cent.,  under  whose  influ- 
ence the  attempted  revival  of  the 
Greek  •  lyric  drama  led  to  modern 
opera.  At  his  house  "Dafne  "  was 
performed.     ^Vide  peri.) 

Bargaglia  (bar-gal'-ya),  Scipione, 
Neapolitan  composer,  said  to  have 
first  used  the  word  "  concerto  "  (1587). 

Barge  (bar'-ge),  Jn.  H.  Wm.,  b. 
Wulfsahl,  Hanover,  Nov.  23,  1836  ; 
self-taught  flutist  ;  1867-95  first  flute, 
Leipzig  Gewandhaus  Orch.,  retired 
on  pension;  teacher  Leipzig  Cons.; 
wrote  "Method  for  Flute";  com- 
posed 4  orchestral  flute-studies,  etc. 

Bargheer  (bar'-khar),  (i)  K.  Louis,  b. 
Buckeburg,  Dec.  31,  1833  ;  violinist  ; 
pupil  of  Spohr,  David,  and  Joachim  ; 
1863,  court-conductor  at  Detmold, 
made  concert-tours  ;  1879-89,  leader 
Hamburg  Phil.  Soc,  teacher  in  the 
Cons.;  later  leader  in  Biilow  orch. 
(2)  A.,  b.  Buckeburg,  Oct.  21,  1840, 
brother  of  above,  pupil  of  Spohr ; 
court- violinist  Detmold  ;  since  1866, 
Prof.  Basel  Sch.  of  Music. 

Bargiel  (bar-gel),  Woldemar,  Ber- 
lin, Oct.  3,  1828— Feb.  23,  1897 ; 
important  composer  ;  pupil,  Leipzig 
Cons.  ;  later  Prof,  in  Cologne  Cons.; 
1865,  dir.  and  cond.  of  the  Mus. 
Sch.,  Amsterdam;  1874  Prof.  R. 
Hochschule,  Berlin  ;  1882,  Pres. 
"  Meisterschule  fur  musikalische 
Komposition  "  ;  composed  3  overtures 
"  Zu  einem  Trauerspiel  (Romeo  and 
Juliet)  "  ''Prometheus  "  "  Medea  " ;  a 
symphony ;  2  psalms  for  chorus  and 
orchestra;  pf.-pcs. ,  etc. 

Baril'li,  A.,  1826— Naples,  1876  ;  half- 
brother  of  Adelina  Patti. 

Barker,  Chas.  Spackmann,  b.  Bath, 
1806 — Maidstone,  1879  ;  organ-build- 
er ;   invented  the  pneumatic  lever. 


404 


THE    MUSICAL    GUIDE 


Barman  (bar'-man),  (i)  H.  Jos.,  Pots- 
dam, 1784 — Munich,  1847  ;  clarinet- 
virtuoso  and  composer.     His  brother 

(2)  K.,  1782 — 1842,  was  a  bassoonist, 

(3)  K.,  (Sr.),  son  of  H.  J.  B.,  was  a 
clarinettist  ;  his  son  (4)  K.,  (Jr.),  b. 
Munich,  July  9,  1839  \  pupil  of  Liszt 
and  Lachner  ;  teacher  at  Munich 
Cons.,  lives  in  Boston,  Mass.,  as 
pianist  and  teacher  ;  composed  piano 
pieces. 

Barnard,  (i)  Rev.  Jn.,  canon  St. 
Paul's  Cathedral,  London  ;  pub.  1641 
the  first  coll.  of  cathedral-music.  (2) 
Mrs.  Chas.  (nee  Alington),  1830 — 
Dover,  1869 ;  composed  popular 
songs,  etc.,  under  name  "  Clari- 
bel." 

Barn'by,  (i)  Rob.,  York,  England, 
1821  —  London,  1875  ;  alto-singer, 
Chapel  Royal.  (2)  Sir  Jos.,  York, 
Engl.,  Aug.  12,  1838 — London,  Jan. 
28,  1896  ;  choirboy  at  7  ;  at  10  taught 
other  boys;  at  12  organist;  at  15 
music-master  ;  1854  entered  the  R.  A. 
^L,  London  ;  then  organist  various 
churches  and  cond.  ;  1875,  precentor 
and  dir.  at  Eton  ;  1892  Principal  of 
Guildhall  Sch.  of  Mus.  ;  knighted, 
July,  1892  ;  composed,  "  J?e6dka/i," 
a  sacred  idyll  (1870) ;  Psalm  97  ;  Ser- 
vice in  E,  etc. 

Barnes,  Robt.,  violin-maker,  London, 
1760 — 1800. 

Barnett,  (i)  J.,  Bedford,  England, 
July  I,  1802— Cheltenham,  April  17, 
i8go,"  The  father  of  English  opera  "  ; 
pupil  of  C.  E.  Horn,  Price,  and 
Ries ;  brought  out  his  first  opera 
''Before  Breakfast"  1825;  ''The 
Mountain  Sylph  "  (1834)  ;  the  very 
succ.  "  Tair  Rosamond  "  (1837),  and 
"  Farinelli  "  (London,  1838) ;  1841, 
singing  teacher  at  Cheltenham  ;  left 
2  unfinished  oratorios,  a  symphony, 
etc.  (2)  Jos.  Alfred,  London,  18 10 
— (?),  1898  ;  bro.  of  above  ;  compos- 
er. (3)  J-  Francis,  b.  London,  Oct. 
26,  1837,  nephew  of  above  ;  studied 
with  Dr.  Wylde  (1849) ;  and  at  R.  A. 
M. ,  and  Leipzig  Cons.  ;  debut  as 
pianist,  1853  ;  1883,  prof,  at  R.  Coll. 


of   Mus.  ;  composed  oratorio  "  /"^^Jiif 
Raising  of  Lazarus  "  (1876),  sympho- 
ny in  A  min.,   "  Ouverture  sympho- 
nique "   (1868),   overture  to  Winter's 
Tale  (1871),  cantatas,  etc. 

Baron   (ba'-r5n),  Ernst   GI.,  Breslau, 
1696 — Berlin,      1760;     court-luteni 
and  theorbist  ;  writer  and  composer. 

Barr^  (or  Barra)  (bar-ra  or  bar'-ra) 
(i)  Leonard,  b.  Limoges  ;  singer  ii; 
Papal  Chapel  (1537)  and  special  mu 
sical  envoy  to  the  Council  of  Tren 
(1545) ;  composed  madrigal; 
motets.  (2)  A.,  printer,  etc.,  Romi 
1555-70,  later  Milan. 

Barret  (bar-ra),  A.  M.  Rose,  1804 
Paris,  1879 ;  oboist. 

Barrett,  (i)  J.,  1674 — London,  173; 
(8  ?)  ;  organist.  (2)  Thos.,  violirJ 
maker,  London,  1710-30.  (3)  Wii| 
Alex.,  Hackney,  Middlesex,  1836-' 
London  (?),  1891  ;  editor  and  writeij 
co-editor  with  Sir  John  Stainer  of  j 
"  Diet,  of  Music.  Terms."  . 

Barrien'tos,  Maria,  b.  Barcelona 
1884 ;    singing   with   wonderful 
cess  in  Rome  at   11  years;  took  tw 
medals  for  violin-playing. 

Bar'rington,    Daines,   London,    17: 
— 1800  ;  lawyer  and   musical   es: 
ist. 

Bar'ry,   Chas.   Ainslie,   b.    Lond 
June    10,    1830  ;    pupil    of    Coloj 
Cons,  and  Leipzig  Cons. ;  editor 
organist ;    composed   a   symphony, 
overtures,  etc. 

Barsanti  (bar-san'-te),  Fran.,  Luce 
ca.  1690 — 1760  ;  flutist,  oboist,  a;  .: 
composer;  1750,  viola-player  at  Lei  ■; 
don.  j    : 

Barsot'ti,  Tommaso  G.  F.,  Fiji, 
ence,  1786 — Marseilles,  1868  ;  tea(|f* 
er  and  composer.  I  . 

Bartay     (bar'-ta-e),       (i)     Andreilli 
Szeplak,    Hungary,    1798 — Mayeni* 
1856 ;    1838    Dir.    Nat.    Th.    Pes;     . 
composed    Hungarian     operas,    «• 
(2)  Ede,  Oct.  6,   1825— Sept.,  19,; 
son  of  above  ;  pupil  Nat.  Mus.  Ac  - 
emy,  Pesth  ;  founded  pension-fund  f 
musicians  ;  composed  overture, '  '/'<  •    . 
cles"  etc.  .    \ 


J 


DICTIONARY  OF  MUSICIANS    4°? 


Jartei  (bar-ta'-e),  Girolamo,  general  of 
Augustinan  monks  at  Rome  ;  pub- 
lisher and  composer  (1607-1S). 
Jartel  (bar'-tel),  (i)  Aug.,  Sonders- 
hausen,  iSoo— 1876  ;  son  of  (2)  H. 
B.,  trumpeter  in  the  court-band  ;  and 
brother  to  (3)  Adolf,  iSog— 1878, 
member  of  the  same  band.  Aug. 
was  an  excellent  teacher,  and  trained 
as  'cellists,  his  sons,  (4)  Ernst,  1824 
—  Remschied,  1868,  and  (5)  Gun- 
ther,  b.  1833  ;  pupil  also  of  Dehn  ; 
lives  in  Dusseldorf,  as  writer  and 
composer. 

art  (bart),  (i)  Chr.  Samuel,   Glau- 

chen.    Saxony,    1735 — Copenhagen, 

1809 ;    oboist.      (2)     F.    Phil.    K. 

■    Ant.,   b.    Cassel,    ca,    1773  ;    son  of 

above  ;  composer.   (3)  Jos.  Jn.  Aug., 

I:  h,     Grosslippen,       Bohemia,      1781  ; 

-  1810-30,    tenor,    Vienna.      (4)  Gus- 

tav,  Vienna,  1800 — Frankfort,  1897  ; 

,    son   of   (3)  ;    pianist  and  conductor. 

(5)  K.  H.,    b.    Pillau,    Prussia,    July 

12,     1847  ;     pianist,     pupil    of    Von 

Bulow,  Bronsart,  and  Tausig  ;  1871, 

,    '.eacher  at  R.  Hochschiile  fiir  Musik, 

conductor  of  the   Philh.   concerts  at 

Hamburg     (vice     von     Biilow).     (6) 

:    Richard,  left-handed  violin-virtuoso  ; 

Jniv.  Mus.  Dir.  Marburg,   till  1894  ; 

;ince  then  Dir.  of   Hamburg   Philh. 

Concerts. 

i  rthe,    Grat-Norbert    (gra-nor-ber- 
)art),   b.   Bayonne,    France,   June  7, 
828  ;    pupil  Paris  Cons.,  1854  :  won 
he  Grand  Prix  de  Rome  ;  wrote  can- 
ata   "  Francesca  da  Rimini  "  ;  com- 
osed    operas    ''Don    Carlos"    and 
'  La  Fianctfe  d'Abydos  "  (1865)  ;  ora- 
:  ;   jrio,  '"Judith"  etc. 
,    Erthel   (bar'-tel),  Jn.  Chr.,  Plauen, 
a.xony,       1776 — Altenburg,       1831  ; 
i;;-   ourt-organist. 
B'thelemon  (bar-ta-lu-mon)  (in  Eng- 
5h  Bar  tleman),  Fran.  Hip.,  Bor- 
;aux,   1741 — London,   1808  ;  violin- 
it  and  composer. 
B;tholdy  (bar-tol-de),  Jakob   Salo- 
on   (of    Jewish    parents),     Berlin, 
'79 — Rome,   1825  ;  diplomatist  and 
titer. 


Bartholomew,  Wm., London,  1793 — 
1867  ;  translator. 

Bart'lett,  (i)  J.,  17th  century,  English 
composer.  (2)  Homer  Newton,  b. 
Olive,  N.  Y.,  Dec.  28,1846;  pupil 
of  S.  B.  Mills,  Max  Braun,  Jacob- 
son,  etc.  From  14  organist  New 
York  churches  ;  now  at  Madison  Av. 
Bapt.  Ch.;  published  a  sextet,  a  can- 
tata "  The  Last  Chieftain"  many 
songs,  etc.;  opera,  "  Z«  Valliere^'' 
oratorio,  "  Samuel"  etc.,  in  MS. 

Bartoli  (bar-t5'-le),  Padre  Erasmo, 
Gaeta,  1606 — Naples,  1656  ;  church- 
composer  under  the  name  ' '  Padre 
Raimo." 

Bartolini  (le'-ne),  V.,  Italian  male  so- 
prano, in  London,  1782. 

Bartolo  (bar-to'-lo).  Padre  Daniele, 
F'errara,  1608 — Rome,  1685  ;  Jesuit 
theorist. 

Baselt  (ba'-zelt),  Fritz  (Fr.  Gv.  O.), 
b.  Gels,  Silesia,  May  26,  1863  ;  pupil 
of  Kohler  and  Bussler  ;  music-dealer, 
teacher  and  conductor  Breslau,  Essen 
and  Nurnberg ;  since  1894,  director 
of  Philh.  Verein,  and  "  Sangerver- 
einigung"  (ca.  1,200  voices),  Frank- 
fort-on-Main  ;  composed  9  operettas, 
nearly  100  male  choruses,  etc. 

Basevi  (ba-sa'-ve),  Abramo,  Leghorn, 
1818 — Florence,  1885;  journalistand 
composer. 

Ba'sil  (Saint),  The  Great,  Caesarea, 
329— Cappadocia,  379  ;  bishop  ;  re- 
puted introducer  of  congregational 
(antiphonal)  singing  into  the  Eastern 
Ch.,  preceding  St.  Ambrose  in  the 
Western. 

Basili  (ba-ze'-le),  (i)  Dom.  Andrea, 
1720 — Loreto,  1775;  conductor  and 
composer  ;  his  son  (2)  Fran.,  Loreto, 
1766 — Rome,  1850;  prod.  11  operas, 
and  several  dram,  oratorios  in  Rome  ; 
1S37,  conductor  at  St.  Peter's,  Rome  ; 
composed  also  symphonies,  etc. 

Basiron  (ba'-sl-r5n),  Giovanni,  devel- 
oped the  motet,  ca.  1430 — 1480. 

Bassani  (bas-sa'-ne),  (i)  Giov.,  ca. 
1600  ;  conductor  at  St.  Mark's,  Ven- 
ice. (2)  (or  Bassiani),  Giov.  Bat., 
Padua,  ca.  1657 — Ferrara,  1716  ;  vio- 


4o6 


THE    MUSICAL    GUIDE 


linist,  conductor  and  composer.  (3) 
Geron.,  b.  Padua,  17th  cent.;  singer, 
teacher  and  composer. 

Bassano  (bas-sa'-no)  , ;  woman 

pianist ;  debut,  London,  Philh.  So- 
ciety, 1842. 

Basselin  (bis-ian),  Olivier,  lived  at 
Vire,  France,  15th  cent.;  a  fuller 
whose  songs  were  said  to  have  been 
first  given  the  name  "  Vau  de  Vire," 
whence,  vaudeville. 

Bassevi  (bas-sa -ve),  Giacomo.     Vide 

CERVETTO. 

Bass'ford,  Wm.  Kipp,  b.  New  York, 
April  23,  1839;  pupil  of  Samuel  Jack- 
son ;  toured  the  U.  S.  as  pianist ; 
now  organist  at  East  Orange,  N.  J.; 
also  composer. 

Bassi  (bas'-se),  Luigi,  Pesaro,  1766— 
Dresden,  1825  ;  barytone  and  direc- 
tor ;  Mozart  wrote  the  role  of  "Don 
Giovanni "  for  him. 

Bassiron  (bas-sl-ron).  Ph.,  15th  cent.; 
Netherland  contrapuntist  ;  composed 
masses. 

Bastardella.     Vide  agujari. 

Bastiaans  (bas'-te-ans),  (i)  J.  G., 
Wilp,  1812 — Haarlem,  1875  ;  organist 
and  teacher  at  Amsterdam  and  at  St. 
Bavo's ;  his  son  and  successor  (2) 
Jn.,  1854 — 1885;  teacher  and  com- 
poser. 

Baston  (bas-toh),  Josquin,  lived, 
1556,  Netherlands  ;  contrapuntist. 

Batch'elder,  J.  C,  b.  Topsham,  Vt., 
1852  ;  pianist  and  organist ;  pupil  of 
Haupt,  Ehrlich,  Loeschhorn,  Berlin  ; 
organ-teacher  in  Detroit  (Mich.) 
Cons. 

Bates,  (i)  Joah,  Halifax,  1741 — 
London,  1799;  conductor;  promoter 
and  conductor  of  the  famous  "  Han- 
del Commemoration "  festivals  in 
London  (1784-91).  (2)  His  wife  was 
a  singer.  (3)  Wm.,  1720 — 1790  (?)  ; 
English  opera  composer. 

Ba'teson,  T.,  England,  ca.  1575 — 
after  161 1  ;  organist  and  composer 
of  madrigals. 

Bathe  (bath),  Wm.,  DubHn,  1564— 
Madrid,  1614  ;  writer. 

Batiste  (ba-test),  A.  Ed.,  Paris,  1820- 


1876 ;    organist,    teacher    and    com. 
poser. 
Batistin   (ba-tes-tan).     Vide   struck, 

J.   B. 

Baton  (ba-toh).  (i)  H.,  i8th  cent 
musette-player.  His  brother  (2) 
Chas.  (le  jeune)  performed  on  the 
vielle  ;  also  composer  and  writer, 
1757- 

Batta  (bat'-ta),  (i)  Pierre,  Maas- 
tricht,  Holland,  1795 — Brussels,  1876: 
'cellist  and  teacher.  His  sons  werfi 
(2)  Alex.,  b.  Maastricht,  July  9.! 
1816  ;  'cellist  and  composer.  (3)  Jl 
Laurent,  Maastricht,  1817 — Nancyi 
1880  ;  pianist  and  teacher.  (4)  Jos. 
b.  Maastricht,  April  24,  1824  ;  'cellist' 
pupil  of  Brussels  Cons.,  took  2( 
Grand  Prix  for  comp.  in  1845  ;  sine 
1846  player  at  the  Opera-Comiquf 
Paris  ;  composed  symphonies,  etc. 

Battaille  (bat-tl'-yii),  Chas.  Aimabh 
Nantes,  1822 — Paris,  1872  ;  dran 
bass. 

Batanchon   (bat-tah-shon),  F.,   Pari 
1814 — 1893;  'cellist;    inv.    (1846) 
small  'cello,  the  "barytone." 

Bat'tan,  Adrian,  ca.  1585 — ca.  1637J 
English  organist. 

Bat  tishill,  Jonathan,  London,  17 
— Islington,  1801  ;  conductor  ai 
dram,  composer. 

Battista  (biit-tes'-ta),  V.,  Naples,  18 
— 1873  ;  dram,  composer. 

Battistini  (bat-tes-te'-ne),  Mattia, 
Rome  (?)  Nov.  27,  1857  ;  dram,  bai; 
tone ;  debut,  Rome,  1878  ;  sang 
Buenos  Ayres  and  principal  theatij 
in  Europe. 

Battmann  (bat-man),  Jacques  I 
Maasmiinster,  Alsatia,  1818 — Dij( 
1SS6  ;  organist. 

Batton  (bat-ton),  Desire  Alex.,  Pai. 
1797 — Versailles,  1855  ;  teacher  aji 
dram,  composer.  ' 

Battu  (bat-til),  Pantaloon,  Pa, 
1799 — 1S70  ;   violinist  and  composi 

Baudet  (bo-da),  Hubert  Cyrille  ;  - 
vented  "piano-violin,"  or  "pia- 
quatuor,"  i86s. 

Baudiot  (b5d-y6),  Chas.  N.,  Nar', 
1773 — Paris,  1849;  'cellist. 


I 


DICTIONARY  OF  MUSICIANS 


407 


Baudoin  (or   Baudouyn)     (bo-dwari). 

Vide  BAULDF.WIJN. 

Bauer   (bow'-er),    (i)  Chrysostomus, 

iSth  cent,  organ-builder  at  Wurtem- 
berg.  (2)  Harold,  b.  London,  1873, 
of  English  mother  and  German  father; 
played  violin  in  public  at  9  ;  studied 
with  Gorski,  Paris  ;  then  the  piano, 
in  1S92,  under  Paderewski  ;  debut 
as  pianist,  Paris,  1893  ;  has  toured 
Europe  and,  since  1900,  America, 
with  great  success. 
3auldewijn  (bod-wan)  (or  Baulduin, 
Baldewin,  Balduin,  Baudoin, 
Baudouyn),  Noel  (Natalis),  Ant- 
werp, 1 5 13  (or  15 18  ?) — 1529  ;  conduc- 
tor at  Notre  Dame  ;  and  composer. 
Jaumbach  (bowm'-bakh),  (i)  Fr. 
Aug.,  1753 — Leipzig,  1813  ;  con- 
ductor and  writer.  (2)  Ad.,  Ger- 
many, 1830  (?)  —  Chicago,  1880; 
:  teacher  and  composer. 
:  '.aumfelder  (bowm  -felt-er),  Fr.,  b. 
Dresden,  May  28,  1836  ;  pianist  ;  pu- 
r  pil  of  J.  Otto,  and  Leipzig  Cons. 
:aumgart(bowm-gart),  E.  Fr.,  Gross- 
glogau,  1S17 — Warmbrunn,  1871  ; 
editor. 

aumgarten(bowm'-gart-en),(i)Gott- 
hilf   von,    Berlin,   1741 — Gross-Stre- 
litz,  Silesia,  18 13  ;  composed  3  operas. 
(2)    K.    Fr.,    Germany,    1754 — Lon- 
don, 1824  ;  violinist   and  dram,  com- 
poser. 
.,;   lumgartner     (bowm'-gert-ner),     (i) 
Aug.,  Munich,  1S14 — 1S62  ;  writer  on 
"  musical  shorthand,"  etc.    (2)  Wm. 
fGuillaume),     1S20 — Zurich,     1867  ; 
_:omposer  and  mus.  dir.  at  St.  Gallen. 
p;  liiumker  (bim'-ker),  Wm.,  b.  Elber- 
.     "eld,   Oct.     25,    1842  ;    chaplain  and 
ichool-inspector,         Niederkrlichten  ; 
.      vrote  biogs.  of  Palestrina,  Lassus,etc. 
lusch    (bowsh),  (i)  L.    Chr.    Aug., 
Naumburg,      1805 — Leipzig,      1871  ; 
naker  of  violins   and  bows.     His  2 
ons     were     also    vln. -makers  :     (2) 
.      -udwig(i829 — Leipzig,  1871);  lived 
sew  York,  then  in   Leipzig  ;  and  (3) 
)tto,  1841— 1874. 
Eusznern  (bows'-nern),   Waldemar 
on,b.  Berlin,  Nov.  29,  1866  ;  studied 


at  Kronstadt,  Pesth,  Vienna  and  with 
Bargiel  and  Fr.  Kiel  at  the  Berlin 
Hochschule  ;  since  1894  lives  in  Dres- 
den, as  dir.  Singakademie  and  Leid- 
ertafel  ;  composed  a  symphony,  over- 
tures, a  Zigeuner  suite,  a  music-drama 
''  Dichter  »tid  /fVA  "  (Weimar,  1897), 
etc. 

Bayer  (bl'-er),  Josef,  b.  Austria,  ca. 
1851 — 1871  ;  2d  violinist.  Court 
Opera,  Vienna,  18S2,  ballet-director, 
composed  operettas,  etc. 

Bay  ly.  Rev.  Anselm,  17 19 — 1792  ; 
English  writer.  , 

Bazin  (ba-zah),  Fran.  Em.  Jos.,  Mar- 
seilles, 1816 — Paris,  1S78  ;  dram, 
composer. 

Bazzini  (bad-ze'-ne).  A.,  Brescia, 
March  11,  1818 — Milan,  Feb.  10, 
1897  ;  violinist ;  pupil  of  Camisani  ; 
at  17  conductor  Church  of  S.  Filippo, 
where  he  prod,  masses  and  vespers, 
and  6  oratorios  with  full  orch.,  and 
gave  successful  concert-tours  through 
Europe.  1873,  prof,  of  comp.,  1882, 
dir.  of  Milan  Cons.  In  his  compo- 
sitions his  native  melodiousness  gained 
unusual  value  from  a  German  solidity 
of  harmony. 

Bazzino  (bad-ze'-no),  (i)  Fr.  M., 
Lovere  (Bergamo),  1593 — Bergamo, 
1660  ;  theorbo  virtuoso.  (2)  Natale, 
d.  1639  ;  composed  masses. 

B6,  Le.     Vide  le  be. 

Beach,  Mrs.  H.  H.  A.  (nee  Amy 
Marcy  Cheney),  b.  Henniker,  N. 
H.,  Sept.  5,  1867  ;  pianist  and  com- 
poser; pupil  of  E.  Perabo  and  K. 
Baermann  (pf.),  and  Junius  W.  Hill 
(harmony)  ;  self-taught  in  cpt.,  comp. 
and  orchestration,  having  transl. 
Berlioz  and  Gevaert  for  her  own  use  ; 
Pres.  Board  of  Councillors,  N.  E. 
Cons.,  Boston;  composed  ''Gaelic" 
symphony,  Mass  with  orch.,  songs, 
etc. 

Beale,  (i)  Wm.,  Landrake,  Cornwall, 
1784 — London,  1854  ;  famous  glee- 
composer.  (2)  J.,  London,  ca.  1796  ; 
pianist.  (3)  Thos.  Willert,  b.  Lon- 
don, 1828 ;  a  lawyer  and  pupil  of 
Roeckel  ;  one  of  the  founders  of  the 


4o8 


THE    MUSICAL    GUIDE 


New  Philh.  Soc. ;  composed  operettas  ; 
used  pen-name  "Walter  Maynard." 

B6anoii  (ba-a-non),  Lambert 'de,  con- 
ductor at  Sistine  Chapel,  Rome,  be- 
fore Josquin  des  Pres. 

Beard,  J.,  England,  ca.  1717 — Hamp- 
ton, 1791  ;  eminent  tenor  for  whom 
Handel  wrote  the  tenor  roles  in  his 
chief  oratorios. 

Beauchamps  (bo-shah),  P.  Fran. 
Godard  de,  Paris,  ca.  16S9 — 1761 ; 
writer. 

Beaujoyeulx  (b5-zhwa-yu),  de.     Vide 

BALLAZARIM. 

Beaulieu  (rightly  Martin)  (b5l-yu',  or 
mar-tah),  M.  Desire,  Paris,  1791 — 
Niort,  1863  ;  patron,  writer  and  com- 
poser. 

Beaumavielle  (bo-mav-yel),  d.  Paris, 
16SS ;  barytone  ;  he  sang  in  the  hrst 
French  opera,  1671. 

Beauquier  (bok-ya),  Chas.,  b.  ca. 
1830  ;  writer  of  "  Philosophic  de  mu- 
sique"  (1S65),  and  librettist. 

Beaz'ley,  Jas.  Chas.,  b.  Ryde,  Isle 
of  Wight,  1S50  ;  lives  there  as  com- 
poser ;  pupil  of  R.  A.  M. 

Beccatel'li,  Giov.  Fran.,  d.  Florence, 
1734  ;  cond.  at  Prato  and  writer. 

Becher  (bekh-er),  (i)  Alfred  Julius, 
Manchester,  1803 — Vienna,  1848  ; 
editor.  (2)  Jos.,  b.  Neukirchen,  Ba- 
varia, Aug.  I,  1821  ;  composed  over 
60  masses,  etc. 

Bechstein  (bekh'-shtln),  Fr.  Wm.  K., 
b.  Gotha,  June  i,  1826  ;  1856,  worked 
in  German  factories  ;  later  established 
the  well-known  piano  factory  in 
Berlin. 

Beck,  (i)  David,  Germany,  ca.  1590  ; 
organ-builder.  (2)  Reichardt  K., 
lived  in  Strassburg,  ca.  1650 ;  com- 
poser.    (3)  Jn.  Philip,  1677  ;  editor. 

(4)  Michael,   b.  Ulm,    1653  ;  writer. 

(5)  Gf.  Jos.,  Podiebrad,  Bohemia, 
1723 — Prague,  1787  ;  Dominican 
(later  Provincial)  friar  ;  organist.  (6) 
Chr.  Fr.,  b.  Kirchheim,  ca.  1755  ; 
composer.  (7)  Fz.,  Mannheim,  1730 
— Bordeaux,  1809  ;  court-violinist. 
(8)  Fr.  Ad.,  pub.  at  Berlin,  ''Dr. 
M,    Luther's    Gedanken    iiber   die 


Musik,''  1825.  (9)  K.,  1814— Vi 
enna,  1S79  ;  tenor;  created  "■  Lohen 
grin.''  (10)  Jn.  Neporauk,  Pesth 
1828 — Vienna  (?)  1S93  ;  dram,  bary 
tone.  (11)  Jos.,  b.  June  11,  1850 
son  of  above  ;  barytone,  sang  i: 
Austria,  Berlin  (1876),  and  Frankfor 
(1S80).  (12)  Johann  Heinrich,  t 
Cleveland,  Ohio,  Sept.  12,  1856 1 
violinist  ;  pupil  Leipzig  Cons.  ;  livei 
Cleveland  ;  founded  the  "  Schubei; 
Quartet " ;  composed  overtures  t' 
Byron's  ''Lara"  to  "Romeo  an. 
Juliet ;''  cantata  "Deiikalion"  (Ba;' 
ard  Taylor),  etc. 

Becke  (bek'-a),  Jn.  Baptist,  b.  Nun 
berg,  1743  ;  court-flutist,  in  Miinic" 
1776. 

Beck'el,  James  Cox,  b.  Philadelphia 
Dec.   20,  1811;  pupil    there  of  Tr 
jetta  ;  later  music-publisher  in  Phih 
and    editor   of    "  Musical  Clipper 
composed  cantatas,  etc. 

Becker,     (1)  Dietrich    (1668),   co 
poser   at    Hamburg.   1668.     (2)  Ji 
Helsa,     near     Cassel,     1726 — i8c, 
court-organist.     (3)  K.  Fd.,  Leipz. 
1804 — 1877  ;     organist     and    writ 
(4)    Konstantin    Julius,    Freibe, 
Sa.\ony,     18 11 — Oberlossnitz,     18;; 
editor.      (5)  Val.     Ed.,     Wurzbu,  1 
1814 — Vienna,     iSgo  ;      dram,    cc-  j 
poser.     (6)  Georg,   b.   P>ankentl,  j 
Palatinate,    June    24,    1824 ;    piait  : 
and  writer  ;    lives  in  Geneva  ;  p.. 
"  La  Mnsique  en  Suisse  "  (1874),  ■:. 
(7)  Albert    Ernst    Ant.,   Qued> 
burg,  June  13,  1834 — Berlin,  Jan.), 
1899;  pupil  of   Bonicke  and  De; 
1881,   teacher    of    comp.    at    Scl'- 
wenka's  Cons. ;  also  conductor  Be  n 
cathedral   choir;   composed   a   n;- 
worthy  symphony,  a  Grand   Mas  jn 
Bt' min.  (1878),  and  oratorio  "J'/ 
aus  Gnade,''  etc.     (8)  Jean,   M;ni- 
heim,  May  11,  1833— Oct.    10,  l!i; 
violinist,     leader    Alannheim    on.;  i 
after  concert-tours,  lived  in  Flor  ce  ■ 
and  founded  the  famous  "Floreine 
Quartet";  toured  with  his  chile  n. 
(9)  His  daughter  Jeanne,  b.  M  Ji*  > 
heim,  June  9, 1859 ;  pianist,  pupof ; 


DICTIONARY    OF    MUSICIANS     409 


Reinecke  and  Bargiel.     (ro)  Hans., 
b.  Strassburg,   May  12,    i860;  viola- 
player,  pupil  of  Singer.     (11)  Hugo, 
b.  Strassburg,  Alsatia,  Feb.  13,  1833; 
noted  'cellist,  son  and  pupil  of  (8),  pu- 
pil of  Kundiger,  then  of  Griitzmacher ; 
1SS4,  soloist  at  opera,  Frankfort ;  since 
1894,  Prof,  at  the  Hoch  Cons,  there  ; 
toured,  U.  S.  1900-1901.  (12)  Rhein- 
hold,  b.  Adorf,    Sa.xony,    1S42  ;  vio- 
linist ;    lives  in   Dresden ;    composed 
succ.    operas    Fratienlob     (Dresden, 
1S92),  and  Ratbold  (Mayence,  1896), 
j    l-act ;  symph.  poem  Der  Prinz  von 
\   Hombtirg,    etc.      (13)    K.,    b.    Kirr- 
;   weiler,    near   Trier,    June    5,    1853 ; 
teacher    at    Neuwied ;     pub.     song- 
i   books.     (14)  Jakob,   founder  (1841) 
of  large  Russian  pf. -factory  ;  present 
head  (since  1871),  Paul  Petersen. 
Jeck'mann,  Jn.  Fr,  GI.,  1737 — Celle, 
1792  ;  organist,  harpsichord-virtuoso, 
and  dram,  composer. 
Jeck'with,  J.  Christmas,  Norwich, 
England,    1750 — 1809  ;  organist  and 
writer. 

tecquie  (bek-ya),  (i)  Jean  Marie  (?), 
Toulouse,  ca.  1800 — Paris.  1825  ; 
flutist.  His  brother  (2)  ("  De  Peyre 
Ville "),  Jean  Marie,  Toulouse, 
1797 — Paris,  1876  ;  violinist. 
ledvarovsky  (bech'-var-shof'-shkt), 
Ant.  F.,  Jungbunzlau,  Bohemia, 
,  1754 — Berlin,  1823  ;  organist  and 
1  composer. 
ed'ford,   Mrs.    H.     Vide  lehmann, 

LIZA. 

edos  de  Celles  (bii-do'  du  sel),  Caux, 
near  Bezieres,  1706 — St.  Maur,  1779; 
I  Benedictine  monk  and  writer. 
eechgard  (or  Beehgard)  (bakh'- 
gart),  Julius,  b.  Copenhagen,  Dec. 
19,  1843  ;  pupil  Leipzig  Cons.,  and 
of  Gade  ;  lives  at  Copenhagen  ;  com- 
posed operas  '''' Frode"  "  Frau 
Inge"  (Prague,  1894),  etc. 
eecke  (ba'-ke),  Ignaz  von,  ca.  1730 
— Wallerstein,  1803 ;  captain  of  dra- 
goons, then  "  Musikintendant  "  to 
Prince  of  Otting-Wallerstein  ;  harp- 
sichordist ;  composer  of  7  operas, 
etc. 


Beellaerts     (bal-larts),    Jean.      Vide 

BELLERE. 

Beer    (bar),     (i)    Jacob    Liebmann, 

Vide  MEYERBEER.  (2)  Joscf,  Gruu- 
wald,  Bohemia,  1744 — Potsdam, 
1811 ;  player  of  the  clarinet,  for  which 
he  invented  the  fifth  key.  (3)  Jules, 
b.  ca.  1833  ;  lives  in  Paris ;  com- 
posed 5  comic  operas,  etc.  (4)  Max 
Josef,  b.  Vienna,  Aug.  25,  1851; 
pianist ;  pupil  of  Dessoff ;  lives  in 
Vienna  ;  composed  4  operas,  incl.  the 
succ.  "i9fr  Striek  der  Schmiede" 
(Augsburg,  1897),  etc.  (5)  Anton,  b, 
Kohlberg,  June  29,  1864;  studied 
with  Rheinberger  ;  leader  in  Regens- 
burg  orch.;  later  lived  in  Munich; 
composed  an  opera  "  Su/iiw,"  etc. 

Beeth  (bat),  Lola,  b.  Cracow,  1864; 
soprano  ;  pupil  of  Dustman,  Viardot- 
Garcia,  and  Desiree  Artot ;  debut, 
1882,  at  Berlin  Court  Opera,  then 
Vienna,  after  various  tours  ;  sang  in 
New  York  ;  engaged  at  Vienna,  1897, 
for  5  years. 

Beethoven  (bat'-ho-fen,  not  ba-to'-ven), 
Ludwig  van,  b.  Bonn-on-Rhine, 
Dec.  16  (baptised,  Dec.  17,  1770) 
(Beethoven  said  Dec.  16,  1772),  d. 
Vienna,  March  26,  1827;  grandson  of 
Ludwig  van  B.  (a  native  of  Maes- 
tricht,  bass  singer,  opera  composer, 
and  conductor  to  the  P^lector  Clemens 
August,  at  Bonn),  2d  child  of  Jn. 
van  B.  (a  tenor  singer  in  the  Elec- 
toral choir),  who  had  m.  a  widow, 
Magdelena  Laym  (nee  Keverich),  a 
daughter  of  the  chief  cook  at  Ehren- 
breitstein.  B.  studied  at  the  public 
schools  at  Bonn  till  14.  From  his 
fourth  year,  his  father  taught  him 
music  with  great  severity  till  1779. 
He  played  the  vln.  well  at  8  ;  at  11 
he  knew  Bach's  "  Wohlteniperirtc 
Clavier.'"  Became  pupil  of  I^feiffer, 
a  music-dir.  and  oboist  ;  and  Van  der 
Eeden,  court-organist,  who  predicted 
that  he  would  be  "a  second  Mo- 
zart"; 1785,  studied  vln.  with  Franz 
Ries  ;  1787,  took  a  few  lessons  of  Mo- 
zart ;  1792,  Haydn,  passing  through 
Bonn,  praised  a  cantata  of  his  (now 


410 


THE    MUSICAL    GUIDE 


lost).  The  Elector  sent  B.  to  Vienna, 
where  he  studied  cpt.  with  Haydn, 
who  seemed  to  neglect  him,  so  that 
he  secretly  studied  with  Schenck ; 
later  he  went  to  Albrechtsberger,  who 
said  "  he  has  learnt  nothing,  and  will 
never  do  anything  in  decent  style  "  ; 
he  studied  the  vln.  with  Schuppanzigh 
and  consulted  Salieri  and  Aloys  For- 
ster;  1781,  he  is  believed  to  have 
written  a  Funeral  Cantata  in  memory 
of  the  English  charge  d'affaires  at 
Bonn,  who  had  advanced  money 
to  the  family;  1781  (1782?),  his  first 
publication,  3  pf.-sonatas ;  1782, 
deputy  organist ;  1783,  cembalist  for 
rehearsals  of  the  opera-orch.,  without 
compensation  ;  1784-92,  asst.  organ- 
ist at  an  annual  salary  of  150  florins 
(about  $63)';  from  1788  also  2d  vio- 
la of  the  theatre  orch.  Visited  Vien- 
na, 1787,  and  made  a  sensation  by 
extemporising,  Mozart  exclaiming 
"  He  will  make  a  noise  in  the  world 
some  day."  In  July  his  tender- 
hearted mother  died  of  consumption  ; 
his  father  lost  his  voice  and  became  a 
sot.  B.'s  only  home  was  in  the  fam- 
ily of  the  widow  von  Breuning,  to 
whose  daughter  and  son  he  gave  les- 
sons. Here  he  acquired  his  passion 
for  English  literature.  He  now  made 
acquaintance  of  young  Count  Wald- 
stein,  who  became  his  life-long  pa- 
tron, and  in  1792  sent  him  to  Vienna, 
where  he  henceforward  lived.  The 
decade  1782-92  does  not  show  much 
fertility  in  composition  :  half  a  dozen 
songs,  a  rondo,  a  minuet,  and  3  pre- 
ludes for  pf.,  3  pf. -quartets,  a  pf.- 
trio ;  a  string-trio,  op.  3  ;  4  sets  of 
pf .  variations  ;  a  rondino  for  wind  ; 
the  "  Ritter  Ballet"  with  orch.  (pub. 
1872);  ''The  Bagatelles"  op.  33; 
2  vln. -rondos,  op.  51;  the  "  Serenade 
Trio"  op.  8  ;  the  lost  cantata,  a  lost 
trio  for  pf.,  flute,  and  bassoon,  and 
an  Allegro  and  Minuet  for  2  flutes. 
1792,  he  was  sent  to  Vienna  by  the 
Elector,  who  paid  him  his  salary  for  2 
years  ;  he  had  growing  royalties  from 
his  comps.,  also  600  florins  annually 


from  Prince  Lichnowsky,  his  .warmest 
admirer.     March  29,  1795,  he  played 
his  C  major  pf. -concerto  in  the  Burg- 
theater,  his  first   public   appearance  ; 
1796,  he  played  before  King  F"r.  Wm. 
II.;  1798,  at  Prague,  he  gave  2  sen- 
sational concerts  and  met  two  piano- 
virtuosi  :     Steibelt,    who    challenged' 
B.    to    extemporise    and    was    sadly 
worsted,  and  Wolfil,  who  became  his 
friend.     1800    ends    what    is    called 
(after  von  Lenz's  book  ''  B.  et  ses  troi^ 
styles  ")  his  "  first  period,"  of  compo- 
sition ;  the  "second  period,"  extend- 
ing to  1815  ;    the   "third"  to   1827, 
This    first   period    includes  op.  1-18   i 
pf.   and    string-trios,    string-quartets    i- 
9  pf.-sonatas,  7  variations  on  ''  Goc 
Sa7'e   the  Queen"    and   5   on    "  A'«/, 
Britannia  "  ihe.  ana.    '' Ah  per/ido,' 
etc.     Now  a  severe  and  early  vene    - 
real  trouble  affected  his  liver,  and  be    , 
gan   to   ruin   his   hearing,  which  b; 
1822  was  entirely  gone.     Though  h 
had  always  been  brusque   (especiall 
with  the  aristocracy,  among  whom  h 
had   an   extraordinarily  long   list   c 
friendships  and  love-afl'airs),  his  foi 
mer  generosity  and  geniality  speedil 
developed   into  atrocious  suspicious 
ness   and   violence    toward   his   be;  |(^' 
friends.     The  wild  life  of  a  nephe^  It^ 
whom    he    supported,    brought    hii;  \,. 
great   bitterness.       Until    the   begir  1' 
ning  of  the  "third  period,"  howeve 
he   had  large   stores   of    joy  in  lif 
open-air   Nature,  and   the  details  1 
his  compositions,  which  were  work( 
up  with   utmost  care   from  "sketc 
books,"  always  carried  with  him,  ar' 
still     extant    as    a     unique    examp, 
of  genius  at  work.     In  the  arbitra 
but  somewhat   convenient  von   Le 
classification,  the  2d  period  includ 
the     symphonies     III  —  VIII;     t 
opera  ''Fidelia"  \  the  music  to  "£ 
viont"  \    the   ballet   "Prometheus, 
the   Mass  in  C,  op.  86  ;  the  orato ' 
"  Christus  am    Oelberg"  {i?>02,)  \  t 
"  Coriolanus"    overture;    2    pf.-C( 
certos  ;   i   vln, -concerto  ;  3  quarte 
4     pf. -trios,      and      14     pf.-sona 


DICTIONARY    OF   MUSICIANS     ^n 


(among  them  op.  27,  op.  28,  31,  No. 
2,  53,  57,  and  81);  the  '^  Lieder- 
kreis"  etc.  The  "third  period" 
incl.  the  five  pf.  sonatas,  op.  loi, 
III;  the  "  Afi'ssa  solt-niiis"  the 
Ninth  Symphony.  the  overture 
^'^ Ruins  of  Athens";  the  overtures 
op.  115,  124;  the  grand  fugue  for 
string-quartet,  and  the  string-quar- 
tets op.  127,  130,  131,  132,  135  (F). 
^^  Fidelio"  first  named  "'  Lconore" 
was  prod.  Nov.  20,  1805,  just  a  week 
after  the  French  army  entered  Vien- 
na. It  was  withdrawn  after  three 
consecutive  performances ;  revised 
and  prod.  March  29,  1806,  but  with- 
drawn by  B.  after  two  performances. 
Once  more  revised,  it  was  revived  in 
18 14,  very  successfully  ;  the  present 
overture  is  the  result  of  various  ver- 
sions known  as  the  Leonore  overtures 
I,  2,  and  3.  The  '"  Eroica"  sym- 
phony (No.  3)  was  called  "  Shtfonia 
grande  Napoleon  Bonaparte  "  in  hon- 
our of  his  advocacy  of  "liberty, 
equality,  and  fraternity."  When 
Napoleon  proclaimed  himself  em- 
peror, B.  tore  up  the  title-page  in 
wrath  and  changed  the  name  to 
"  Sinfonia  eroica  coniposta  per  fes- 
teggiare  il  sovvenirc  d'un  gran 
uomo "  (Heroic  symphony,  com- 
posed to  celebrate  the  memory  of  a 
great  man).  In  the  Ninth  Sym- 
phony, a  choral  Finale  is  used  as 
the  final  addition  to  the  orchestral 
clima.x  of  ecstasy  (the  words  from 
Schiller's  "Hymn  to  Joy").  In  1809 
Jerome  Bonaparte  invited  B.  to  be- 
come conductor  at  Cassel  with  a 
salar)'  of  600  ducats  (about  $1,500)  ; 
but  his  Viennese  patrons  Archduke 
Rudolf,  and  the  Princes  Lobkowitz 
and  Kinsky,  settled  on  him  an  annu- 
ity of  4,000  florins  ($2,000).  Dec, 
1826,  a  violent  cold  resulted  in  pneu- 
monia ;  dropsy  followed,  B.  saying 
to  the  doctors  who  tapped  him  three 
times  and  drew  out  the  water,  "  Bet- 
ter from  my  belly  than  from  my  pen." 
Alter  an  illness  of  3  months  he  took 
the   Roman  Catholic   sacraments,   a 


two-days'  agony  of  semi-consciousness 
followed  and  he  died,  just  after  shak- 
ing his  clenched  fist  in  the  air,  during 
a  terrific  thunderstorm,  the  evening 
of  March  26,  1827.  20,000  persons 
attended  his  funeral. 
His  complete  works  comprise  138 
opus-numbers,  and  about  70  unnum- 
bered comp.  The  following  are 
those  pubHshed.  Instrumental. — 
9  Symphonies. — No.  i,  op.  21,  in  C  ; 
2,  op.  36,  in  D;  3,  op.  55,  in  Ef?  (the 
"Eroica")  ;  4,  op.  60,  in  Bl>;  5,  op. 
67,  in  C  min.;  6,  op.  68,  in  F  ("  Pas- 
toral ")  ;  7,  op.  92,  in  A  ;  8,  op.  93,  in 
F  ;  9,  op.  125,  in  D  min.  ("  Choral"). 
"  The  Battle  of  Vittoria"  (op.  91); 
music  to  the  ballet  "Prometheus" 
(op.  43),  and  to  Goethe's  "  Egmont" 
(op.  84),  both  with  overtures,  besides, 
nine  overtures — "  Coriolanus";  "  Leo- 
nore" (Nos.  I,  2,  and  3);  " Fidelio"; 
"King  Stephen";  "Ruins  of  Ath- 
ens" ;  "  Namensfeier"  op.  115; 
"  IVeihedes  Hauses  "  (op.  124).  Also 
for  orch.  :  Allegretto  in  Ej?  ;  March 
from  "  Tarpeia"  in  C  ;  Military 
March,  vaU;  "  Ritter-Ballet"  ;  12, 
Minuets;  12,  "  deutsche  Tanze"; 
12,  Contretanze  ;  violin  -  concerto,  op. 
61.  Five  pf. -concertos,  the  last 
op.  73,  in  E  {"  Eviperor") ;  also  a 
pf. -concerto  arranged  from  the  vio- 
lin-concerto. A  triple-concerto,  op. 
56,  for  pf.,  vln.,  'cello  and  orch.;  a 
"  Choral  Fantasia"  for  pf.,  chorus 
and  orch.;  a  Rondo  in  B,  for  pf.  and 
orch.;  cadences  to  the  pf. -concertos. 
Two  Octets  for  wind,  both  in  £[>. 
Septet  for  strings  and  wind.  Sextet 
for  strings  and  2  horns.  One  sextet 
for  wind,  Ef?.  Two  quintets  for 
strings ;  fugue  for  string-quintet ; 
also  quintet  arr.  from  pf.-trio  in  C 
min.  Sixteen  string-quartets:  Op. 
18,  Nos.  1-6  in  F,  G,  D,  C  min.,  A  and 
B[7  (first  period)  ;  op.  59,  Nos.  1-3  ; 
op.  74,  in  E|7(the  "  H arfenquartett"); 
op.  95  (second  period)  ;  op.  127  ;  op. 
130  ;  op.  13T  ;  op.  132  ;  op.  135.  A 
grand  fugue  for  string-quartet,  op.  133, 
in  Bp  (third  period).     One  pf. -quartet 


412 


THE    MUSICAL    GUIDE 


(arr.  from  the  pf. -quintet)  ;  3  juvenile 
pf. -quartets  ;  five  string-trios  ;  eiglit 
pf. -trios,  that  in  £[?  being  juvenile  ; 
an  arr.  of  the  '' Eroica"  symphony. 
Grand  trios  for  pf.,  clar.  and  'cello 
op.  II  ;  in  Bb  and  in  £[?  (arr.  from 
septet,  op.  20)  ;  trio  for  2  oboes  and 
cor  ai2glais,  in  C  op.  87. 
Ten  sonatas  for  pf.  and  violin,  incl. 
op.  47  {''  Kreittzer")  ;  rondo  for  pf. 
and  vln.  ;  12  variations  for  do.  Hve 
sonatas  and  31  variations  for  pf.  and 
'cello.  Sonata  for  pf.  and  horn.  So- 
nata for  pf.,  4  hands. 
38  Sonatas  for  piano,  incl.  op.  27, 
Nos.  I  and  2  {''Quasi  Fantasia"), 
op.  2?)  {'' Pastorale  ")  in  D;  op.  53 
("  IValdstein" )  in  C  ;  op.  57  ("  Appas- 
sionata  ")  in  F  min.  ;  op.  81  ("  Carac- 
i/ristique" — ''  Les  adicux,  V absence, 
le  j-etour'')  in  E\).  Also  6  easy  so- 
natas, 3  of  them  composed  at  age  of 
10  ;  21  sets  of  variations  for  pf.  ;  3 
sets  of  bagatelles  ;  4  rondos  ;  fantasia 
in  G  min.  ;  3  preludes  ;  polonaise  ; 
andante  in  F  ("  Favori  ");  7  minuets  ; 

13  Landler.  for  4  hands  ;  3  marches  ; 

14  variations. 

Vocal. — Opera  ^''  Fide  Ho,"  in  2  acts, 
op.  72.  2  Masses,  in  C  and  D 
{"  So/ennis").      Oratorio    '''' Christiis 


am  Oelberg,"  o^.  85.  Cantata  *' Der 
glorreiche  Aiigenblick,"  op.  .  136 
(18 14) ;  also  arr.  as  Preis  der  Ton- 
kunst.  Mecrcsstille  und  Gliickliche 
Fahrt,  op.  112  (poem  by  Goethe), 
Scena  and  aria  for  soprano,  ''Ah 
Perjido,'"  with  orch.,  op.  65.  Trio 
for  soprano,  tenor  and  bass,  "  Tre- 
mate,  Empi,  Treinate,"  o^.  116.  "  Op- 
ferlied'"  for  soprano  solo,  chorus  and 
orch.  "Biiiideslied"  for  2  solo  voices. 
3-part  chorus  and  wind.  "  Elegischer 
Gesang  "  for  4  voice-parts  and  strings. 
66  songs  with  pf.-accomp.  ;  one  duet, 
"  Gesang  der  MiUiche  "  ;  3  voice-parts 
acapp.  1 3  vocal  canons.  7  books  of. 
English,  Scotch,  Irish,  Welsh  and ; 
Italian  songs,  with  pf.,  vln.  and  'cello,  i 
The  best  biography  is  Alex.  W.  j 
Thayer's  "  L.  van  Beethoven! s  Le-\ 
ben,"  2  vols,  in  German,  transl.  fromi 
the  English  MS.  by  H.  Deiters ;  lastj 
vol.  in  preparation.  Partial  collec-j 
tions  of  Beethoven's  letters  are  pub. 
and  his  sketch-books  are  discussed  in 
Ignaz  von  'Seyined's  "  Liuhuig  van, 
Beethoven' s  Stiidien  ini  Generalbass^. 
Kontrapiinkt  und  in  der  Komposi-'' 
tionslehre."  Biogs.  also  by  Schindler, 
Nohl,  Crowest,  etc.  Wagner  wrote 
an  estimate. 


lerj 


Beethoven :  A  Study  of  Influences. 

Bv  H.   E.   Krehbiel. 

IN  one  respect  Beethoven  stands  alone  in  the  history  of  music.  Th< 
influence  of  all  his  fellows,  from  Bach  to  Wagner  and  Brahms,  can  b( 
determined  in  matter  as  well  as  manner,  and  set  down  in  plain  terms' 
his  full  significance  is  yet  to  be  grounded.  Beethoven  was  a  gigantic  reser^ 
voir  into  which  a  hundred  proud  streams  poured  their  waters  ;  he  is  a  mights 
lake  out  of  which  a  thousand  streams  have  flowed  through  all  the  territorie 
which  the  musical  art  has  peopled,  and  from  which  torrents  are  still  pourin 
to  irrigate  lands  that  are  still  terrae  incognitae.  ^In  some  respects  his  geniu 
is  an  enigma.  Whence  came  his  profound  knowledge  of  the  musical  art  as  : 
existed  before  him  ?  He  was  not  precocious  as  Mozart  was.  He  was 
diligent  pupil,  but  not  an  orderly  one.  Except  in  childhood  he  was  unruly 
and  impatient  of  discipline.      The  sternness  and  cruelty  of  a  dissipated  fathf 


_.ha_ 


DICTIONARY   OF   MUSICIANS     413 

made  his  earliest  studies  a  suffering  and  an  oppression.  In  later  years  he 
performed  his  duties  toward  Albrechtsberger,  but  refused  to  yield  himself  to 
that  teacher's  domination  as  he  had  already  refused  to  bow  to  the  authority  of 
Haydn — an  authority  which  he  felt  was  too  carelessly  exercised.  Yet  the  world 
knows  how  conscious  he  was  of  the  potency  of  the  learned  forms  into  which 
Albrechtsberger  strove  to  induct  him,  and  the  charm  of  romantic  expression 
exemplified  in  Haydn.  ^He  refused  to  acknowledge  these  men  as  his  teachers, 
while  they  returned  the  compliment  by  refusing  to  own  him  as  their  pupil. 
Haydn  condemned  his  first  trios  ;  Albrechtsberger  advised  his  other  pupils  to 
have  nothing  to  do  with  him  because,  as  he  said,  "he  had  never  learned 
anything,  and  would  never  do  anything  in  decent  style."  Yet  Beethoven 
was  proud  of  his  ability  in  the  department  of  study  for  which  he  had  gone  to 
this  teacher  of  counterpoint.  In  his  old  age  he  considered  Cherubini  the 
greatest  of  his  living  contemporaries,  and  Handel  the  greatest  of  the  great 
dead.  Note  the  significance  :  both  were  masters  in  the  severe  forms. 
Taking  no  account  of  the  canons,  fugues,  and  variations  which  occur  incident- 
ally in  his  syrn_phonies,  sonatas,  and  quartets,  we  find  that  Beethoven  left  an 
extraordinarily  large  number  of  compositions  in  these  forms  behind  him — no 
less  than  thirty-fiye  canons,  five  independent  fugues  and  thirty-two  sets  of 
variations  for  different  instruments.  Could  there  be  a  more  convincing  dem- 
onstration of  his  devotion  to  the  scientific  side  of  his  art  ?  ^But  he  was  no 
more  and  no  less  an  iconoclast  in  these  forms  than  in  the  romantic.  Proof 
of  another  kind  I  found  in  an  anecdote  recorded  in  Mr.  Thayer's  note-book 
as  related  to  him  by  the  nephew  of  the  observer  of  the  incident.  ^In  i  809 
Wilhelm  Rust  sat  in  a  coffee-house  in  Vienna  with  Beethoven.  A  French 
officer  happening  to  pass,  Beethoven  doubled  up  his  fist  and  exclaimed  :  "  If  1 
were  a  general  and  knew  as  much  about  strategy  as  I  know  about  coun- 
terpoint, being  a  composer — I'd  cut  out  some  work  for  you  fellows." 
^The  great  difference  between  him  and  his  teachers  was  one  of  conception 
touching  the  uses  to  which  counterpoint  and  fugue  should  be  put.  To 
Albrechtsberger  the  sciences  existed  for  their  own  sake  ;  for  Beethoven  they 
existed  only  as  a  medium  of  expression.  There  was  nothing  sacrosanct  about 
them.  As  he  himself  said,  it  was  a  good  thing  to  learn  the  rules  in  order 
afterward  to  know  what  was  contrary  to  them,  and,  he  might  have  added, 
also  to  know  how  to  violate  them  when  musical  expression  could  thereby  be 
promoted.  ^Yet  Beethoven's  greatest  significance  as  an  influence  is  not  as  a 
destroyer  of  forms  and  contemner  of  rules,  as  so  many  would  have  us  believe 
who  justify  all  manner  of  lawlessness  to-day  and  quote  Beethoven  as  an  excuse ; 
but  as  a  widener  ofjorms  a^nd  a_cre_ator.  ojLrules_for  the  development  of 
expression,  which  is  and  must  ever  remain  the  aim  of  musical  art.  He  was 
the  prototype  of  Wagner's  Hatis  Sachs ,  who  wished  due  respect  paid  to  the 


414  THE    MUSICAL    GUIDE 


laws  of  the  poet's  craft  so  that  poetical  creation  might  go  on  within  the  lines 
of  beauty,  but  who  also  wished  spontaneous  creative  impulse  to  have  its  rights. 
Where  he  differed  from  the  pedants  who  sought  to  stem   the  original  flow  of 
his  utterance,  was  in  realising  better  than  they,  that  art-works  are  the  source 
of  rules  quite  as  much  as  their  outcome.      He  felt,  with  Faust,  that  "In  the 
beginning  was  the  Deed,"  neither  the  "Word,"  nor  the  "Thought,"  nor 
the  "Power,"  but  the    "Deed,"  ;    from   that  can  be  deduced  the  other 
potencies.      ^  "  Beethoven  was   not   only  the   embodiment   of  all   that  was; 
before  him,  but  also   of  that  which  was  yet   to   come.      In  his  works  music 
returned   to  its  original   purpose  with  its   power  raised  a  hundred-fold."      I 
have  said  this  before  and  elsewhere,  but  as  I  cannot  say  it  better  and  want  it 
said  again,  I  say  it  again,  and  here.      It  is  easy  rhetoric  to  descant  upon  the 
tremendous  strides  which  music  has  made  in  the  last  half  century,  the  trans- 
formation of  forms,   the   augmentation  of  expressive   potencies    (rhythmic,  i 
melodic,  harmonic,  instrumental),  the  widening  of  the  horizon  of  the  things  f 
proper  to  musical  expression  and  much  else  ;  but  he  has  not  yet  learned  his   ! 
Beethoven  who  does  not  see  all  that  has  yet  appeared  to  be  essential  in  these 
things   distinctly  foreshadowed  in   the   music  of  the  master  who,  in  a  larger,    ; 
more  comprehensive,  more  luminous  sense  than  was  dreamed  of  before   oi    ; 
since,  was  priest,  king,  hero,  and  seer.      A  priest  unceasing  in  his  offerings  ii    i 
the  Temple  Beautiful  !       A  king  whose  dominion  is  over  the  despotic   ruler 
in  man's  emotional  nature  !      A  hero  who  knew  his  mission  and  subordinate 
to  it  himself,  his  longings,  his  loves,  his  very  life  !      A  seer,  as   Ruskin  say 
of  Imagination,  "in  the   prophetic  sense,  calling  the  things  that   are  not  a 
though   they  were,   and   forever  dehghting   to  dwell   on   that   which  is   no 
tangibly  present."      ^jLike  Faust  he  ever  heard  the  dread  words  ringing  in  hi 
ears  :      "  Entbehren  soils t  du,  soils t  entbehren  .' "       His   art   asked^Jijs  all 
he  knew  it  and  gave  his  all  ;    and  then  the   Gottheit  which  he  was  wont   t 
invoke,  hushed  the  noises  of  the  material  world  that  he  might  the  better  hea 
the  whisperings  of  the  spirit  pervading   it  ;   and  raised  a  barrier  between  hir 
and  mankind  to  force   him    to   be  a   witness  and    historian  of  the  struggl 
between  the  human  and  the  divine  reflected  in  his  own  soul.      All  the  mis 
anthropy  which  filled  his  later  years  could  not  shake  his  devotion  to  an  ide; 
which   had   sprung   from  truest   artistic   appreciation   and    been   nurtured  b 
enforced  introspection.      This  is  the  key  to   Beethoven's  music.      ^  But 
will  not  serve   the  purposes  of  this  study  merely  to  generalise.      If  the  cor 
tention  set    forth  is   to  be   maintained,  there  must  be   some   martialling    ( 
evidence.      Confining  ourselves  to  the  cyclical  form,  the  symphony,  we  noi 
that  Beethoven  introduced  a  wider  range   and  a  freer  use  of  keys  than  wei 
employed  by  his   models,    Haydn   and   Mozart  ;    abolished   much   of  vvh 
sounds   like  mere   remplissage  in   the   connecting  portions  between  theme 


DICTIONARY  OF  MUSICIANS  415 

substituting  therefor  phrases  developed  out  of  the  themes  themselves  ;  intro- 
duced original  episodic  matter  ;  extended   the^  free  fantasia,  and  coda  ;   devel- 
oped the  old  minuet  into  the  scherzo,  which  could  better  carry  on  the  psycho- 
logical story  which  he  wished  to  tell  in  the  four  chapters  of  his  instrumental 
^  poem  ;  infused  unity  into  his  works,  not  only  by  bringing  the  spiritual  bonds 
=  between  the  movements   more  clearly  before  our  percipience,  but  also  by 
«  making  the  materiaLbonds  obvious  and  incontrovertible.      This  last  achieve- 
■■  ment  has  its  simplest  as  well  as  most  eloquent  illustrations  in  the  community 
i  of  rhythms  between  the  firs_tj.  third,  and  last  movements  of  the  Fifth  Sym- 
;  thony,  and  all   the  movements  of  the   Seventh ;    the  recurrence  of  themes 

■  in   different    movements  of  the    Fifth   and    Ninth ;     the    family    likenesses, 

•  physiognomical  resemblances,  between  the  principal  melodies  of  the  Ninth  ; 
'■  Enally  the  programmatic  conceit  back  of  the  Stxth.      ^The  acceptance  and 

■  :ontinuation  of  the  hints   contained  in  these  innovations  is  published  in  the 

•  ibolition  of  pauses  between  the  movements  in  the  "Scotch"  symphony  of 
i  Mendelssohn,  the  adoption  of  the  same  device  by  Schumann,  together  with 
'^  :ommunity  of  theme  in  the  symphony  in  D  minor,  the  invention  of"  Z^iiiee 
S'fjrf"  by  Berlioz  for  his  "  Symphonie  Fantastique""  and  the  successive 
"recapitulation  of  material  already  used  in  the  second,  third,  and  fourth  move- 
s'nents  in  the  symphony,  "  From  the  New  World,'''  by  Dvorak.  ^  It  has 
^t  lot  been  necessary  to  go  far  afield  for  examples  ;  the  proofs  are  surely  con- 
's nncing  and  come  down  to  our  own  day.      Moreover  we  find  an  illustration 

■  )f  the  same  principle,  coupled  with  an  exposition  of  Beethoven's  system  of 
hematic,  instead  of  melodic,  development — another  form  of  variation,  in  brief 

-  —in  all  the  symphonic  poems  of  Liszt  and  his  imitators  down  to  Richard 
■'  )trauss.  ^Beethoven's  license  may  have  degenerated  into  lawlessness,  but  he 
\  pointed  a  way  that  has  been  followed  in  all  the  particulars  enumerated,  and 
'■■■'  ilso  broke  down  the  barriers  between  voices  and  instruments  in  the  symphonic 

•  !  brms  to  the  delight  of  many  successors.  His  revolutionary  proceeding  in  the 
Kf^inth  symphony  found  imitation  by  Mendelssohn  in  his  "  Hymn  of  Praise,''^ 
ioy  Berlioz  in  his  ''Romeo  and  Juliet,'''  by  Liszt  in  his  ''Faust'''  and 
Sf !'  Dante'"  symphonies,  by  Nicode  in  ♦'  Das  Meer,"  and  by  Mahler  in  his 
mi-  ymphony  with  contralto  solo. 

ii  i ■ 

it'Jeffara  (bef'-fa-ra),  Louis  Frangois,  Begnis  (ban'-ves),  (i)  Gius  or  Wm. 

;.  ;  Nonancourt,       Eure,       1751— Paris,  de,  Lugo,  Papal  States,  1793— Bath(?) 

1838;    1792-1816,    commissaire    de  England,  1849  ;  buffo  singer  ;  in  1816, 

police,  at  Paris ;  musical  historian.  he    m.    (2)    Signora     Ronzi,     Paris, 

:    Jeffroy  de  Reigny  (bef-frwa  dti  ren' -  1800    (?)— Italy,    1853;     comic    so- 

;,  '  ye),    Louis  Abel    (called     "Cousin  prano. 

,jj.  I  Jacques"),    Laon,    Nov.    6,    i757—  Begrez    (ba'-gretz),   Pierre    Ignace, 

,  ■  Paris,  Dec.  iS,  1811  ;  composed  very  Namur,       1783  —  Brunswick,     Ger.  : 


succ.  operettas.  1863,  dram,  tenor. 


4i6 


THE    MUSICAL    GUIDE 


Behm  (bam),  Eduard,  b.  Settin,  April 
8,  1S62 ;  studied  with  Paul,  Weiden- 
bach,  Reinecke,  Hartel,  Raif  and 
Kiel  ;  pianist  and  teaclier  in  various 
cities,  then  at  Berlin  as  dir.  Schwan- 
tzer  Cons. ;  composed  an  opera, 
"  Scheltn  von  Bergen "  (Dresden, 
iSgg),  a  symphony,  pf. -concerto,  etc. 

Behnke  (ba'n'-ke),  Emil,  Stettin,  1836 
— Ostend,   1892  ;   teacher  and  writer. 

Behr  (bar),  (i)  Fz.,  b.  Lubtlieen, 
Mecklenburg,  July  22,  1837  ;  com- 
posed pf. -pieces,  under  pseud,  of 
"William  Cooper,"  "Charles  Mor- 
ley,"  or  "Francesco  d'Orso."  (2) 
Therese,  b.  Stuttgart,  Sept.  14, 
1876  ;  alto  ;  pupil  of  J.  Stakhausen, 
of  Schulz  Demberg  and  of  Etelka 
Gerster  ;   lives  in  Mainz. 

Behrens  (ba'-rens),  Konrad,  1835 — 
New  York,  1898  ;  operatic  bass. 

Beier  (bl'-er),  Dr.  Fz.,  b.  Berlin,  April 
18,  1857 — Cassel,  1889,  son  of  a  mil- 
itary band-master ;  pupil  Stern  and 
Kullak  Cons.  ;  cond.  at  the  Royal 
Theatre;  composed  succ.  opera  "  Der 
Posaunist  von  Scherkingen  "  (Cassel, 
1889),  a  parody  on  Nessler's  well- 
known  "  Der  Trompetcr  von  Sdk- 
kingen;  "  succ.  comic  operetta  "  der 
Gaunerkonig''  (Cassel,  1890),  etc. 

Belce.     Vide  reuss-belce. 

Belcke  (bel'-ke),  (i)  Fr.  Aug.,  Lucka, 
Altenburg,  1795 — 1S74;  the  tirst  trom- 
bone virtuoso.  (2)  Chr.  Gl.,  Lucka, 
1796 — 1875  ;  bro.  of  above  ;   flutist. 

Beldoman'dis  (or  Beldeman  dis,  Bel- 
deman'do),  Prosdo  cimus  de,  b. 
Padua,  14th  cent.  ;  prof,  of  philoso- 
phy, ca.  1422  ;  theorist. 

Beliczay  (ba'-li-cha-e),  Julius  von, 
-Komorn,  Hungary,  1835 — Pesth, 
1893  ;  violinist. 

Belin  (or  Bellin)  (bu-lah),  (i)  Guil., 
ca.  1547 ;  tenor  Chapelle  Royale, 
Paris.  (2)  Julien,  b.  Le  Mans',  ca. 
1530  ;  lutenist. 

Beliso'nius,  Paul,  a  canon  said  to 
have  inv.  quills  for  harpsichords,  i6th 
centurv. 

Bella  (d'el'-la  bel'-la),  Dom.  della, 'cel- 
list, Venice,  1704. 


Bella,  Jn.,  Ld.,  b.  St.  Nicholan,  Up- 
per  Hungar\',  1843  ;  canon  at  Neu- 
sohl  ;  composed  church-music,  etc. 

Bellamy,  (i)  Richard,  d.  London  (?) 
1S13  ;  church-composer.  (2)  His  son, 
Thos.  Ludford,  ^Yestminster,  1770 
— London,  1843,  bass. 

Bellasio  (bel-la'-sI-6),  Paolo,  1579- 
95  ;  pub.  madrigals,  etc.,  at  Venice. 

Bel  lasis,  Edw.,  b.  Jan.  28,  1852 ; 
English  writer  and  composer. 

Bell'avere  (or  Bell'haver)  (bel-a-va'- 
re),  v.,  Venice,  1530  (?)— 15S8  (?)  ; 
organist  and  composer. 

Bellazzi  (bel-lad'-ze),  Fran.  C,  at 
Venice,  1618-28. 

Bellere  (bel-lar)  (or  Belle'rus,  rightly 
Beellaerts)  (bal-larts),  (i)  Jean,  d. 
Antwerp,  ca.  1595  ;  publisher.  His 
son  and  successor  was  (2)  Balthasar.-: 

Bel'lermann,  (i)  Konstantin,  Er- 
furt, 1696 — Miinden,  1763  ;  rector 
and  composer.  (2)  Jn.  Fr.,  Erfurt, 
1795 — Berlin,  1S74  ;  writer  on  Greek 
music.  His  son  (3),  Jn.  Gf.  H.,  b.j 
Berlin,  March  10,  1832  ;  pupil  R.: 
Inst,  for  Ch. -music,  1866  ;  prof,  ol' 
mus.  Berlin  U.  (vice  Marx.);  theorist; 
and  composer.  * 

Belletti,  Giov.  Bat.,  b.  Sarzana.i 
18 15  ;  barytone;  pupil  of  Pilotti  at, 
Bologna  ;  debut,  1838,  Stockholm  i 
sang  with  Jenny  Lind  on  tour 
tired,  1862. 

Belleville-Oury         (bel-ve'-yii-oo 
Emilie,  Munich,   1808 — 1880  ;  plan- 


Hi 

pianji 


Bell'haver,  V.     Vide  bell'avere.      I  : 

Belli  (bel-le),  (i)  Gir.,  pub.,  _I586-J-: 
94,  madrigals,  etc.  (2)  Giulio,  b|  i 
Longiano,  ca.  1560;  ch.-compose rq; 
and  cond.  (3)  Dom.,  1616 ;  courtjx 
musician  at  Parma.  j 

Bellin,  G.     Vide  bellx. 

Bellincioni  (bel-lln-cho'-ne),  Gemmai  m 
notable  Italian  soprano  ;  toured  U.  S 
in  opera,  1S99  ;  lives  in  Florence. 

Bellini  (bel-le'-ne),  (i)  Vincenzo,  Cata 
nia,  Sicily,  Nov.3,1802 — Puteau.x,nea 
Paris,  Sept.  23,  1835  ;  opera  compo; 
er  ;  son  and  pupil  of  an  organist ; 
nobleman    sent    him    (1819)   to 


DICTIONARY  OF  MUSICIANS    417 


Cons,  at  Naples  ;  studied  under 
Furno,  Tritto,  and  Zingarelli,  until 
1S27  ;  privately  studied  with  Haydn 
and  Mozart,  and  chiefly  Pergolesi  ; 
as  a  student  composed  a  symphony,  2 
masses,  several  psalms,  a  cantata,  etc. ; 
his  first  opera,  "'Adelson  e  Sahini" 
was  performed  by  Cons,  pupils,  1825, 
whereupon  the  manager  of  La  Scala, 
Milan,  commissioned  him  to  write  an 
opera;  1826,  ''  Bianca  e  Fernando" 
was  prod,  with  suae,  1827,  "■  II  Pi- 
rata  ;"  i^2q,  "■  La  Stranier."  The 
librettist  of  the  latter  2  was  Felice 
Romani,  who  wrote  the  books  of  all 
B.'s  operas,  except  "  /  Puritani." 
"  Za?Va  "  (1829)  was  a  failure;  "/ 
Capuleti  e  Monteccht  "  written  in  forty 
days  (1830),  was  a  great  succ.  ;  "  La 
Sonna?nbitla"  and  ''Norma"  (1S31), 
with  Malibran  in  the  title-role,  estab- 
lished his  fame  ;  ' '  Beatrice  di  T'tvz- 
</a"  (Venice,  1833)  failed  ;  "/  Puri- 
tani" (libretto  by  Count  Pepoli), 
written  to  order  1834,  for  the  Theatre 
Italien,  Paris,  was  a  great  success, 
and  his  last  finished  work.  B.'s  work 
is  a  compendium  of  all  the  virtues 
and  vices  of  Italian  opera,  passionate 
and  eminently  vocal  lyrics  with  empty 
and  slovenly  accompaniment.  He 
died  youngest  of  all  prominent  com- 
posers— at  the  age  of  33,  from  dysen- 
tery due  to  overwork.  Biog.  by 
Scherillo  (Milan,  1885),  Pougin 
(Paris,  1868),  etc.  (2)  Carmelo, 
Catania,  1802 — 1884;  brother  of 
above  ;  composed  Church-music. 

Bellman,  (i)  Carl  Mikael,  Stock- 
holm, 1740 — 1795  ;  Swedish  poet  who 
set  his  own  burlesques  to  music.  (2) 
K.  Gf.,  Schellenberg,  Saxony,  1760 
— Dresden,  1816  ;  pf.-  and  bassoon- 
maker.  (3)  K.  Gl.,  Muskau,  1772, 
Schleswig,  1862  ;  organist. 

3elloc  (bei-lok),   Teresa  (G.  Trom- 

i  bet'ta-Belloc),  San  Begnino,  Can- 
avese,  1784 — S.  Giorgio,  1855;  mezzo- 
soprano  ;  repertoire  of  80  operas. 

Jelloli  (bel-l6'-le),  (i)  Luigi,  Castel- 
franco,  Bologna,  1770 — Milan,  1S17  ; 
horn-player  and  composer.     (2)  Ag., 


b.  Bologna  ;  first  horn  (1819-29)  at 
La  Scala,  Milan,  and  dram,  composer. 

Bemberg  (bah-berg),  Hermann,  b. 
Paris,  March  29,  1S61  ;  pupil  of 
Dubois,  Franck  and  Massenet,  Paris 
Cons.  ;  1SS7  took  Rossini  prize ; 
composed  i-act  opera  "  Le  Baiser  de 
Suzon  "  (Paris,  Op. -com.,  1888),  mod. 
succ.  ;  opera  Elaine  (London,  1892  ; 
New  York,  1894),  and  songs. 

Bemetzrieder  (ba'-mets-re-der),  T.,  b. 
Alsatia,  1743  ;  Benedictine  monk  ; 
then  composer  and  writer. 

Ben'da,  (i)  Franz,  Alt-Benatek,  Bo- 
hemia, Nov.  25,  1709 — Potsdam, 
March  7,  1786  ;  court-violinist  to 
Frederick  II.,  whom  he  accompanied 
for  40  years  in  flute-concertos ; 
composed  symphonies,  etc.  His  3 
brothers  (2)  Jn.,  Alt-Benatek,  1713 
— Potsdam,  1752  ;  violinist.  (3)  G., 
Jungbunzlau,  Bohemia,  1722 — Koes- 
tritz,  Nov.  6,  179-  ;  court-cond.,  1748 
(Gotha)  ;  1764-66,  Italy ;  prod,  at 
Gotha  10  operas  in  which  he  orig- 
inated the  idea  of  spoken  words  with 
orchestral  accompaniment,  literal 
"  melodrama."  (4)  Jos.,  1724 — Berlin, 
1804  ;  violinist.  His  sister,  (5)  Anna 
Frangiska,  b.  1726 — Gotha,  1780  ; 
singer.  (6)  Fr.  Wm.  H.,  Potsdam, 
1745 — 1814  ;  son  and  pupil  of  (i) ; 
composed  operas,  etc.  (7)  Fr.  L., 
Gotha,  1746 — Konigsberg,  1793  ;  son 
of  (3)  ;  cond.  and  composer.  (8)  K. 
Hermann  H.,  Potsdam,  1748 — 
1836  ;  son  of  rich  father  ;  court. - 
violinist  and  composer. 

Ben'dall,  Wilfred  Ellington,  b. 
London,  April  22,  1850 ;  pupil  of 
Lucas,  Silas  and  Leipzig  Cons.  ;  com- 
poser. 

Ben'del,  Fz.,  Schonlinde,  northern 
Bohemia,  March  23,  1833 — Berlin, 
July  3,  1874 ;  pianist ;  composed 
symphonies,  4 masses,  songs,  etc.,  and 
piano  pieces  of  great  lusciousness  of 
harmony  and  fervour  of  melody. 

Ben'deler,  Jn.  Ph.,  Riethnordhausen, 
near  Erfurt,  1660  —  QuedHnburg 
1708 ;  clavecinist,  organist  and 
writer. 


4i8 


THE    MUSICAL    GUIDE 


Ben'der,  (i)  Jakob,  Bechtheim,  1798 
— Antwerp,  1844  ;  dir.  Antwerp  wind- 
band  ;  clarinettist  and  composer.  (2) 
Jean  Val.,  Bechtheim,  near  Worms, 
1801 — Brussels,  1873  ;  bro.  of  above  ; 
clarinet-virtuoso  and  band-master. 

Ben'dix,  (i)  Otto,  b.  Copenhagen, 
1850  ;  pupil  of  Ree  and  Gade,  Kul- 
lak  and  Liszt  ;  pf. -teacher  in  Copenh. 
Cons,  and  oboist  in  theatre-orch.  ; 
lives  in  Boston,  Mass.,  since  1880,  as 
teacher  and  composer.  (2)  Victor 
E.,  b.  Copenhagen,  1851 ;  pianist, 
pupil  and  protege  of  Gade  ;  lives  in 
Copenh.  as  pf.-teacher  and  cond.  ; 
composed  3  symphonies,  incl.  "  Zitr 
Hoke,'"  in  C  (1891)  (also  named 
"  Felsensteigung") ;  and  "  Somt?ier- 
kliinge  aus  Siidrussland''  in  D. 

Ben'dl  (bent'-'l),  K.,  Prague,  April  16, 
1838 — Sept.  20,  1897;  important 
Czech  composer  ;  pupil  of  Blazokand 
Pitsch,  at  Prague ;  chorus-master, 
Amsterdam  (1864) ;  1866,  cond. 
Prague  choral  society,  "  Hlahol"  ; 
composed  Czech  operas  incl.  ''Diie 
Tdbora"  (Child  of  the  Camp),  1892, 
(3  acts)  ;  still  given  at  Prague ;  3 
masses,  cantatas,  an  overture,  a 
''  Dithyra>nl>"  ''Slavonic  Rhap- 
sody" for  orch.,  etc. 

Bendler  (bent'-ler),  Salmon,  QuedHn- 
burg,  16S3 — 1724  ;  singer. 

Benedict,  (i)  Sir  Julius,  Stuttgart, 
Nov.  27,  1804 — London,  June  5, 
1885  ;  son  of  ajewish  banker  ;  pupil  of 
Abeille,  Hummel,  and  Weber,  iS25at 
Naples,  where  his  first  opera  was 
prod.  1829,  without  success  ;  his  next 
(Stuttgart,  1830)  was  not  a  success  ; 
settled  in  London  as  pf.-teacher  and 
concert-giver  ;  1836,  cond.  opera 
buffa  ;  1837  at  Drury  Lane,  there  his 
first  English  opera,  "  The  Gypsy's 
IVarfiing"  was  prod.  (1838)  ;  he  ac- 
companied Jenny  Lind  to  America, 
then  cond.  at  Her  Majesty's  Th.,  and 
Drury  Lane;  1859  at  Covent  Garden  ; 
and  "Monday  Popular  Concerts"; 
cond.  also  Norwich  festivals,  and 
(1876-80)  the  Liverpool  Philhar- 
monic ;  knighted  in  1871  ;  composed 


II  operas;  2  oratorios,  "  St.  Cecilia" 
(1866),  and  "  St.  Peter  "  (1870)  ;  2 
symphonies,  2  pf. -concertos,  etc.  ; 
wrote  a  biog.  of  Weber.  (2)  Milo 
Ellsworth,  b.  Cornwall,  June  9, 
1866  ;  pupil  of  C.  Petersilea  (pf.),  J. 
K.  Paine  (theory);  1883-84  in  Europe, 
spending  3  mos.  with  Liszt ;  lives  in 
Boston,  as  pf.-teacher  and  composer. 

Benedic'tus  Appenzelders  (iip'-pen- 
tsglt-ers)  (B.  of  Appenzell),  b.  Ap- 
penzell,  Switzerland  ;  choir-master  in 
Brussels  (1539-55)  and  composer; 
often  confused  with  Benedictus 
Duels. 

Benel'li,  (i)  Alemanno.  Vide  bot- 
TRiGARi.  (2)  A.  Peregrino,  Forli, 
Romagna,  1771 — Bornichau,  Saxony, 
1830 ;  tenor. 

Benes  (ba-n^sh)  {Ger.  Benesch), 
Josef,  b.  Batelov,  Moravia,  1793; 
conductor,  violinist  and  composer. 

Benevoli  (ba-na'-v6-le),  Orazio,  Rome, 
1602 — 1672 ;  natural  son  of  Duke 
Albert  of  Lorraine,  but  lived  in  pov- 
erty ;  cond.  at  the  Vatican  (1646) 
remarkable  contrapuntist  ;  in  writ- 
ing chorals  with  instrs.  he  was  a 
pioneer  ;  his  Salzburg  mass  being 
written  on  54  staves. 

Benfey  (ben-fl'),  Theodor,  Norton 
near  Gottingen,  1809 — 188 1  ;  writer. 

Benini  (ba-ne'-ne),  Signora,  Italiai 
singer  in  London,  1787,  comic  opera 
exquisite  sweetness  but  little  power. 

Beninco'ri,  Ang.  M.,  Brescia,  1779— 
Paris,  182 1  ;   dram,  composer. 

Ben'nat,  Fz.,  b.  Bregenz,  Aug.  17 
1844;  'cellist;  studied  Munich  Cons 
and  with  Servais ;  since  1864  i) 
Munich  court-orch.;  since  1888  in  th 
Walter  Quartet,  chamber-mus. 

Ben'net,  (i)  J.,  English  compose 
(1599).  (2)  Saunders,  d.  i8og 
English  organist  and  composer.  (; 
Theodore.     Vide  th.  ritter. 

Bennett,  (i)  Wm.,  b.  Teignmoutl^ 
ca.  1767  ;  organist.  (2)  Thos.,  c£ 
1774— 1848  ;  organist.  (3)  Alfre<' 
180S — 1830  ;  English  organist.  (* 
Sir  "Wm.  Sterndale,  Sheffield,  Apr 
13,    1816— London,     Feb.    i,    1875 


i 


DICTIONARY  OF  MUSICIANS    419 


son  of  an  organist  (who  died  1819)  ; 
at  8  entered  the  choir  of  King's  Col- 
lege Chapel ;  at  10  pupil  of  R.  A.  M.; 
at  17  played  there  an  original  pf.- 
concerto,  later  pub.  by  the  Academy; 
sent  1837  by  the  Broadwoods  to  Leip- 
zig for  one  year  ;  friend  of  Schumann 
and  Mendelssohn ;  1844  m.  Mary 
Anne  Wood,  founded  the  Bach  So- 
ciety, 1849 '.  cond.  Philh.  Society, 
1S56-66;  1856,  Mus.  Doc.  Cam- 
bridge and  prof,  of  mus.  there  ;  1866, 
IVincipal  there;  1871,  knighted; 
buried  in  Westminster  Abbey  ;  com- 
posed I  symphony,  an  oratorio  "  The 
IVoman  of  Sciwaria,"  music  to  So- 
phokles'  ''AJax"  y  5  overtures,  "  Pa- 
ri'sina,"  "  TAe  A^aiads"  "  The 
]Vood-ity77iph"  ''^Paradise  and  the 
Peri,''  ''Merry  Wives  of  Windsor," 
sonatas,  etc.  (5)  Jos.,  b.  Berkeley, 
Gloucestershire,  Nov.  29,  1831;  or- 
ganist of  Westminster  Chapel  ;  then 
music  critic  for  various  London  news- 
papers ;  finally  The  Telegraph  ; 
wrote  various  libretti ;  pub.  "Letters 
from  Bayreuth"  {\^li);  "'The 
Musical  Year"  (1883),  etc. 
Bennewitz  (b^n'-n^-vets),  (i)  Wm., 
Berlin,  1832 — 1871  ;  dram,  composer. 
(2)  Anton,  b.  Privat,  Bohemia, 
March  26,  1833  '.  violinist ;  1882,  dir. 
of  Prague  Cons. 
Benois  (bun-wa),  Marie,  b.  St.  Peters- 
burg, Jan.  I,  1861  ;  pianist ;  pupil  of 
Leschetizky  (1876),  won  gold  medal 
St.  Petersburg  Cons.  ;  toured  with 
success  ;  (1878)  m.  her  cousin  Wassi- 
ly  Benois. 
Benoist  (biin-wa),  Francois,  Nantes, 
1794 — Paris,  1878  ;  organ-prof.  Paris 
Cons.  ;  composed  operas,  etc. 
Benoit  (bun-wa),  Pierre  Leonard 
Ld.,  Harlebecke,  Belgium,  Aug.  17, 
1834 — Antwerp,  Mar.  4,1901;  Flemish 
composer  and  writer  ;  pupil  Brussels 
Cons.,  1851-55  ;  at  same  time  prod. 
a  small  opera  and  wrote  music  for 
«  Flemish  melodramas ;  1856,  cond. 
Park  Th.  ;  1857,  won  the  Prix  de 
Rome,  with  the  cantata  "  Le  Mcurtre 
d'Abel" ;  studied  at    I-eipzig,   Dres- 


den, Munich,  and  Berlin,  and  wrote  a 
thesis  for  the  Brussels  Academy 
"  L' ecole  de  niusiqiie  fiaDiande  et  son 
avenir."  In  1861  his  opera  "  Le  Poi 
des  Aulnes"  was  accepted  by  Theatre 
Lyrique,  Paris,  but  not  given  ;  cond. 
at  the  Bouffes-Parisiennes ;  from 
1867,  dir.  Antwerp  Cons.  ;  1882, 
member  of  the  R.  A.,  Berlin  ;  com- 
posed Messe  solennclle  (1862)  ;  Te 
Deum  (1863);  Requiem  (1863);  2 
oratorios  "Lucifer,"  and  "  De 
Schelde" ;  2  operas  "Net  Dorp  int 
Gebergte  "  and  "  /.crt  "  ;  "  Drama 
Chris ti,"  a  sacred  drama  in  Flemish ; 
a  cantata  "  De  Oorlog  War  "  ;  "  Chil- 
dren's Oratorio " ;  a  choral  sym- 
phony, " De  Maaiers"  (The  Reap- 
ers);  music  to  "Charlotte  Cor  day," 
and  to  "  Willem  de  Z'unjger"  (1876)  ; 
the  "Rubens  cantata"  " Flanderens 
kunstroem  " ;  "Antwerpen,"  for  triple 
male  chorus  (1877) ;  vocal  works 
with  orch.  incl.  '  Joncfrou  Kathe- 
lijne,"  scena  for  alto  (1879)  ;  "  ^I^'^e 
der  Geschiednis  "  (1880) ;  and  "  Hue- 
bald,"  "  Trioinfmarsch"  (1880); 
grand  cantata  "  De Rhyn"  (1889)  ;  a 
mass,  etc.  Wrote  "  De  xdaamsche 
Musiek-school  van  Antwerpen " 
(1873),  "  Verhandeluttg  over  de  na- 
tionale  Toonktinde"  (2  vols.,  1877- 
79),  etc. 

Benson,  Harry,  b.  Birmingham,  Eng- 
land, Dec.  14,  1848  ;  pupil  of  Dea- 
kin  and  Browning  in  England  and 
at  N.  E.  Cons.,  Boston,  where  he 
was  for  years  instructor  ;  since  1891 
with  Boston  Training  School  of  Mu- 
sic ;  cond.  of  various  choral  societies  ; 
active  devotee  of  Tonic  Sol-fa. 

Benvenuti  (ben-va-noo'-te),  Tomma- 
so,  b.  Venice,  1832 ;  dram,  com- 
poser. 

Berardi(ba-rar'-de),  Ang.,  b.  Bologna, 
168 1  ;  conductor  and  theorist. 

Berat  (ba-ra),  Fr.,  Rouen,  1800 — 
Paris,  1855  ;  composer. 

Berbiguier  (ber-bTg-ya),  Benoit 
Tranquille,  Caderousse,  Vaucluse, 
1782 — near  Blois,  1838;  flute-vir- 
tuoso and  composer. 


420 


THE    MUSICAL    GUIDE 


Berchem  (or  Berghem)  (berkh'-em), 
Jachet  de  (also  Jaquet,  Jacquet, 
and  Giachetto  di  Mantova),  Ber- 
chem (?)  near  Antwerp,  ca.  1500  — 
1580  ;    contrapuntist  and  conductor. 

Berens  (ba'-rens),  (i)  Hermann, 
Hamburg,  1825  _(?)— Stockholm, 
1880;  son  and  pupil  of  (2)  K.  B. 
(1801 — 1857) ;  court-conductor  and 
composer. 

Beret'ta,  Giov.  Batt,  Verona,  1819 — 
Milan,  1876 ;  theorist,  editor,  and 
composer. 

Berg  (berkh),  (i)  Adam,  1540 — 1599; 
music-printer,  Alunich.  (2)  Jn.  von, 
1550 ;  music-printer,  Ghent,  Nurn- 
berg.  (3)  G.,  German  composer  in 
England,  1763-71.  (4)  Kon.  Mat., 
Colmar,  Alsatia,  1785 — Strassburg, 
1852  ;  violinist,  pianist,  and  writer. 

Berger  (ber' ger\  (i^  L.,  Berlin, 
1777 — 1839;  ^rom  IS15  pf. -teacher 
and  composer.  (2)  Francesco,  b. 
London,  June  10,  1834 ;  pupil  of 
Ricci  and  Lickl  (pf.),  Hauptmann 
and  Plaidy  ;  pf.-prof.  R.  A.  M.,  and 
Guildhall  Sch.  of  Mus.;  for  years 
dir.,  now  sec,  Pliilh. ;  composed  an 
opera,  a  mass  (prod,  in  Italy),  etc.; 
wrote  ''First  Steps  at  the  Piauo- 
forte."  (3)  Wm.,  b.  Boston,  Mass., 
U.  S.  A.,  Aug.  9,  1861  ;  taken  by 
parents  to  Bremen  ;  pupil  of  Kiel, 
etc. ;  lives  Berlin  as  teacher  and  com- 
poser ;  1898  won  a  prize  of  2,000 
marks,  with  a  setting  of  Goethe's 
''  Meine  Gottin"  {op.  72);  composed 
"  Gesang  der  Geister  iiber  den  Was- 
sern"  mixed  choir  and  orch.  in  over- 
ture form,  a  dram,  fantasy,  etc.  (4) 
Siegfried.  Vide  chelius.  (5)  Otto, 
Machau,  Bohemia,  1873  (?) — 1S97  ; 
'cellist. 

Berggreen  (berkh'-gran), Andreas  P., 
Copenhagen,  1801 — 1880  ;  teacher. 

Berghem.     Vide  berchem. 

Bergmann  (berkh'-man),  K.,  Ebers- 
bach,  Saxony,  1S21 — New  York,  Aug. 
16,  1876;  in  America,  1850,  with 
' '  Germania  "  Orch. ,  later  its  cond. ,  till 
1854  ;  cond.  "  Handel  and  Haydn" 
Soc,  Boston,  1852-54;  in  1855  alter- 


nate cond.  Philh.  Soc,  New  York ; 
1862-76,  sole  cond  ;  also  cond. 
"  Arion"  Society  ;  active  in  introduc- 
ing Wagner,  Liszt,  etc.,  to  America. 

Bergner  (berkh'-ner),  Wm.,  b.  Riga, 
Nov.  4,  1837  ;  organist  ;  founded  a 
Bach  Society  and  a  cathedral  choir. 

Bergonzi    (ber-gon'-tse),    (i)    Carlo, 
1716-1755  ;    vln. -maker  at  Cremona, 
best  pupil  of  Stradivari.     His  son  (2)  :: 
Michelangelo,   and  his  2  nephews,   . 
(3)  Niccolo  and  (4)  Carlo,  were  less  i 
important.    (5)  Benedetto,  Cremona,  •- 
1790 — 1840;  horn-player  and  invent- 
or. 

Bergson    (berkh'-z6n),    Michael,    b.  . 
Warsaw,     May,    1820 ;    pianist    and 
composer ;  pupil  of  Schneider,  Run- 
genhagen,  and  Taubert,  Paris  (1840); 
Italy,  1846,  where  his  opera    'Louisa 
di   Montfort"   was   succ.   (Florence, 
1847)  ;  Paris,  1859,  prod,  a  i-act  op-  i 
eretta  ;     1863,     ist    pf. -teacher    and] 
soon  dir.  Geneva  Cons. ;  later  in  Lon- 1 
don  as  teacher.  j 

Bergt  (berkht),  Chr.  Gl.  Aug.,  b. 
Oderan,  Saxony,  1772  —  Bautzen, 
1S37  ;  organist,  violinist  and  con- 
ductor. 

Beringer  (ba-ring-er),  (i)  Robert,  b. 
Furtwangen,     June    14,    1841  ;    1861 
pianist  at  the  Crystal  Palace  ;  cond.    ( 
of  societies,  and  lecturer.     (2)  Oscar,  1  1 
b.  Furtwangen,  July  14,  1844  ;  bro.  of:  j 
above;  pupil   of   Plaidy,   Moscheles,!  j 
Leipzig    Cons.,     1864-66;    later    of 
Tausig,     Ehrlich,    and    Weitzmann, 
Berhn  ;  teacher  there,  1869 ;  London, ^ 
1871  ;  since   1873  pf.-prof.  in  R.  A.' 
M.  ;  composed    Technical    Exercises,, 
etc. 

B^riot  (du  bar-yo),  (i)  Chas.  Auguste 
de,  Louvain,  Feb.  20,  1802 — Brus- 
sels, April  8,  1870;  vln. -virtuoso: 
pupil  of  Viotti  and  Baillot,  but  chiefly 
of  his  guardian,  Tiby  ;  at  9  he  playec 
a  concerto ;  1821,  made  a  brilliani 
debut,  Paris ;  chamber-violinist  tc. 
the  King  of  France,  solo-violinist  tc 
the  King  of  the  Netherlands  (1826-30) 
1830-35  toured  Europe  with  Mme 
Garcia-Malibran,    whom     he 


m.    ii     1^ 

1 


DICTIONARY   OF   MUSICIANS    4^1 


1836  ;  from  1843-52,  prof,  at  Brussels 
Cons.;  became  blind  and  paralysed 
in  left  arm  ;  pub.  method  and  7  con- 
certos, etc.,  for  vln.  (2)  Chas.  Vil- 
fride  de,  b.  Paris,  Feb.  12,  1835  ;  son 
of  above  ;  pupil  of  Thalberg  ;  prof, 
of  pf.,  Paris  Cons.  ;  composed  sym- 
phonies, etc. ;  wrote  with  his  father 
a  " MJthodt-  d'actoinpagiiement." 

Berlijn  (or  Berlyn)  (bar'-Ien),  Anton 
(or  Aron  Wolf  (?),  Amsterdam,  1817 
— 1S70  ;  conductor. 

Berlin  (bar'-len),  Jn.  Daniel,  Memel, 
1710 — Drontheim,  Norway,  1737  ; 
organist  and  writer. 

Berlioz  (bar-ll-6s  not  bar-l!-6).  Hec- 
tor (Louis),  Cote-Saint-Andre,  near 
Grenoble,  France,  Dec.  11,  1803 — 
Paris,  March  9,  1869;  "Father  of 
modern  orchestration  "  ;  conductor, 
critic,  writer  of  verse  and  electric 
prose  ;  sent  to  Paris  to  study  med- 
icine, he  accepted  disinheritance  and 
took  up  music,  though  he  could  never 
play  any  instr.  save  the  guitar  and 
flageolet ;  while  pupil  at  the  Cons.,  he 
earned  a  bare  living  ;  joined  the  chorus 
of  the  Gymnase  Dramatique  ;  left  the 
Cons,  in  disgust  with  Reicha's  forma- 
lism, and  plunged  with  characteristic 
energy — or  rather  fury — into  the  cause 
of  romanticism  ;  1825,  an"  orchestral 
mass  given  at  St.  Roch  brought  the 
ridicule  he  usually  had  in  France 
where  he  was  little  thought  of  as  a 
composer  though  admired  as  a  writer  ; 
1828  saw  the  production  of  two  over- 
tures "  IVaverley'''  and  "  Les  Francs- 
Juges,''  and  a  Symphonic  fantastique, 
"Episode  de  la  vie  d'lin  artiste"  ; 
1829,  his  "  Concerts  des  Sylphes" 
publicly  produced  at  26,  show  him 
an  ardent  believer  in  programme- 
music  (vide  D.  D.)  and  a  marvellous 
v-irtuoso  in  instrumentation.  He  re- 
entered the  Cons,  under  Lesueur,  in 
spite  of  Cherubini,  who  fought  his  ad- 
mission ;  1830,  he  took  the  Prix  de 
Rome  with  a'  cantata,  "  Sardana- 
pale " ;  after  18  months  in  Italy 
he  returned  to  Paris  and  took  up 
journalism  with  marked  success.     His 


symphony  "  Harold  en  Italie  "  (1834), 
the  "  Messe  des  Morts"  {i?>2,l),  the 
dram,  symphony  ''Romeo  ei  Juli- 
ette" with  vocal  soli  and  chorus 
(1839),  ^^'^  the  overture  "  Carneval 
romaiii"  were  well  received,  but  the 
2-act  opera  semi-seria  "  Benvennto 
Cellini "  failed  both  in  Paris  and  in 
London,  1838.  In  1830  he  was  made 
Conservator  of  the  Cons.  ;  librarian, 
1852,  but  was  never  made  professor 
as  he  desir,ed.  Concert  tours  through 
Germany  and  Russia,  1843-47,  were 
very  successful  and  are  described  in 
his  book  "  Voyage  musical. "  London 
(1852)  he  co'nd.  the  "New  Philh. 
Concerts  ";  prod,  comic  opera  "  Beat- 
rice et  Benedict"  (1862,  Baden-Ba- 
den) ;  1865,  member  of  the  Academic, 
and  decorated  with  cross  of  Legion 
of  Honour.  He  m.  Henrietta  Smith- 
son,  an  Irish  actress  who  made  a  sen- 
sation in  Paris  in  Shakespearian 
roles,  but  later  was  hissed  off,  and 
became  a  peevish  invalid.  His  opera, 
''Les  Troy  ens  a  Carthage"  (1863) 
was  a  failure.  His  son  Louis  died 
1867.  "Les  Troyens"  in  two 
parts  ;  La  Prise  de  Troie,  3  acts, 
and  Les  Troyens  a  Carthage,  in  5 
acts  was  given  complete  for  the  first 
time,  at  Carlsruhe,  1897.  His  most 
succ.  work  was  his  "oratorio,"  "La 
Damnation  de  Faust"  (1846).  His 
' '  Traite  d' instrumentation  "  is  a  clas- 
sic in  orchestration,  though  its  then 
sensational  modernity  is  lost.  B. 
strangely  despised  Wagner,  who,  how- 
ever, confessed  his  large  indebtedness 
to  B.  Other  books  are  "  Soirees 
d'orchestre"  (1853),  "Grotesques  de 
la  musique"  (1859),  "A  travers 
chants"  (1862),  and  an  autobiogra- 
phy, "  Memoires"  from  1803-65. 
In  original  verse  are  the  text  to  the 
sacred  trilogy  "  L Enfaytce  du  Christ " 
{Part  /.,  Lesonge  d'  LI  erode  ;  LL.,La 
fuite  en  Egypte  ;  LIL.,  LArrive'ea 
Sais)  ;  and  his  operas  "Les  Troy- 
ens "  and  "  Beatrice  et  Benedict."  He 
composed  also  a.  "  Te  Deum"  for  3 
choirs,  orch.  and  org.  ;    a  "  Grande 


422 


THE    MUSICAL    GUIDE 


symphonic  funebre  et  triotnphale"  for 
full  military  band,  with  strings  and 
chorus    ad    lib.  ;    overture    to    "  Z^ 


Corsaire" ;  '' Le  Cinq  Mai"  for 
chorus  and  orch.  (on  the  anniversary 
of  Napoleon's  death),  etc. 


Berlioz. 

By  Ernest  Newman. 

BERLIOZ'S  early  influences  were  as  much  literary  as  musical.  His 
reading  was  mjinly  romantic  ;  his  musical  gods  were  Beethoven, 
Weber,  and  Gluck,  whose  orchestral  works  influenced  him  most. 
He  knew  little  of  Beethoven's  piano  writings,  and  did  not  like  Bach.  ^  Into 
the  intellectual  world  of"  the  Beethoven  symphony  and  the  operas  of  Gluck 
and  Weber  he  breathed  the  newer,  more  nervous  life  of  the  French  Roman- : 
ticists.  Colour  and  sensation  became  as  important  as  form  and  the  pure  idea. 
^[  These  influences  and  his  literary  instincts  led  him  to  graft  the  programme  ■ 
form  on  the  older  symphony.  All  his  music  aims  at  something  concrete. 
Instead  of  the  abstract  world  of  the  classical  symphonists  he  gives  us  definite 
emotions,  or  paints  definite  scenes.  Colour,  passion,  and  veracity  were  the 
prime  needs  ;  form  had  to  follow  their  guidance.  Hence  both  his  suc- 
cesses and  his  failures.  His  virtue  is  truth  and  vivacity  of  expression  ;  his- 
defect  the  pursuit  of  these  to  the  detriment  of  the  musical  interest.  ^All; 
modern  programmists  have  built  upon  him — Liszt,  Richard  Strauss,  and| 
Tschaikowsky.  Wagner  felt  his  influence,  though  he  beHttled  it.  ^|His; 
own  words,  **  I  have  taken  up  music  where  Beethoven  left  it,"  indicate  his 
position.  He  is  the  real  beginner  of  that  interpenetration  of  music  and  the' 
poetic  idea  which  has  transformed  modern  art. 


Berlyn,  Anton.    Vide  berlijn. 

Bermudo  (ber-moo'-dho),  Juan,  As- 
torga,    ca.  1510;  writer. 

Bernabei  (ber-na-ba'-e),  (i)  Gius.  Er- 
cole,  Caprarola,  ca.  1620 — Munich, 
1687 ;  1672  cond.  at  the  Vatican  ; 
1674  cond.  at  Munich ;  composed 
three  operas  (prod,  in  Munich),  etc. 
(2)  Gius.  A.,  Rome,  1659 — Munich, 
1732  ;  son  of  above  and  his  successor 
at  Munich. 

Bernacchi  (ber-nak'-ke).  A.,  Bologna, 
ca.  1690 — 1756  ;  soprano-musico,  en- 
gaged by  Handel  for  London,  1729, 
as  the  greatest  living  dram,  singer  ; 
1736  founded  a  singing-school  at  Bo- 
logna. 


Bernard  (b^r-nir,  in  F.),  (i)  Emery,  b. 
Orleans,  France,  i6th  cent.;  wrote 
method  of  singing.  (2)  (bdr'-nart,  in 
G.),  Moritz,  Kurland,  1794 — St.' 
Petersburg,  1871;  pianist  and  teacher.' 
(3)  Paul,  Poitiers,  1S27— Paris,  1879: 
composer  and  writer.  (4)  Daniel, 
1841 — Paris,  1883  ;  writer.  (5" 
£mile,  b.  Marseilles,  Aug.  6,  1845 
organist  of  Notre-Dame-des-Champs 
Paris  ;  important  composer  of  vln. 
concerto ;  concert-stuck  for  pf.  witl 
orch.;  overture  ''Beatrice" ;  2  can. 
tatas  ;  much  chamber-music,  etc. 

Bernardel.     Vide  lupot. 

Bernar'di,     (r)    Steffano,    ca.    1634 
canon  at  Salzburg  ;  theorist  and  com 


I 


DICTIONARY  OF  MUSICIANS    423 


poser.  (2)  Francesco.  Vide  sene- 
SINO.  (3)  Enrico,  b.  Milan,  1838— 
1900 ;  conductor  and  dram,  com- 
poser. 

Bernardini  (bgr-nar-de'-ne),  Marcello 
("  Marcello  di  Capua"),  b.  Capua, 
ca.  1762  ;  dram,  composer. 

Bernasco'ni,  (i)  Andrea,  Marseilles, 
1712 — Munich,  1784  ;  court-conduc- 
tor. (2)  P.,  d.  Varese,  May  27, 
1895  ;  organ-builder. 

Berneli'nus,  lived  in  Paris,  1000; 
probably  a  Benedictine  monk ;  theo- 
rist and  writer. 

Ber'ner,  Fr.  Wm,,  Breslau,  1780 — 
1827  ;  organist. 

Bernhard  (ber-nir),  (St.),  Fontaines, 
Burgundy,  1091 — 1153 ;  abbot  and 
theorist. 

Bernhard  (b^m'-hart),  (i)  der 
Deutsche  (der  doit'-she)  ;  organist, 
Venice,  1445-59  '■>  known  as  "  Ber- 
nado  di  Steffanino  Murer"  ;  perhaps 
inv. ,  certainly  introduced,  into  Italy, 
the  organ-pedal.  (2)  Chr.,  Danzig, 
161  - — Dresden,  1692;  court-con- 
ductor and  notable  contrapuntist. 

Bernicat  (ber-nl-ka),  Firmin,  1841 — 
Paris,  1883  ;  dram,  composer. 

Ber'no,  Augien'sis,  d.  Riechenau, 
1048  ;   abbot  and  theorist. 

Bernouilli  (bar-noo-e'-ye),  (i)  Jn., 
Basel,  1667— 1747.  His  son  (2) 
Daniel,  Groningen,  1700 — Basel, 
1782,  also  was  prof,  and  writer  on 
acoustics. 

Berns'dorf,  Eduard,  Dessau,  March 
25,  1825 — 1901  ;  Leipzig  critic  and 
composer. 

Bernuth  (bSr-noot),  Julius  von,  b. 
Rees,  Rhine  Province,  Aug.  8,  1830; 
studied  law  and  music  at  Berlin, 
1854  ;  studied  at  Leipzig  Cons,  till 
1857;  founded  the  "  Aufschwung 
Society,"  and  1859  "Dilettante's  Or- 
chestral Society  "  ;  also  cond.  3  other 
societies  ;  later  cond.  at  Hamburg ; 
1873,  dir.  of  a  cons,  there;  1878, 
"Royal  Prussian  Professor." 

Berr  (ber),  Fr.,  Mannheim,  1794 — 
Paris,  1838  ;  bandmaster  ;  1831,  prof, 
of  clar.,  Paris  Cons.;  1836,  dir.  School 


of  Military  Music  ;  writer  and  com- 
poser. 

Berr6  (ber-ra),  F.,  b.  Ganshoren,  near 
Brussels,  Feb.  5,  1843 ;  composed 
operas. 

Bersel  li,  Matteo,  Italian  tenor  ; 
London,  1720-21. 

Bertali  (b^r-ta-Ie),  Ant,,  Verona, 
1605 — Vienna,  1669  ;  court-conductor 
and  dram,  composer. 

Bertani  (bgr-ta'-ne),  Telio,  i6th  cent.; 
court-conductor. 

Ber'telmann,  Jan.  G.,  Amsterdam, 
1782 — 1854;  prof,  and  composer. 

Bertelsmann,  K.  Aug.,  Glitersloh, 
Westphalia,  181 1 — Amsterdam,  1861; 
director  and  composer. 

Berthaume  (ber-tom),  Isidore,  Paris, 
1752 — St.  Petersburg,  1802  ;  violinist 
and  conductor. 

Berthelier  (ber-tel-ya),  H.,  solo-violin- 
ist, Paris  Opera,  1894. 

Berthold  (ber'-tolt),  K.  Fr.  Theodor, 
Dresden,  1815 — 1882  ;  court-organist. 

Berti  (ber-te),  M.  A.,  Vienna,  1721 — 
1740;  barytone-player. 

Bertin  (ber'-taii),  Louise  Ang^lique, 
Roches,  near  Paris,  1805— Paris, 
1877  ;  singer,  pianist  and  dram,  com- 
poser. 

Bertini(b^r-te'-ne),  (i)  AbbateGius., 
Palermo,  1756 — 1849(7);  court-cond. 
and  lexicographer.  (2)  Benoit 
Auguste,  b.  Lyons,  1780 ;  writer. 
(3)  H.  Jerome,  London,  1798 — 
Meylau,  near  Grenoble,  1876 ;  bro. 
and  pupil  of  above ;  pianist  and 
composer  ;  at  12,  toured  the  Nether- 
lands and  Germany  ;  retired,  1859  ; 
wrote  technical  studies.  (4)  Dom., 
Lucca,  1829 — Florence,  i8go  ;  teach- 
er, critic,  theorist  and  director. 

Bertinot'ti,  Teresa,  Piedmont,  1776 — 
Bologna,  1854  ;  operatic  soprano  ;  m. 
Felix  Radicati,  a  violinist  and 
composer. 

Bertolli  (tol'-ll),  Fran.,  Italian  singer 
in  Handel's  operas,  London,  1729- 
37- 

Berton  (b^r-tofi),  (i)  P.  Montan, 
Paris,  1727  — 1780;  conductor  grand 
opera  and  dram,    composer.     (2)  H. 


424 


THE    MUSICAL    GUIDE 


Montan,  Paris,  1767 — 1844  ;  son  of 
above ;  composer.  (3)  Frangois, 
Paris,  1784 — 1832  ;  natural  son  of 
(2)  ;  pupil,  later  prof,  of  singing,  at 
Cons.  ;  composed  operas  and  songs. 

Berto'ni,  Fdo.  Giu.,  Venice,  1725 — 
Desenzano,  1813  ;  organist  and  dram, 
composer. 

Bertram  (bSr'-tram),  Th.,  b.  Stutt- 
gart, Feb.  12,  1869;  barytone; 
studied  with  his  father  ;  sang  in  various 
German  cities  lately  with  his  wife, 
Fanny  Moran  Olden. 

Bertrand  (ber-tran),  J.  Gv.,  Vaugi- 
rard,  near  Paris,  1834 — Paris,  1880  ; 
writer  and  critic. 

Berwald  (ber'-valt),  (i)  Jn.  Fr.,  Stock- 
holm, 1788 — 1861  ;  precocious  violin- 
ist, etc. ;  pupil  of  Abbe  Vogler  ;  com- 
posed a  symphony  at  9.  (2)  Fz., 
Stockholm,  1796 — 1868;  nephew  of 
above  ;  dram,  composer. 

Berwillibald  (bgr'-vil-ll-balt),  G.  G., 
German  smger  in  London,  17 16. 

Berwin  (ber'-ven),  Adolf,  Schwersenz, 
near  Posen,  1847 — iN-ome,  1900  ;  dir. 
Cecilia  Academy,  Rome  ;  writer. 

Besard  (bu-ziir),  Jn.  Bap.,  b.  Besan- 
fon,  ca.  1576  ;  writer. 

Beschnitt  (be-shnlt),  Jns.,  Bockau, 
Silesia,  1825 — Stettin,  1880 ;  con- 
ductor. 

Besekirsky  (ba-ze-ker'-shkt),  Vasil 
Vasilevitch,  b.  Moscow,  1836  ;  con- 
cert violinist  and  composer. 

Besler  (bas'-ler),  (i)  Samuel,  Brieg, 
Silesia,  1574 — Breslau,  1625  ;  rector 
and  composer.  (2)  Simon,  cantor 
at  Breslau,  and  composer,  1615-28. 

Besozzi  (ba-s6d'-ze),  the  name  of  4 
brothers,  all  oboists  except  (3).  (i) 
Ales.,  Parma,  1700 — Turin,  1775. 
(2)  Antonio,  Parma,  1707 — Turin, 
1781  ;  (3)  Hieronimo,  Parma,  1713 
— Turin  (?),  bassoonist.  (4)  Gaeta- 
no,  b.  Parma,  1727.  (5)  Carlo,  b. 
Dresden,  1745  ;  oboist,  son  of  (2). 
(6)  Hieronimo,  d.  1785  ;  son  of  (3) ; 
oboist.  His  son  (7)  Henri  was  a 
flutist,  and  father  of  (8)  Louis  De- 
sir6,  Versailles,  1814 — Paris,  1879; 
teacher  and  composer. 


5| 

;   vln- 
of  rJ 


Bessems  (bes'-sams).  A.,  Antwerp, 
1809 — 1868  ;  violinist  and  composer. 

Besson  (bus-soii),  Gv.  Aug.,  Paris, 
1820 — 1875  :  improver  of  valves  in 
wind-instruments. 

Best,  Wm.  T.,  Carlisle,  Engl.,  Aug. 
13,  1826 — Liverpool,  May  10,  1897  ; 
org. -virtuoso  ;  pupil  of  Young  ;  or- 
ganist at  various  ch.,and  the  Philh. 
Society ;  in  1880,  declined  knight- 
hood, but  accepted  Civil-List  pen- 
sion of  ^100  per  annum  ;  1894,  j 
retired  ;  1890  went  to  Sydney,  Aus-  i 
tralia,  to  inaugurate  the  organ  in  the 
new  Town  Hall  ;  composed  overtures, 
sonatas,  preludes,  etc.,  for  organ, 
also  2  overtures  and  march  for  orch 
and  pf. -pes.  ;  wrote  "  The  Artof  Or- 
gan-playing" etc. 

Betts,  J.  &  Edward,  London  ;   vln. 
makers  ;  pupils  and  successors 
Duke,  1760-80. 

Betz  (bets),  Fz.,  Mayence,  March  19, 
1835 — Berlin,  Aug.   12,    1900  ;   bary^ 
tone  ;  created  "  Wotan,  "  and  "Hansi 
Sachs."  I 

Beuer   (boi'-er),    Elise,  b.   Carlsbad; 
soprano,  studied  in  1S92  at  Vienna;}; 
City-Theatre,    Leipzig ;   1899,   Ham-ji 
burg  City  Theatre. 

Beunter     (boin'-ter),    Benj.,     Miihl- 
hausen,    1792 — 1837  ;    organist    andli 
composer. 

Bev'an,  Fr.  Chas.,  b.  London,  July  3,! 
1856;  pupil  of  Willing  and  Hoyteji 
organist  various  churches  ;  then  stud- 
ied singing  with  Schira,  Deacon  andj. 
Walker  ;  1877  Gentleman  of  thej 
Chapel  Royal ;  composed  pop.  songs.jj 

Bevignani  (ba-ven-ya'-ne),  Cavaliere 
Enrico,  b.  Naples,  Sept.  29,  1841;]^ 
pupil  of  Albanese,  Lillo,  etc.,  isti 
opera,  "  Caterina  Bloom  "  succ.  ; 
Czar  made  him  Knight  of  the  Ordei 
of  St.  Stanislas,  which  gives  nobilitj 
and  a  life-pension  ;  chiefly  noted  a; 
cond.  in  London,  Moscow  and  New 
York. 

Bev'in,  Elway,  Wales,  i56o(-7o?' 
— 1640  (?)  ;  Gentleman  of  the  Chape 
Royal  ;  organist,  writer  and  com 
poser. 


1 


DICTIONARY  OF  MUSICIANS   425 


Bex'field,  Wm.  Rd.,  Norwich,  1824 
— London,  1853  ;  organist  and  com- 
poser. 

Beyer  (b!'-er),  (i)  Jn.  Samuel, 
Gotha,  1669 — Carlsbad,  1744  ;  direc- 
tor. (2)  Rudolf,  Wiltlier,  1828— 
Dresden,  1853  ;  composer.  (3)  Fd., 
Querfurt,  1S05  —  Mayence,  1863; 
composer. 

Biaggi  (be-ad'-je),  Gir.  Ales.,  Milan, 
1815 — Florence,  1897;  prof.,  dram. 
composer,  writer  under  pseudonym 
"Ippolito  d'Albano." 

Bial(be'-al),(i)  Rudolf,  Habelschwerdt, 
Silesia,  1834 — New  York,  1881  ;  vi- 
olinist, writer  and  cond.  (2)  K., 
Habelschwerdt,  1833 — vSteglitz,  near 

I  Berlin,  1892  ;  bro.  of  above  ;  pianist. 
f'Bianchi  (be-an'-ke),  (i)  Fran,,  Cre- 
mona, 1752 — Bologna,  181  r:  organist; 
composed  47  operas.  (2)  Valentine, 
Wilna,  1839— Candau,  Kurland, 
1884  ;  dram,  soprano  ;  debut,  1855. 
(3)  Bianca  (rightly  Schwarz),  b.  in 
a  village  on  the  Neckar,  June  27, 
1S58  ;  dram. -soprano ;  pupil  of  Wil- 
czek  and  Viardot-Garcia  ;  Pollini 
paid  her  tuition  and  then  engaged 
her  for  10  years ;  debut  Carlsruhe, 
1873.  (4)  Eliodoro,  composed 
operas;  "  Gar  a  d' A  more"  (Bari, 
1S73)  ;   "Sarah"  ;  ''  Aliiianzor."' 

Sianchini  (be-an-ke'-ne),  P.,  b.  Ven- 

;  :    ice,  Oct.,   18,  1828;  violinist,  cond., 

1878-87,  teacher  at  Trieste,  then  dir. 

School  of  the  Padri  Armeni,  Venice  ; 

composer. 

3iber  (be'-ber),  (i)  H.  Jn.  Fz.  von, 
Wartenberg,  Bohemia,  1644 — Salz- 
burg, May  3,  1704  ;  vioUnist,  and 
one  of  the  founders  of  the  German 
school  of  vln. -playing  ;  Leopold  I. 
ennobled  him.  (2)  Aloys,  Ellingen, 
1804 — Munich,  1858  ;  piano-maker. 
3ibl  (beb'-'l),  (i)  Andreas,  Vienna, 
1797  ;  organist  and  composer,  as  was 
his  son  (2)  Rudolph,  b.  1832. 

Biedermann    (be'-der-man),  (i)   , 

about  1786  tax-receiver  at  Beichlingen, 
;;:■  i  Thuringia  ;  a  real  virtuoso  on,  and 
^A  \  improver  of,   the   hurdygurdy.        (2) 

•  i  Edw.  Julius,  b.  Milwaukee,   Wis., 


Nov.  8,  1849  (son  and  pupil  of  (3) 
A.  Julius)  ;  studied  in  Germany ; 
since  1888  organist  St.  Mary's  R.  C. 
Church,  New  York. 

Biehl  (bel),  Albert,  b.  Rudolstadt, 
Germany,  Aug.  16,  1833  ;  writer  of 
valuable  works  on  finger  technic  ;  and 
composer. 

Bierey  (ber'-T),  Gl.  Benedikt,  Dres- 
den, 1772 — Breslau,  1840  ;  conductor 
and  dram,  composer. 

Biese  (be'-ze),  Wm.,  b.  Rathenow, 
1822  :  piano-maker,  I>erlin. 

Bigaglia  (be-gjil'-ya).  Padre  Dio- 
genio,  1725  ;  Benedictine  monk  and 
composer. 

Bignami  (ben-ya-me),  (i)  Carlo,  Cre- 
mona, Dec.  6,  1808 — Voghera,  Aug. 
2,  1848;  cond.,  violinist  and  dir., 
Cremona  ;  Paganini  called  him  "  the 
iirst  violinist  of  Italy."  (2)  Enrico, 
1842  (?) — Genoa,  1894;  violinist, 
dram,  composer. 

Bignio  (ben'-yo),  Louis  von,  b.  Pesth, 
1839;  lyric  barytone  ;  Vienna  Court- 
Opera  ;  pensioned,  1883. 

Bigot  (be-g5),  M.  (nee  Kiene),  Col- 
mar,  Upper  Alsatia,  1786 — Paris, 
1820 ;  pianist. 

Bilhon  (or  Billon)  (be-yon),  J.  de, 
i6th  cent.  ;  composer  and  singer  in 
the  Papal  Chapel. 

Billema  (bel-la'-ma),  (i)  Carlo  (b. 
Naples,  ca.  1822)  and  (2)  Raffaele 
(Naples,  1820 — Saintes,  Dec.  25, 
1S74),  brothers  ;  pianists,  and  com- 
posers. 

Billert  (bel'-lert),  K.  Fr.  Aug.,  Alt- 
stettin,  1821 — Berlin,  1875  ;  painter 
and  writer. 

Billet  (be-ya),  Alex.  Ph.,  b.  St. 
Petersburg,  March  14,  18 17  ;  pianist 
and  composer. 

Billeter  (be-yu-ta),  Agathon,  Manne- 
dorf.  Lake  of  Zurich,  Nov.  21,  1834; 
organist,  conductor  and  composer  of 
pop.  part-songs. 

Billings,  Wm.,  Boston,  Mass., 
Oct.  7,  1749 — Sept.  29,  1800;  com- 
posed hymns  ;  introduced  the  pitch- 
pipe  and  .the  'cello  into  American 
church-choirs,   and    is  said   to  have 


426 


THE    MUSICAL    GUIDE 


given  the  first  concert  in  New  Eng- 
land. 
Bil'lington,  (i)  Th.,  pianist,  harp- 
ist and  composer,  latter  part  of  iSth 
cent.  (2)  Elizabeth  (nee  Weichsel), 
London,  ca.  1768 — near  Venice,  Aug. 
23,  1818  ;  pupil  of  her  father,  a  clar- 
inettist ;  then  of  J.  Chr.  Bach  ;  hand- 
some operatic  soprano,  had  a  compass 
of  3  octaves,  a-a"  (Vide  pitch,  d.  d.), 
1784,  Dublin  ;  1786,  Covent  Garden  ; 
retired,  1818. 

Billrot(h)  (bel'-rot),  (i)  Jn.  Gv.  Fr., 
Halle,  near  Lubeck,  1808— Halle, 
1836;  composer  and  writer.  (2) 
Theoflor,  Bergen,  Isle  of  Rugen, 
1829— Abbazia,  1894;  surgeon  and 
writer. 

Bilse  (bel'-se),  Benj.,  b.  Liegnitz,  Aug. 
17,1816;  "  Stadtmusikus  "  at  Lieg- 
nitz, and  trained  a  remarkable  or- 
chestra ;  retired  1894  as  "  Hofmusi- 
kus." 

Binchois  (Gilles  de  Binche,  called 
Binchois)  (bahsh-wa),  Binche,  in 
Belgian  Hainault,  ca.  1400 — Lille, 
1460 ;  one  of  the  early  Netherland 
composers ;  3-part  chanson,  ron- 
deaux,  etc.,  of  his  are  extant. 

Binder  (btnt'-er),  (i)  K.  Wm.  Fd., 
b.  Dresden,  1764  ;  harp-maker  at 
Weimar,  ca.  1797.  (2)  K.,  Vienna, 
1816— 1860;  conductor  and  dram, 
composer. 

Bini  (be'-ne),  Pasqualino,  b.  Pesaro, 
ca.  1720  ;  violinist. 

Bioni  (be-6'-ne).  A.,  b.  Venice,  1698  ; 
composed  26  operas. 

Biordi  (be-6r'-de),  Giov.,  Commis- 
sioned by  Pope  Benedict  XIIL  to 
supplement  Palestrina's  service  ;  this 
was  used  till  1731. 

Birch,  (i)  C.  Anne,  b.  ca.  1815  ;  pop. 
singer;  retired  1856.  (2)  Eliza,  ca. 
1830 — 1857  ;  sister  of  above  ;  sopra- 
no. 

Birch'all,  Robt.,  d.  1819  ;  music-pub- 
lisher, London. 

Birckenstock  (ber'-ken-shtok),  Als- 
feld,  1687  —  Eisenach,  1733  ;  con- 
ductor. 

Bird,  (i)  Wm.  Vide  byri>.  (2)  Arthur, 


b.  Cambridge,  Mass.,  July  23,  1856; 
pupil  of  Haupt,  Loschhorn,  and 
Rohde,  Berlin,  1875-77  ;  organist  and 
teacher  at  Halifax,  N.  S.;  founded 
the  first  male  chorus  in  N.  S.,  i83i  ; 
studied  comp.  and  orchestration  with 
Urban,  Berlin  ;  1885-S6  with  Liszt  at 
Weimar  ;  1886,  gave  a  successful 
concert,  and  has  lived  since,  in  Berlin, 
Griinewald  ;  composed  symphony  and 
3  suites  for  orch.;  various  pieces  for 
piano  ;  comic  opera  "  Daphne  "  (New 
York,  1897) ;  and  a  ballet,  "  Rube- 
zahir 

Birkler  (ber'-kler),  G.  Wm.,  1820— 
1S77  ;  composer  and  writer. 

Birnbach  (bem'-bakh),  (i)  K.  Jos., 
Kopernick,  Silesia,  1751 — Warsaw, 
1805 ;  conductor.  (2)  Jos.  Benj. 
H.,  Breslau,  1795 — Berlin,  1S79  ; 
pianist  and  composer  ;  son  and  pupil 
of  above. 

Bisaccia  (be-sat'-cha),  Giov.,  1815 — 
Naples,  1897  ;  singer,  conductor  and 
dram,  composer. 

Biscaccianti  (bes-kat-chan'-te),  Eli- 
za (nee  Ostinelli),  Boston,  Mass., 
1824  (7?) — 1896;  sang  in  America 
and  Europe,  in  opera  and  concert ; 
teacher  in  Rome  and  elsewhere  ;  m. 
Marquis  B. 

Bischoff  (besh'-6f),  (i)  G.  Fr.,  Ellrich, 
Harz  Mts.,  17S0 — Hildesheim,  1841  ; 
conductor  ;  founded  the  German  mus. 
festivals.  (2)  L.  Fr.  Ch.,  Dessau, 
1794  —  Cologne.  1867;  translator; 
son  of  (3)  K.  B.,  court-mus. ,  Dres- 
den. (4)  Kasper  Jakob,  Ansbach. 
1823 — Munich,  1893  ;  teacher  and 
composer.  (5)  Hans,  Berlin,  1852— 
Niederschonhausen,  near  Berlin,  1889; 
pf. -teacher,  conductor  and  editor. 

Bishop,  (i)  Sir  H.  Rowley,  London, 
Nov.  18,  1786 — April  30,  1855  ;  noted 
Engl,  composer ;  pupil  of  Bianca  ;  hif 
first  opera,  "  The  Circassian  Bride'' 
was  prod.  Drury  Lane,  when  he  was 
20;  i8ia-ii  comp.  and  cond.  at  Co- 
vent  Garden  ;  1813  alternate  cond. 
Philh.  Soc;  1825  cond.  at  Drur> 
Lane  ;  1830  musical  dir.  at  Vauxhall 
1841-43,    prof,    music,     Edinburgh 


{ 


DICTIONARY  OF  MUSICIANS   4^7 


knighted,  1842  ;  1848  prof,  of  music 
at  Oxford  ;  1S53,  Mus.  Doc.  (Oxon); 
prod,  over  80  operas,  farces,  ballets, 
an  oratorio,  cantata,  etc.  (2)  J., 
b.  Cheltenham,  1814  ;  organist,  editor 
and  compos'er, 

Bispham  (blsp'-ham),  David,  b.  Phil- 
adelphia, ca.  i860  ;  dram,  barytone  ; 
sang  in  church  and  oratorio  ;  18S5-87 
pupil  of  Vannuccini  and  Wm.  Shakes- 
peare ;  from  i8gi  in  opera  at  Covent 
Garden,  and  America,  with  much 
success  and  versatility;  and  also  in  re- 
citals, in  both  of  which  fields  his  high 
dramatic  intelligence  plays  an  unusual 
part  ;  is  brilliant  in  comic  or  tragic 
:     situations  ;  knows  more  than  40  roles. 

Bitter,  K.  Hermann,  8chwedt-on- 
,  Oder,  18 13 — Berlin,  1855  ;  Prussian 
:     Minister  of  Finance,  and  writer. 

Bitto'ni,  Bdo.,  Fabriano,  1755— 1829  ; 
organist. 

Bizet  (be-za),  G.  (Alex.  C^sar  Leo- 
pold), Paris,  Oct.  25,  1838— Rougi- 
val,  June  3,  1875  ;  brilliant  pianist 
and  distinguished  composer.  At  9, 
pupil  at  Paris  Cons,  of  Marmontel 
(pf.),  Benoist  (org.),  Zimmerman 
(harm.),  and  Halevy  (whose  opera 
"A'W"  he  finished,  and  whose 
daughter  Genevieve    he    m.)  ;    1857, 


took  Offenbach  ist  prize  for  an  opera 
buffa,  "  Lc  Docti-ur  Miracle  "  prod, 
at  Bouffes  Parisiens,  1863  ;  also  won 
the  Grand  Prix  de  Rome.  In  place  of 
the  /Mass  prescribed  he  sent  from 
Rome  a  2-act  Ital.  opera  buffa  ''Don 
Procopio  "  _,•  2  movements  of  a  sym- 
phony, "  La  Chasse  D  Ossian"  an 
overture;  and  "  Z«  Gusla  de  r  E- 
jiiii-"  A  comic  opera.  1836,  his  grand 
opera  ''  Les  Pecheurs  de  Ferles" 
was  prod.  Paris  (Th.  Lyrique) ;  it 
failed,  as  did  "La  Jolie  Lille  de 
Perth  "  (1867),  and  the  i-act  "  DJa- 
mileh  "  (1872).  In  all  his  music  B. 
revealed  a  strong  leaning  toward 
Wagner,  then  so  unpopular  in 
France;  but  1872,  his  overture  ''Pa- 
Irie,"  the  2  symphonic  movements, 
and  incidental  music  to  Daudet's 
L Arlcsicnne,  brought  him  success  ; 
and  "  Carmen  "  (Opera-Com.,  March 
3,  1875)  brought  him  a  fame,  which 
he  hardly  knew,  as  he  died  three 
months  later  of  heart  disease  ;  he  com- 
posed also  2  operas,  "  Nnma  "  (1871) 
and  ''Ivan  le  Terrible'''  ;  150  pf. -pes., 
songs,  etc.;  collaborated  with  De- 
libes,  Jonah  and  Legouix  in  opera 
"  Malbrotigh,  se)i  va-t-eti-gi4erre." 
Biog.  by  Pigot,    1886. 


Bizet. 

By  Edward  E.    Ziegler. 

AS  Bizet's  last  work  was  his  best,  it  is  logical  to  argue  that  his  un- 
timely death  has  cheated  us  of  compositions  more  valuable  than 
'^Carmen ;''''  but  beyond  mere  conjecture  such  an  estimate  can 
have  no  value  and  his  rank  among  opera-composers  must  be  determined  by 
Carmen.  That  the  stage  was  his  real  field,  is  proven  clearly  by  the  per- 
sistency with  which  he  composed  for  it,  and  a  study  of  his  different  efforts 
[proves  the  wisdom  of  his  choice,  for  there  are  no  masterpieces  among  his 
■songs,  or  among  his  piano-compositions,  and  even  his  most  successful  orches- 
:;ral  number  is  the  "  First  Suite  "  compiled  for  his  incidental  music  to 
'Daudet's  "  Z'y//-AV/V;//;^."  ^His  early  letters  confess  his  musical  creed: 
Mozart  and  Beethoven,  Rossini  and  Meyerbeer  ;  this  is  catholic,  to  say 
:he  least,  but  later  he  acknowledged  his  preference  for  the  Germans  in  gen- 


428 


THE    MUSICAL    GUIDE 


eral  and  Beethoven  as  the  master  of  all.  But  Bizet  was  a  stranger  to  the 
larger  forms  in  music — for  two  years  he  toiled  intermittingly  at  a  symphony 
and  produced  only  the  "  Roman  Suite  ^^  as  a  result — and  his  work  shows 
more  tendency  to  follow  Gounod' s  teaching  than  that  of  his  high  ideals. 
He  was  bitterly  accused  of  being  a  follower  of  Wagner  ;  Paris,  knowing  so 
lamentably  little  of  Wagner's  music,  then  condemned  that  of  Bizet's,  which  lii} 
it  did  not  like  or  could  not  understand,  by  labelling  it  "  Wagnerian,"  and 
thus  put  it  hopelessly  beyond  the  possibility  of  discussion.  As  a  matter  oi 
fact  there  is  no  trace  of  Wagner  to  be  found  in  Bizet's  music,  and  the  only;f 
resemblance  between  the  two  is  that  both  were  innovators  who  presentedii 
their  theories  about  dramatic  art  in  practical  forms,  proving  them  by  theii!: 
operas.  ^ Bizet  realised  the  sorry  state  of  the  French  operatic  stage,  but 
contented  himself  with  an  effort  at  reforming  the  minor  stage  of  the  Opera- 
Comique,  and  it  is  doubtless  due  in  a  great  measure  to  the  precedent  o: 
"  Car  men  ^^  that  to-day  the  Opera-Comique  is  on  a  higher  artistic  plane 
than  the  Opera.  ^[A  direct  musical  influence  it  would  be  difficult  to  tract 
to  Bizet.  As  an  orchestral  colourist  he  had  been  outdone  and  outdared  b} 
even  his  contemporaries  ;  nor  did  he  bequeath  to  us  a  new  art-form.  Bu 
because  he  demanded  a  more  sincere  libretto  than  any  of  those  with  whicj: 
that  maker  of  marionette  opera-books.  Scribe,  had  conjured  all  Paris,  anc 
because  in  his  music  he  did  not  fear  contact  with  throbbing  life,  he  com 
mands  our  respect.  His  work  shows  a  musical  sincerity  foreign  to  FrencJ 
composers  generally,  and  he  deserved  a  better  fate  than  a  sequence  of  failure 
ending  with  an  early  death. 


Blaes  (bias),  (i)  Arnold  Jos,,  Brus- 
sels, 1814 — 1892  ;  clarinettist.  (2) 
M.  Elisa,  Antwerp,  1820,  wife  of 
above  ;  teacher. 

Bla'grove,  (i)  H.  Gamble,  Notting- 
ham, 181 1 — London,  1872  ;  violinist. 
(2)  Richard  Manning,  Notting- 
ham, 1827 — London,  1895  ;  bro.  of 
above  ;  viola  prof.  R.  A.  M. 

Blahag  (bla'-hakh)  (or  Blahak),  Jo- 
sef, Raggendorf,  Hungary,  1779 — 
Vienna,  1846  ;  tenor,  conductor,  and 
composer. 

Blahet'ka  (or  Plahet'ka),  Marie- 
L€opoldine,  Guntramsdorf,  near 
Vienna,  1811 — Boulogne,  1887  ;  pi- 
anist and  dram,  composer. 

Blainville  (blan-ve'-yu),  Chas,  H., 
near  Tours,  171 1 — Paris,  1769;  'cel- 
list, writer  and  composer. 


Blake,  (i)  Rev.  Ed.,  b.  Salisbury,  d 
1765.  (2)  Chas.  Dupee,  b.  Walpole 
RIass.,  Sept.  13,  1847  ;  pupil  of  J.  C 
D.  Parker,  J.  K.  Paine,  etc.;  organic 
Union  Ch.,  Boston,  and  composer. 

Blamont  (bla-moii),  Fran.  Colin  df 
Versailles,  i6go — 1760;  supt.  of  th 
King's  music  and  composer. 

Blanc  (blan),  Adolphe,  b.  Manosqu* 
Basses-Alpes,  June  24,  1828  ;  pup 
Paris  Cons,  and  of  Halevy ;  con 
posed  3  operas. 

Blanchard  (blan-shar),  H.  L.,  Bo 
deaux,  1778— Paris,  1858 ;  violini 
and  critic. 

Blanckenburgh  (blank'-en-boorkh 
Gerbrandt  van,  organist  at  Goud. 
17th  century.     Vide  blankenburgi, 

Blancks,  Edw.,  English  compose 
i6th  cent. 


I 


DICTIONARY  OF  MUSICIANS    429 


Bland  (blant),  (i)  Maria  Theresa 
(ne'e  Romanzini),  1769 — 1S3S;  pop. 
Italian  singer  in  England  ;  married 
an  actor,  Bland,  and  had  two  sons. 
(2)  Chas.,  tenor.  (3)  James,  1798 — 
1S61,  bass. 

Blangini  (blan-je'-ne),  Giu.  Marco, 
M.  Felice,  Turin,  1781  —  Paris, 
1841  ;  organist. 

31ankenburg  (blank-en-boorkh),  (i) 
Quirin  van,  Gouda,  Holland,  1654 
— The  Hague,  1749;  probably  son 
of  Gerbrandt  van  Blancken- 
BrRGH(q.  V.)  ;  organist  and  writer.  (2) 
Chr.  Fr.  von,  Kolberg,  Pomerania, 
1744 — Leipzig,  1796;  Prussian  offi- 
cer and  composer. 

31aramberg  (bla-ram-berkh),  Paul  I., 
b.  Orenburg,  Russia,  Sept.  26,  1841  ; 

i  pupil  of  ISalakirew ;  lawyer,  then  ed- 

;  itor  ;  composed  succ.  operas,  ''Maria 
Ttidor"  (St.  Petersburg,  1882);  "  The 
First  Russian  Cot?iediafi" ;  "  Tusch- 
iiisky"  (Moscow,  1895). 

Jlas.     Vide  blaes. 

Jlasius  (blaz'-yiis),  Mathieu  Fr., 
Lauterburg,  Alsatia,  1758  —  Ver- 
sailles, 1829 ;  cond.  Op.  Comique, 
Paris  ;  composer. 

Jlassmann  (bliis'-man).  Ad.  Jos.  M., 
Dresden,  1823 — Bautzen,  1891  ;  pi- 
anist, court-conductor  and  writer. 

Jlatt  (blat),  Fz.  Thaddaus,  Prague, 
1793 — (?) ;  clarinettist  and  writer. 

Uauwaert     (blow'-vart),     Emil,    St. 

.Nicholas,  Belgium,  1845 — Brussels, 
1891  ;  barytone. 

tlauvelt  (blou'-felt),  Lillian,  b.  Brook- 

'  lyn,  N.  v.,  1870(7)  ;  soprano  ;  studied 
Nat.  Cons.,  N.  ¥.,  and  in  Paris;  af- 

:  ter  years  of  success  at  home,  toured 

'  Europe  since  rgoo  ;  decorated  in  Italy 
with  the  order  of  St.  Cecilia  ;  m.  Royal 
Smith  (189S  divorced) ;  m.  again  1901. 

■laze  (blaz),  (i)  (Called  Castil-Blaze) 
Fran.  H.  Jos.,  Cavaillon  Vaucluse, 
1784— Paris,  1857;  "The  father  of 
modern  French  musical  criticism  "  ; 
son  and  pupil  of  Henri  Sebastian  B.  ; 
wrote  scathing  "  L' Opera  en  France  " 
(1820) ;  was  made  critic  on  ''Journal 
des  De'dats,"  where  his  articles  were 


signed  "  XXX" ;  transl.  libretti  of 
German  and  Italian  operas ;  com- 
posed 3  operas,  several  "pastiches," 
etc.  (2)  H.,  Baron  de  Bury,  Avig- 
non, 1813— Paris,  1888  ;  son  of  above  ; 
writer. 

Bletzacher  (blat'-tsakh-er),  Jos., 
Schwoich,  Tyrol,  1835  —  Hanover, 
1895  ;  bass. 

Bleuer  (bloi'-er),  L.,  Buda-Pesth,  1863 
— Berlin,  1S97  ;  violinist ;  1883-93, 
leader  of  Philh.  orch.,  Berlin  ;  1894, 
of  Philh.  Club,  Detroit  (Michigan). 

Blew'itt,  (i)  Jonathan,  London, 
1782 — 1853  ;  organist  and  director  ; 
son  and  pupil  of  (2)  Jonas,  organist 
aiid  writer. 

Blied  (blet),  Jacob,  Bruhl-on-Rhine, 
1844 — 1884;  teacher  and  composer. 

Blitheman,  Wm.,  d.  1591;  organist, 
etc.,  at  Oxford. 

Bloch  (blokh),  G.,  b.  Breslau,  Nov.  2, 
1847  ;  pupil  of  Hainsch,  J.  Schubert, 
Taubert,  and  F.  Geyer ;  teacher  in 
Breslaur's  Cons.,  Berlin;  founded 
Opera      Society,     1879 ;      composer. 

Blockx  (blox),  Jan.,  b.  Antwerp,  Jan. 
25,  1851  ;  pianist  and  composer;  pu- 
pil, Flemish  Mus.  School  ;  from  1886, 
teacher  of  harm,  there  ;  1901  suc- 
ceeded Benoit,  at  Antwerp  cons.  ; 
composed  succ.  operas,  incl.  "  Mattre 
Martin  "  etc. 

Blodek  (bl6d-ek),  (i)  P.  Aug.  L.,  Paris, 
17S4 — 1856  ;  viola-player  and  dram, 
composer.  (2)  Wm.,  Prague,  1834 — 
1S74  ;  prof,  and  dram,  composer. 

Bloom  field-Zeisler  (tsis'-ler),  Fanny, 
b.  Bielitz,  Austrian  Silesia,  July  16, 
1866  ;  pianist ;  at  2  was  brought  to 
Chicago,  where  she  still  lives  ;  played 
in  public  at  10  ;  was  pupil  of  Ziehn 
and  Karl  Wolfsohn,  and  1876-81  of 
Leschetizky  ;  from  1883  has  toured 
America  with  distinction  ;  from  1893, 
Germany,  Austria,  England  and 
France  with  great  success. 

Blow,  John  (Mus.  Doc.  Oxon.),'  Col- 
lingham,  Nottinghamshire,  1648 — 
Westminster  (London),  Oct.  i,  1708  ; 
organist  Westminster  Abbey,  1680; 
was  superseded  by  Purcell,  whom  he 


430 


THE    MUSICAL    GUIDE 


in  turn  succeeded  ;  he  is  buried  in 
the  Abbey  ;  1674,  organist  and  (1699) 
composer  to  the  Chape!  Royal ;  be- 
ginning to  compose  as  a  boy,  he 
achieved  a  vast  amount  of  church- 
music. 

Blum  (bloom),  K.  L.,  Berlin,  1786— 
July  2,  1844;  actor,  singer,  poet,  or- 
ganist, 'cellist,  cond.,  and  composer; 
chamber-musician  to  the  Prussian 
Ct.,  1822  ;  stage  mgr.  ;  prod,  nearly 
30  operas,  ballets,  songs,  etc.;  also 
vaudevilles,  which  he  introduced  to 
the  German  stage. 

Blumenfeld  (bloo'-men-felt),  F.,  b. 
Kovalevska,  Russia,  April  7,  1863  ; 
pianist,  pupil  of  Th.  Stein  ;  took  gold 
medal  at  St.  Petersburg  Cons.;  com- 
posed ''Allegro  de  Concert"  with  or- 
chestra, etc. 

Blumenthal  (bloo'-men-tal),  (i)  Jos. 
von,  Brussels,  1782 — Vienna,  1850; 
violinist  and  dram,  composer.  (2) 
Jacob  (Jacques),  b.  Hamburg,  Oct. 
4,  1826 ;  pupil  of  Grund,  Bocklet, 
and  Sechter  (Vienna),  and  1846  of 
Herz  and  Halevy  ;  after  1848  in  Lon- 
don ;  pianist  to  the  Queen,  and  com- 
poser. (3)  Paul,  b.  Steinau-on- 
Oder,  Silesia,  Aug.  13,  1843  ;  pupil 
of  R.  A.,  Berlin,  1870;  organist, 
Frankfort-on-Oder  ;  from  1870,  "  R. 
mus.  dir. " ;  composed  masses,  mo- 
tets, etc. 

Blumner  (bloom'-ner),  (Dr.)  Mi.rtin, 
Furstenberg,  Mecklenburg,  Nov. 
21,  1827 — Berlin,  Nov.  6,  1901  ;  pupil 
of  S.  W.  Dehn  ;  1876,  cond.  of  Berlin 
Singakademie  ;  titles  "  R.  Musik-dir." 
and  "  Prof."  ;  composed  2  oratorios, 
''Abraham"  (i860),  and  '■' Der  Fall 
Jerusalems"  (1881)  ;  cantata  Colum- 
bus {i?,S2,);    Te  Deum.  etc. 

Bluthner  (bllit'-ner),  Julius  Fd.,  b. 
Falkenhain,  near  Merseburg,  March 
II,  1824;  piano-maker,  Leipzig, 
from  1853. 

Boccabadati  (bok-ka-ba-da'-te),  Lui- 
gia,  Parma — Turin,  1850  ;  soprano. 

Boccherini  (bok-ke-re'-ne),  Luigi, 
Lucca,  Italy,  Feb.  19,  1743 — Madrid, 
May  28,  1805;  'cellist;  toured  with  suc- 


cess ;  1797,  made  chamber-composer 
to  Friedrich  Wilhelm  IL,  of  Prussia, 
in  return  for  a  dedication  ;  after  the 
king's  death  B.'s  fortune  left  him,  and 
he  died  in  dire  poverty.  His  prolific 
and  often  fascinatingly  graceful  com- 
positions include  20  symphonies,  an 
opera,  an  orchestral  suite,  a  'cello- 
concerto,  2  octets,  16  sextets,  125 
string-quintets,  12  pf. -quintets,  18 
quintets  for  strings  and  flute  (or  oboe), 
91  string-quartets,  54  string-trios,  42 
trios,  sonatas  and  duets  for  vln.,  etc.; 
biog.  by  Picquot  (Paris,  185 1),  and 
Schletternd  (ileipzig). 

Boch  (bokh),  Fz.  de,  b.  Potenstein, 
Bohemia,  Feb.  14,  1808  ;  'cellist. 

Bochkoltz-Falco'ni  (bokh'-kolts),  An- 
na (rightly  Bockholtz),  Frankfort, 
1820 — Paris,  1870  ;  singer  and  com- 
poser. 

Bochsa  (bokh'-sa),  (i)  K.,  Bohemia- 
Paris,  1821  ;  oboist;  music-seller. 
(2)  Rob.  Nic.  Chas.,  Montmedy, 
Meuse,  Aug.  9,  1789 — Sydney,  Aus- 
tralia, Jan.  6,  1856  ;  son  and  pupil  of 
above  ;  composed  a  symphony  at  g, 
an  opera  at  16  ;  pupil  of  Fr.  Beck ; 
harpist  to  Napoleon  and  to  Louis 
XVin.;he  eloped  with  Sir  Henry 
Bishop's  wife,  made  tours  in  Europe 
and  America,  and  iinally  to  Australia ; 
composed  9  French  operas,  prod,  ir 
Lyons  (1804),  and  in  Paris  (1813-16) ; 
4  ballets  ;  an  oratorio,  etc. ;  wrote  z, 
standard  method  for  harp. 

Bockeler  (bek'-e-ler),  H.,  b.  Cologne 
July  II,  1836— 1862  ;  cond.  at  Aix 
le-Chapelle  ;  editor  and  composer. 

Bockh  (bekh),  Aug.,  Carlsruhe,  178; 
— Berlin,  1867;  writer. 

Bocklet  (bok'-let),  K.  M.  von,  Prague; 
1801 — Vienna,  188 1  ;   violinist. 

Bockmuhl  (bok'-mul),  Robt.  Emil 
Frankfort,  1820 — 1881  ;   'cellist. 

Bockshorn  (boks'-horn)  ("  Capricoi 
nus "),  Samuel,  Germany,  1629- 
Stuttgart,  1669  (?) ;  composer  an 
conductor. 

Bocquillon-Wilhem  (bok'-e-yon-vi 
ah),  G.  L.     Vide  wilhem. 

Bode  (bo'-de),  Jn.  Jos.   Chp.,  Barun 


«53 


DICTIONARY  OF  MUSICIANS    431 


Brunswick,  1730 — Weimar,  1793  ; 
oboist,  publisher  and  composer. 
Bodenschatz  (bo'^d'n-shats),  Erhard, 
Lichtenberg,  Saxony,  1570 — Gross- 
Osterhausen,  near  Querfurt,  163S  ; 
publisher. 
Boedecker  (ba -dek-er),  Louis,  Ham- 
burg, 1S45 — 1899;  teacher,  critic, 
and  composer. 
Boehm,  Boehme.  Vide  bohm  (e). 
Boekelman  (ba'-kel-man),  Bernar- 
dus,  b.  Utrecht,  Holland,  1838  ;  pu- 
pil and  son  of  A.  J.  B.  ;  director, 
studied  with  Moscheles,  Richter  and 
Hauptmann,  at  Leipzig  Cons.  ;  von 
Biilow,  Kiel,  and  Weitzmann,  at 
Berlin  ;  from  1866,  lives  in  New 
York  ;  founded  and  cond.  (till  1888) 
the  N.  Y.  Trio  Club  ;  1883-97,  mus. 
dir.  Miss  Porter's  School,  Farming- 
ton,  Conn.  ;  later  pianist  and  teacher 
in  New  York;  composed  orch.-pcs., 
etc.  ;  ed.  an  analytical  edition  of 
Bach's  "  Well-tempered  Clavichord" 
in  colours,  etc. 

Joellmann  (bwel'-man),  L€on,  Ensi- 
sheim,  Alsatia,  1862 — Paris,  1897  ; 
composer  and  teacher. 

loely  (bwel-e),  Alex.  P.  Fran., 
Versailles,  1785 — Paris,  1858  ;  pian- 
ist and  composer. 

Joers  (boors),  Jos.  Karel,  Nymwe- 
gen,  Holland,  1812— Delft,  1896  ; 
cond.  and  writer. 

toesset  (bw6s-sa),  (i)  A.,  Sieur  de 
Villedieu,  ca.  1585 — 1673  ;  intendant 
of musicto  Louis  XIH.  (2)  J.  B.,  1612 
— 1685  ;  son  and  successor  of  above  ; 
and  in  turn  succeeded  by  his  son.  (3) 
C.  J.  B.,  b.  ca.  1636. 

ioe'tius  (or  Boethius),  Ani  cius 
Manlius  Torqua'tus  Severi  nus, 
Rome  ca.  475 — executed  524(7) ;  em- 

■  inent  poet  and  writer  on  music. 

iiohlmann  (bol'-man),  Th.  H.  Fr.,  b. 

'  Osterwieck  am  Harz,  Germany,  June 
23,     1865  ;    pianist  ;    pupil     of  "  Dr. 

:  Stade,    Barth,    Klindworth,   Tiersch, 

'  d'Albert,     and    Moszkowski  ;    debut 

'  Berlin,  1890  ;  toured  Germany  ;  since 
1890  pf.  -  prof.  Cincinnati  Cons. 
U.  S.  A. 


Bohm  (b5m),  K.,  b.  Berlin,  Sept.  ir, 
1844  ;  pupil  of  Loschhorn,  Reiss- 
mann  and  Geyer  ;  pianist  and  com- 
poser in  Berlin. 

Bohm  (bam),  (i)  G.,  Goldbach, 
Thuringia,  1661 — Llineburg,  1734  ; 
organist  andclavichordist  ;  composed 
important  organ  preludes  and  suites. 
(2)  Elizabeth  Riga,  1756 — 1797  ; 
soprano,  m.  the  actor  B.  (3)  Theo- 
bald, Munich,  April  9,  1794 — Nov. 
15,  1881  ;  inv.  the  "Bohm  flute" 
(vide  D.  D.)  ;  flutist  and  composer  for 
flute  ;  "  Hofmusikus,"  and  player  in 
royal  orch.  (4)  Jos.,  Pesth,  1795 — 
Vienna,  1876  ;  son  and  pupil  of  above  ; 
violinist  and  prof.  (5)  Heinrich,  b. 
Blassia,  Bohemia,  1836 ;  composed 
35  operas  in  Bohemian.  (6)  Jos., 
Kuhnitz,  Moravia,  1841  —  Vienna, 
1S93  ;  organist,  cond.  and  director. 

Bohme  (ba'-me),  (i)  Jn.  Aug.,  1794  ; 
founder  of  pub.  house  at  Hamburg. 
His  son,  (2)  Justus  Eduard,  suc- 
ceeded him  in  1839  ;  and  his  grand- 
son, (3)  August  Eduard,  in    188';. 

(4)  Aug.  Julius  Fd,,  Ganderheim, 
Brunswick,    18 15 — 1883  ;    conductor. 

(5)  Fz.  Magnus,  Wellerstedt,  near 
Weimar,  1827  —  Dresden,  1898; 
teacher,  Dresden,  later  prof.  ;  com- 
poser, writer  and  collector. 

Bohmer  (ba'-mer),  K.  (Hermann 
Ehrfried),  The  Hague,  1799 — Ber- 
lin, 1884  ;  dram,  composer. 

Bohn  (bon),  Emil,  b.  Bielau,  near 
Neisse,  Jan.  14,  1839  ;  organist,  1884, 
founded  the  Bohn  Choral  Society, 
giving  historical  concerts  ;  lecturer, 
writer,  critic  and  composer  ;  R.  Prof, 
of  Music. 

Bohner  (ba'-n^r),  Jn.  L.,  Tottelstedt, 
Gotha,  1787 — near  Gotha,  i860; 
composer  ;  led  a  roving  life  of  drunk- 
enness and  talent ;  said  to  be  the 
original  of  Hofmann's  ''  Kreisler" 
[vide  Schumann]  ;  composed  opera, 
etc. 

Bohrer  (b5'-rgr),  (i)  Anton,  Munich, 
1783  —  Hanover,  1852  ;  violinist  ; 
composer  for  vln.  ;  a  co-member  of 
the  Bavarian  Court-orch.  and  concert- 


432 


THE    MUSICAL    GUIDE 


giver  with  his  brother,  (2)  Max, 
Munich,  1785— Stuttgart,  1867  ;  'cel- 
list. 

Boie  (boi'-e),  (i)  John,  b.  Altona, 
March  8,  1822 ;  violinist.  (2)  H., 
Altona,  Sept.  16,  1825 ;  bro.  of 
above  ;  violinist  and  dram,  composer. 

Boieldieu  (bo-eld-yu'),  (i)  Fran. 
Adrien,  Rouen,  Dec.  16  (not  15), 
1775 — Jarcy,  near  Grosbois,  Oct.  8, 
1834 ;  son  of  secretary  of  Archp. 
Larochefoucauld  and  a  milliner  ;  ap- 
prenticed to  the  intemperate,  brutal 
cathedral  organist  Broche,  he  ran 
away,  at  12,  and  walked  to  Paris, 
but  was  brought  back.  He  is  not 
known  to  have  had  other  teaching. 
At  18,  he  prod.  succ.  "  La  fille 
coHpable  "  (Rouen,  1793) ;  1795,  ''Ro- 
salie et  Afyrza,'"  text  of  both  by  his 
father.  Discouraged  in  a  planned 
Cons,  at  Rouen,  he  again  walked  to 
Paris,  and  subsisted  as  teacher  and 
piano-tuner  to  Erard.  The  tenor 
Garat  sang  his  still  pop.  songs,  in 
public,  and  won  him  a  publisher. 
1796,  "  Zrt!  Dot  de  Suzette"  in  one 
act,  was  prod,  with  succ.  (Opera- 
Com.)  ;  1797,  "La  famille  Suisse" 
(ran  30  nights  at  the  Th.  Feydeau)  ; 
179S,  he  pub.  sonatas,  and  a  pf. -con- 
certo, etc.  ;  1800,  prof,  of  piano,  Paris 
Cons.  "  Zoraime  et  Zulnare"  (1798), 
"  Beniowski"  and  "  Le  Calif e  de 
Bagdad"  (1800)  were  succ.  and 
ended  his  first  period,  one  of  light 
gracefulness.  He  now  studied  cpt. 
seriously,  probably  with  Cherubini, 
who  had  criticised  him.  After  3 
years'  silence,  he  reappeared  with  en- 
larged powers,  succ.  in  "  Ma  Tante 
Atirore"  (Th.  Feydeau,  1803).  In 
1802  he  m.  Clotilde  Mafleuroy,  a 
ballet-dancer;  1803,  he  went  to  St. 
Petersburg,  partially  perhaps  (but  not 
surely)  because  of  domestic  unhappi- 
ness,  and  became  cond.  of  the  Im- 
perial Opera,  writing  by  contract 
3  operas  annually,  and  a  number  of 
marches.  He  returned  to  Paris, 
181 1  ;  had  immense  succ,  particularly 
with  "  y><J!«  de  Paris"  1812;  1817 


prof,    of    comp.   at    the    Cons,    and 
member  of   Institut ;   1821,  Chevalier 
of  the  Legion  of  Honour  ;   1818,  "  Zf 
Petit  Chaperon  rouge"  was  succ,  fol- 
lowed, after  7  years'  silence,  by  "  La 
Dame  Blanche"  his  masterpiece.  His 
last     opera,     "  Les     Deux     Nuits" 
(1829),  failed.     His  wife  d.  1825,  and 
1827    he    m.    Mile.    Phillis,    a    sing- 
er,   who   was   a  devoted  wife.     The 
poverty  of   their   last   years  was   re- 
lieved   by  Thiers,  minister  of    Louis 
Philippe,  who  made  him  an  annuity 
of   6,000   francs.       He   died    at    his 
country-home,  of  pulmonary  trouble. 
B.'s    work    has   great   vivacity    and 
vitality  combined  with  musical  sweet- 
ness, and  rhythm  without  jingle.     His 
large   gifts    in    the    construction    of 
ensembles  are  seen  in  the  septet  and. 
chorus  at  the  end  of  the  2d  act  of 
"La   Dame    Blanche"    which  up  to 
1875  had  been  performed  1340  times 
at  the  same  theatre  ;  its  libretto  is  ai 
combination  of   2    of   Scott's   novels;] 
"The  Monastery  "  and  "Guy  Man-l' 
nering."      He  collaborated  with  Che- 
rubini  in  "La  Prisonjiiire"  (1799); 
with    Mehul,    Kreutzer,    and    others, 
in  "  Zi?  Baiscr  etla  Quittance  "  (1802); 
with  Cherubini,   Catel,   and    Niccolc 
Isouard,   in   "Bayard  a  M^ziires" , 
with    Kreutzer    in    "  Llenri   LV.  er. 
Voyage"    (1814);  with    Mme.    Gail, 
in   Angela   (1814)  ;    with    Herold  ir 
"Charles  de  France" ;  with  Cheru 
bini,     Berton,    and    others,    in  "  Lt 
Cour  des  FJes  "  (1821)  and   "  Phara 
viotid"  ;  with  Auber,  in  "  Les  Troi 
Genres  "  ;  with    Berton,   and  others 
in    "  La  Marquise  de   Brinvilliers. 
Biog.  by  A.  Pougin,  1875.      (2)  Adri 
en  L.  v.,  b.  Paris,  1816 — near  Pari? 
1883  ;  son  and  pupil  of  above  ;  drarr 
composer. 

Boisdeffre  (bwii-defr),  Chas.  H.  R^n 
de,  b.  Vesoul  (Haute-Savoie),  1838 
Chev.  of  Legion  of  Honour ;  con 
poser  of  religious  and  chamber  musii, 
the  latter  taking  Chartier  prize,  1882 
lives  in  Paris. 

Boise  (bois),  Otis  Bardwell,b.Oberlii 


- 


fe:: 


Wf*. 


I 


DICTIONARY    OF   MUSICIANS     433 


Ohio,  Aug.  13,  1845  ;  organist ;  i86i 
pupil  of  Hauptmann,  Richter,  Mos- 
cheles,  etc.,  Leipzig  ;  1864,  of  Kuilak, 
at  Berlin  ;  1864-70  organist  and 
teacher  in  Cleveland ;  1870-76,  in 
New  York ;  1876-78,  spent  in  Eu- 
rope ;  for  some  years  prominent  in 
Berlin  as  a  teacher  ;  igoi,  settled  in 
Baltimore ;  composed  symphonies, 
overtures,  pf. -concertos,  etc.,  wrote 
"Music  and  Its  Masters  "  (1902),  etc. 
Joisselot  (bwas-16),  (i)  J.  Louis, 
Montpellier,  17S5 — Marseilles,  1S47  ; 
piano-maker  at  Marseilles  ;  his  eldest 
son,  (2)  Louis  (1S09 — 1850),  was 
the  manager.  His  grandson,  (3) 
'  Fran9ois,  is  the  present  proprietor. 
:  (4)  Xavier,  Montpellier,  18 11 — Mar- 
seilles, 1893  ;  second  son  of  above  ; 
composer. 
ioito   (b5-e'-t6),    Arrigo,    b.    Padua, 

.  I  Feb.  24,  1S42;    poet,   soldier,    novel- 
\  ist,    editor,    essayist,    librettist,     and 

:  j  composer  ;  son  of  an  Italian  painter 

;  I  and  a  Polish  woman.     Pupil,  1853- 

.  (62,  of  Milan  Cons.,  almost  dismissed 
for  mus.  incompetence  (cf.  verdi)  ; 
composed  2  cantatas,  'Ml 4  di  Giug- 
no"  (i860),  and  'Me  Sorelle  d' Ita- 
lia" {i'Sit2),  in  collab.  with  Faccio  ; 
I  they  met  with  such  great  succ.  that 
•the  Govt,  gave  F.  and  B.  funds  for  2 

^  lyears  in  Paris  and  Germany.  B.had 
already  taken  up  Goethe's  " /^awj-^," 
:long  before  Gounod,  at  the  suggestion 
of  his  bro.  Camillo,  an  eminent  ar- 
chitect. B.  brought  back  from  Ger- 
many a  passion  for  Beethoven,  then 
little  heeded  in  Italy.  1S67  at  Paris, 
as  journalist  ;  then   Poland,  where  he 

;:  sketched  out  text  and  music  of  ''Mef- 
istofeles,"  which  was  prod,  at  Milan, 
■1868  {La  Scala),  after  52  rehearsals, 
and   with   great   hopes ;    but   it   was 

3:  'then  in  a  rather  shapeless  state,  and 
iGounod's  ''Faust'''  having  mean- 
while been  prod,  at  Milan  with  succ, 
iB.'s  work  was  hissed  by  some,  and 
having  provoked  riots  and  duels  was 
iivithdrawn  by  order  of  the  police.     It 

jj'  |was  remodelled  with  more  attention 
ko  stage  requirements  and  prod,  with 


great  succ.  at  Bologna,  Oct.  4,  1875. 
An  earlier  opera,  "  E}-o  e  Leandro,'^ 
was  never  prod.,  B.  lending  his  own 
libretto  to  I>ottesini,  and  later  to 
Mancinelli.  Other  libretti  of  his  are, 
Ponchielli's  "  Gioconda"  Verdi's 
"  Otello"  and  "  Falstaff"  Faccio's 
"  Amleto"  and  Coronaro's  "  Un  Tra- 
monto."  Two  operas  diligently  pre- 
pared but  still  refused  to  the  public 
are  "  Nerone"  and  "  Orestiade."  He 
has  translated  2  of  Wagner's  libretti 
into  Italian,  and  writes  often  under 
the  pseud.  "  Tobios  Gorria."  The 
King  made  him  "  Cavaliere,"  and 
"  Commendatore  "  ;  1892,  Inspector- 
Gen,  of  Technical  Instruction  in  the 
Italian  Cons,  and  Lyceums ;  1895 
Chevalier  of  the  Legion  of  Honour. 
He  lives  in  Milan. 

Boick  (bolk),  Oskar,  Hohenstein, 
1837 — Bremen,  1888 ;  dram,  com- 
poser. 

Bol'la,  ,  Italian  prima  buffa  so- 
prano ;  last  of  i8th  centurv. 

Bolsetti  (bol-set'-te),  1789;  buffo; 
with  his  wife  played  principal  roles  in 
comic  operas,  London. 

Bolte  (bol'-te),  Jns,,  contemporary 
German  writer. 

Bomtempo  (b6m-tam'-p6),  Joao  Do- 
mingos,  Lisbon,  1775 — 1842  ;  pian- 
ist, director  and  writer. 

Bona  (bo'-nii),  Giov.,  Mondovi,  1609 — 
Rome,  1674  ;  cardinal  and  composer. 

Bonawitz  (bo'-na-vets)  (or  Bonewitz), 
Jn.  H.,  b.  Durkheim-on-Rhine,  Dec. 
4,  1839 ;  pupil  Liege  Cons,  till  1852, 
then  brought  to  America  ;  1872-73 
cond.  "  Popular  .Symphony  Concerts," 
New  York;  1873,  toured  U'.  S.;  prod.  2 
operas  in  Philadelphia  ;  1876,  ret.  to 
Europe  ;  lives  in  Vienna  and  London. 

Bond,  Hugh,  d.  England,  1792  ;  or- 
ganist. 

Bonicke  (ba'-nT-ke),  Hermann,  En- 
dorf,  1821 — Hermannstadt,  Transyl- 
vania, 1879;  conductor,  composer 
and  writer. 

Boniventi  (bo-nT-ven'-te)  (or  Bone- 
venti),  Gius,  b.  Venice,  ca.  1660 ; 
conductor  and  dram,  composer. 


434 


THE    MUSICAL    GUIDE 


Bonnet  (bun-na),  (i)  Jacques,  Paris, 
1644 — 1724  ;  writer.  (2)  J.  Bap., 
b.  Montauban,  1763  ;  organist  and 
composer. 

Bonno  (bon'-no)  (or  Bono),  Jos.,  Vi- 
enna, 1710 — 17S8  ;  court-cond.  and 
dram,  composer. 

Bonomet'ti,  Giov.  Bat.,  Italian  com- 
poser ;     pub.    motets,    Venice,    1615. 

Vide  BUONAMENTE. 

Bononcini  (bo-non-che'-ne),  (t)  Giov. 
M.,  Modena,  1640 — Nov.  ig,  1678  ; 
conductor,  composer  and  writer  of  Bo- 
logna. (2)  Wlio  usually  wrote  it  Buo- 
noncini  (boo-o-non-che'-ne),  Giov. 
Bat.,  Modena,  1660 — Venice  (?), 
1 7 5*3  0)  !  son  and  pupil  of  above  ; 
studied  with  Colonna  and  Buoni 
('cello),  at  Bologna  ;  1685-91,  pub.  7 
vols,  masses  and  instr.  mus.  ;  in 
1690,  court  'cellist  of  Vienna  ;  1694, 
Rome,  prod.  2  operas  "  Tu//o  Osti- 
/io"  and  ''  Serse"  /  1699-1701  prod. 
2  operas  at  Vienna;  1703-5,  at  Ber- 
lin as  court-composer  ;  prod.  "  Po/t- 
femo"  (1703) ;  ret.  to  Vienna,  where 
6  new  operas  were  prod.  In  17 16, 
invited  to  London  as  cond.  and  com- 
poser for  the  new  King's  Theatre, 
and  to  rival  Handel  ;  this  provoked  a 
famous  and  bitter  war  with  some  suc- 
cess for  B.,  who  prod.  8  operas,  1702- 
27;  but  in  173 1  he  was  caught  in  a 
plagiarism  from  A.  Lotti  (a  crime  of 
which  Handel  was  by  no  nieans  guilt- 
less himself)  ;  1733  an  alchemist 
swindled  him  from  affluence  to  bank- 
ruptcy. Later  he  appeared  in  Paris 
and  prod,  a  motet  for  the  "  Chapelle 
royale,"  playing  the  'cello-accomp. 
before  the  King ;  1737  his  opera 
"  Alessandro  in  Sidone"  and  an  ora- 
torio, "  Ezcchia"  were  prod,  in  Vien- 
na ;  1748,  he  was  called  to  Vienna  to 
write  peace-festival  music  and  later 
went  to  Venice  as  theatre-composer, 
a  post  retained  at  least  till  he  was  90. 
(3)  Marco  An.,  Modena,  1675  (?)— 
1726 ;  bro.  of  above ;  court-cond. 
there;  prod.  11  operas  highly  rated 
by  Padre  Martini  ;  also  composed  an 
oratorio, 


Bonporti  (bon-por'-te),  F.  A.,  Trient, 
ca.  1660 ;  Imperial  Counsellor  and 
composer. 

Bontempi  (bon-tem'-pe)  (surnamed 
Angelini),  Giov.  Andrea,  Perugia, 
ca.  1624 — Bruso,  near  Perugia,  1705; 
dram,  composer  and  writer. 

Bonvin  (boh-van),  L.,  b.  Siders,  Switz- 
erland, Feb.  17,  1850;  mainly  self- 
taught  ;  studied  medicine,  Vienna ; 
entered  Jesuit  novitiate  in  Holland ; 
became  organist  and  choirmaster; 
from  1887,  mus.  dir.  Canisius  College, 
Buffalo,  N.  v.;  pub.  3  masses,  etc. 

Boom  (bom),  (i)  Jan.  E.  G.  van 
(Senior),  b.  Rotterdam,  April  17, 
1783  ;  flutist  and  composer  for  flute. 
(2)  Jan.  (Jns.)  van,  Utrecht,  1807— 
Stockholm,  1872  ;  son  of  above  ;  pian- 
ist, professor  and  dram,  composer.  (3) 
Hermann  M.  van,  Utrecht,  1B09— 
1883  ;  son  and  pupil  of  (i)  ;  flutist. 

Boorn  (born),  Eduard  van  den,  1831 
— Liege,  i8g8  ;  pianist  and  critic. 

Boo'sey,  Thos.  (1825),  founded  the 
London  pub.  house  of   Boosey  &  Co. 

Boott,  Francis,  b.  Boston,  Mass., 
June  21,  1813  ;  pupil  of  L.  Picchi- 
anti,  in  Florence  ;  lived  in  Cam- 
bridge, Mass.;  composed  under  pseud. 
"Telford." 

Bord(b6r),  Antoine,  Toulouse,  1814— 
Paris,  1888  ;  pf.  maker  and  inventor. 

Bordese  (bor-da-ze),  Luigi,  Naples, 
1815 — Paris,  18S6  ;  singing  teacher 
and  dram,  composer. 

Bordier  (b6rd-ya),(i)  L.  Chas.,  Paris, 
1700 — 1764;  abbe,  conductor,  com- 
poser and  writer.  (2)  Jules,  1846  (?' 
— Paris,  1896  ;  dram,  composer. 

Bordogni  (bor-don'-ye),  Giulio  Mar- 
co, Gazzaniga,  Bergamo,  1788— 
Paris,  July  31,  1856  ;  distinguishec 
tenor  and  singing  teacher  ;  prof 
Paris  Cons.  ;  pub.  standard  ''Vocal 
ises." 

Bordo'ni,  Faustina.  Vide  hasse,  fau 

STINA. 

Borghi  (bor'-ge),  Luigi,  Italian  violin 
ist,  came  to  London,  ca.  1780  ;  pub 
symphonies,  excellent  music  for  vln 
etc. 


kia 


DICTIONARY  OF  MUSICIANS    433 


iorghi-Marao  (ma-mo), (i)  Adelaide, 

Bologna,  1S29 — 1901;  mezzo-soprano; 
debut,  1846,  at  Urbino,  where  she 
was  engaged  ;  then  in  \'ienna  and 
Paris  ;  later  lived  in  Florence  ;  her 
daughter  (2)  Erminia,  soprano  ;  de- 
but 1875,  Bologna;  sang  in  Italy  and 
Paris. 

orjon  (b6r-zh6n),C.  E.,  1633 — Paris, 
1691  ;  musette-virtuoso  and  compos- 
er. 

orodin  (bo'-ro-den),  Alex.  Porphyr- 
jevitch,  St.  Petersburg,  Nov.  12, 
I  1834— Feb.  27  (28?),  1887  ;  composer 
lOf  the  neo-Russian  school;  Prof,  at 
the  St.  P.  medico-surg.  Institute ; 
Counsellor  of  State  ;  Knight ;  pres. 
of  Mus.  Soc.  of  Amateurs  ;  at  Balaki- 
rev's  suggestion  studied  music  ;  com- 
posed opera,  ''Prime  Igor"  (fin- 
jished  after  his  death  by  Rimsky- 
iKorsakov,  and  prod.  succ.  i8gi)  ; 
:3  symphonies;  symphonic  poem; 
'.scherzo  for  orch.,  2  string-quartets, 
pf.  pes.,  etc.;  biog.  by  A.  Habets, 
in  English,  London,  1S95. 
Dfoni  (bo-ro'-ne)  (or  Buroni),  A., 
Rome,  1738 — 1797  ;  court-conductor. 
Drtnianski  (bort-nyan'-shkl)  (or 
Bartnansky),  Dimitry  Stefano- 
vitch,  Gluchov,  Ukraine,  1752— St. 
Petersburg,  Sept.  28  (Oct.  9),  1825  ; 
!choir  dir.  and  dram,  composer,  called 
l"Xhe  Russian  Palestrina  ;  "  pupil  of 
iGaluppi,  under  patronage  of  Empress 
Catherine  ,  1779-96  dir.  of  her  choir; 
then  of  her  orchestra. 
hr'wick,  Leonard,  b.  Walthamstow, 
Essex,  Engl.,  1868  ;  London  pian- 
j^st  ;  pupil  H.  R.  Bird,  and  Clara 
Schumann,  B.  Scholtz,  and  Ivan 
Knorr  at  Frankfort  Cons.;  debut,  at 
London  Philh.  Concert,  1890 ;  toured 
Germany,  1895-96. 

l>s  (bos),  Coenraad  V.,  b.  Leiden, 
Dec.  7,  1875  ;  studied  Amsterdam 
Cons.;  played  in  Berlin,  a  member 
}f  the  "  Dutch  Trio"  with  J.  M.  van 
^''een  and  J.  van  Lier. 
Jischi  (bos'-ke),  (i)  Gius,  celebrated 
)asso,  i8th  cent.;  his  wife  was  (2) 
Franceska  Vanini,  contralto. 


Bosendorfer  (ba -zen-dorf-er),  firm  of 
Vienna  pf. -makers  founded  by  (r) 
Ignaz  B.,  Vienna,  i795— 1859  ;  later 
managed  by  his  son  (2)  Ludwig,  b. 
Vienna,  1835. 

Bosio  (b6'-zl-6),  Angiolina,  Turin, 
1830 — St.  Petersburg,  1859  I  mezzo- 
soprano. 

Bos' si  (bos'-se),  (i)  Pietro  B.,  Mor- 
begno,  1834 — 1896  ;  organist.  (2) 
Marco  Enrico,  b.  Salo,  Brescia, 
Italy,  April  25,  1861  ;  son  and  pupil 
of  above  ;  1881-91,  conductor  and 
organist  at  Como  Cath.;  then  till 
1895,  prof,  of  org.  and  harm.  Naples  ; 
since  1896,  dir.  and  prof.  Liceo  Ben- 
edetto Marcello,  Venice  ;  member  of 
the  permanent  govt,  commission  for 
musical  art ;  Chevalier  of  the  Italian 
Crown  and  of  the  Spanish  order  of 
Isabella  la  Catolica ;  composed  2 
l-act  operas,  ''  Paquita"  and  " // 
Vcggente  "  ;  4-act  melodrama  ''  L' An- 
gela Delia  A'otte  "  (Como)  ;  symph. 
poem  " //  Cieco"  (1897),  with  tenor 
solo,  and  chorus;  "  Westminster 
Abbey"  Inno  di  Gloria^  for  chorus 
and  organ  ;  Requiem  Masses,  etc. ; 
wrote  important  '"  Metodo  di  Studio 
per  VOrgano  moderno"  with  G.  Te- 
baldini  (Milan,  1893). 

Bote  und  Bock  (bo'-tg  oont  bok), 
firm  of  mus.  pubs.,  Berlin,  est.  1838 
by  Eduard  Bote  and  Gustav  Bock. 
(2)  Hugo  Bock,  present  head. 

Botel  (ba'-tel),  H.,  b.  Hamburg,  May, 
1858;  tenor;  as  cab-driver  was  "  dis- 
covered "  by  Pollini  ;  now  leading 
lyric  tenor,  Hamburg  City  Thea- 
tre. 

Botgorschek  (bot-gor'-shek),  Fz., 
Vienna,  1812 — The  Hague,  18S2  ; 
teacher,  flutist,  and  composer. 

Bott  (bot),  Jean  Jos.,  Cassel,  March 
9,  1826 — New  York,  April  30,  1895  ; 
violinist  ;  son  and  pupil  of  a  court- 
musician  ;  1852,  court-conductor  ; 
1878  pensioned  ;  1885  came  to  New 
York  ;  composed  2  operas,  etc. 

Bottee,  de  Toulmon  (dii  toomoh  bot- 
ta),  Aug.,  Paris,  1797— 1850;  'cel- 
list and  writer. 


43^ 


THE    MUSICAL    GUIDE 


Bottesini  (bot-te-se'-nc),  Giov.,  Cre- 
ma,  Lombardy,  1823 — Parma,  1889  ; 
double-bass  virtuoso  ;  conductor  and 
dram,  composer. 

Bot'tomley,  Jos.,  b.  Halifax,  York- 
shire, 1786  ;  organist,  violinist  and 
writer. 

Bottrigari  (b6t-tre-ga'-re),  Ercole, 
Bologna,  Aug.  1531 — S.  Alberto, 
Sept.  30,  1612  ;  wrote  3  learned  theo- 
retical treatises,  each  called  by  the 
name  of  a  friend  (a)  Patrizio,  (b)  De- 
siderio,  and  (c)  Melone. 

Boucher  (boo-sha),  Alex  J.,  Paris, 
April  ir,  1778 — Dec.  29,  1861  ;  vln.- 
virtuoso  ;  a  charlatan  but  amazing  in 
technic  ;  played  before  the  court  at  6; 
composed  vln. -concertos  ;  his  wife 
was  a  clever  harpist,  also  eccentric, 
playing  duets  with  one  hand  on  harp 
and  one  on  a  piano. 

Bouichfere  (bwe-shar),  Emile,  i860 
(?)— Paris,  Sept.  4,  1895  ;  pupil  of  G. 
Lefevre's  Acad.  ;  est.  a  vocal  acad. 
1892  ;  composed  valuable  sacred  and 
chamber  music. 

Boulanger  (boo-lah-zha),  (i)  Marie 
Julie  (nee  Halliger),  17S6— 1S50; 
dram,  singer.  (2)  Henri  Alex.  An- 
dr6  Ernest,  b.  Paris,  Dec.  16,  1S15. 
Son  of  above.  Pupil  of  Lesueur  and 
Halevy  at  the  Cons.,  taking  Grand 
Prix  de  Rome,  1835 ;  prof,  there 
1871.  Composed  many  operettas  for 
Opera  Comique.  Legion  of  Honour, 
1S6S. 

Bourgault-Ducoudray  (boor-go-dii- 
koo-dre),  Louis-Albert,  b.  Nantes, 
Feb.  2,  1840.  Pupil  of  Thomas  at 
Paris  Cons.,  taking  Grand  Prix  de 
Rome,  1862  ;  prof,  of  mus.  hist,  at 
the  Cons.  1S78  ;  wounded  as  volun- 
teer at  siege  of  Paris  ;  later  visited 
Greece  and  wrote  on  Oriental  music. 

Bourgeois  (boor'-zhwa),  (i)  Loys 
(Louis),  Paris,  ca.  1510 — ?;  disciple 
of  Calvin  ;  1545-57,  Geneva;  one  of 
the  first  to  harmonise  the  French 
melodies  ;  wrote  "  Le  droict  chemin 
de  musique"  proposing  the  naming 
the  tones  after  solmisation-syllables, 
a  system  since  prevalent  in  France. 


(2)  Louis  Thomas,  Fontaine  I'fi- 
veque,  1676 — Paris,  1750;  tenor  and 
composer  ;  d.  in  poverty. 

Bourges  (boorzh),  (i)  Clementine  de, 
d.  1561  ;  notable  woman-composer. 
(2)  J.  Maurice,  Bordeaux,  1812 — 
Paris,  1881  ;  critic  and  dram,  compos- 
er. 

Bousqu^  (boos-ka),  G.,  Perpignan, 
18 18— St.  Cloud,  1854  ;  conductor  at 
the  Paris  Opera  (1S47)  ;  critic  and 
dram,  composer. 

Bovdry  (b5-va-re),  Jules  (rightly 
Bovy  (bo  ve),  A.  Nic.  Jos.),  Liege, 
1808— Paris,  186S  ;  self-taught  violin- 
ist, conductor  and  dram,  composer. 

Bovicelli  (bo-vl-chel'-le),  Giov.  Bat., 
b.  Assisi  ;  writer  at  Milan,  1594. 

Bovy  (b5'-ve),  (i)  Chas.  Sml.  (known 
under  pseud.  Lysberg),  Lysberg,, 
near  Geneva,  1S21 — Geneva,  1873;' 
composer.     (2)  Vide  boverv. 

Bow'ley,  R.  K.,  London,  1813 — 1870;. 
conductor  and  composer. 

Bowman,    Ed.  Morris,   b.  Barnard, 
Vt.,  Julv  18,  1848  ;  pupil  Wm.   Ma- 
son, and  J.  P.  Morgan,  at  New  York, 
1866  ;    1867-70,    organist    St.  Louis, 
Mo.  ;    studied    in    Berlin   and    Paris. 
1873;  1874,  St.  Louis;   1881  studiec 
under  Bridge,  Macfarren,  Turpin,  anc 
Guilmant  ;  was  the  first  American  tc  | 
pass  the  examination  of  the  Londoi   ' 
R.  Coll.  for  Organists  ;  1884,  one  0 
the  founders  of  Amer.  Coll.  of  Mu 
sicians  ;  organist,   Brooklyn,    N.  Y. 
1891-95,  prof,  of  music  Vassar  Coll. 
1S95   founded  the  "  Temple   Choir,' 
Brooklyn   (200  voices);  cond.  alsoth 
Newark  Harmonic  Soc.  and  the  Ce 
cilian  Choir. 

Boyce  (bois),  Wm.,  London,  1710-  ■ 
Kensington,  1779  ;  organist  and  coir  ■ 
poser. 

Boyer  (bwa-ya)  (L.  Jos.  Victor 
Georges,  b.  Paris,  July  21,  185c 
won  Prix  Rossini,  with  libretto  c 
""  Herode"  (vide  chaumf.t),  wrol 
libretti  for  "  Le  Portrait  de  Manon  . 
(Massenet),  etc. 

Brad  bury,  Wm.  Batchelder,  Yor! 
Me..  1816— Montclair,    N.  J.,  1868 


DICTIONARY  OF  MUSICIANS    437 


teacher,  conductor,  piano-maker,  and 
editor. 

{fade  (bra-de),  Wm.,  b.  England, 
lived  and  died  at  Frankfort,  1647  ; 
player  of  the  viol.,  etc. 
>radsky  (brat'-shke),  Wenzel  Th., 
Rakovnik,  Bohemia,  1833 — 18S1  ; 
dram,  composer. 

raga  (bra'-ga),  Gaetano,  b.  Giulia- 
nova,  Abruzzi,  June  g,  1829  ;  'cellist, 
pupil  of  C.  Gaetano  (1841-52)  ;  lived 
at  Florence,  Vienna,  Paris,  and  Lon- 
don and  toured  Europe  ;  dram,  com- 
poser ;  also  wrote  ' '  JMetodo  di  Vio- 
loii  cello." 

iraham  (rightly  Abraham),  J.,  b. 
London,  1774— Feb.  17,  1856  ;  noted 
tenor  ;  compass  3  octaves  ;  composed 
pop.  ballads. 

rahmig  (bra'-mikh),  Julius  Bd., 
Hirschfeld  (Merseburg),  1S82— Det- 
nold,  1S72  ;  teacher  and  writer. 
rahms  (brams),  Jns.,  Hamburg, 
May  7,  1833 — Vienna,  April  3,  1897; 
son  and  pupil  of  a  double-bass 
player  in  the  Hamburg  City  Theatre, 
ilater  studied  with  j\Iar.\sen  of  Altona  ; 
!debut  Hamburg,  at  14,  playing  his 
bwn  variations  on  a  folk-song;  1853, 
Itoured  with  Remenyi.  Joachim  heard 
.lim  and  sent  him  to  Schumann,  at 
Diisseldorf.  Schumann,  with  charac- 
iieristic  openness  of  mind  and  enthusi- 
asm, pub.  an  article  in  the  A'eue 
Zeitschrift  fiir  Miisik,  greeting  B.  as 
:he  new  Messiah  of  music,  a  welcome 
::hat  was  a  mi.xture  of  blessing  and 
iiane, embarrassing  the  young  Brahms 
{.vith  a  mission  that  was  a  white  ele- 
)hant  on  his  hands  ;  for  he  forsook 
he  romanticism  which  Schumann, 
>nd  later  Liszt  expected  of  him,  and 
00k  up  a  determined  classicism  in  the 
>natter  of  form,  in  which,  howe\'«r, 
'.le  made  many  modifications  to  suit 
[lis  enormous  intellectuality  and  tech- 
jiical  resource.  This  early  welcome 
jlso  gave  him  over  to  be  bandied  be- 
iween  believers  like  Hanslick  who 
Vere  frantic  to  find  an  opponent  to 
he  progress  of  Wagner,  and  sceptics 
.•ho  would  not  have  him  praised  for 


any  quality.  Schumann's  advocacy  did 
not  save  B.'s  publication  and  concert 
performance  of  his  3  pf. -sonatas  and 
3  books  of  songs  from  failure.  After 
serving  for  a  time  as  cond.  to  the 
Prince  of  Lippe-Detmold,  he  retired 
for  study  to  Hamburg,  1858-62.  1862 
Vienna  ;  1863-64  cond.  of  the  Sing- 
akadeinie  there  ;  1864-69  Hamburg, 
Zurich,  Baden-Baden,  etc.,  and 
made  tours  with  Stockhausen  ;  1869, 
Vienna,  which  was  afterward  his 
head-quarters.  In  1871-74,  cond. 
"  Gesellschaft  der  Musikfreunde." 
In  1877  Cambridge  University  offered 
him  the  degree  of  Mus.  Doc,  which 
offer  he  ignored,  accepting,  1881,  Dr. 
phil.  from  Breslau  and  writing  in 
acknowledgment  the  ''  Akadeviische 
Festoiivcrtiire  ;  "  1886,  a  knight  of  the 
Prussian  Ordre  pour  le  Merite,  with 
voting  privilege,  and  a  member  of 
the  Berlin  Acad,  of  Arts.  1889  pre- 
sented with  the  freedom  of  Hamburg. 
His  "  German  Requiem"  op.  45  (the 
first  3  choruses  given  in  Vienna,  1867), 
was  given  complete  in  the  Bremen 
cathedral,  April,  1868,  and  estab- 
lished him  on  a  peak  where  he  has 
since  remained  while  the  storms  of 
debate  rage  below  him.  He  wrote  in 
almost  every  form  but  opera  (he  had 
considered  that  at  one  time)  but  ad- 
mitted he  "knew  nothing  about  the 
theatre."  He  valued  Wagner's 
scores,  and  owned  several  Wagner 
autographs  ;  Wagner,  however,  said 
"Brahms  is  a  composer  whose  im- 
portance lies  in  not  wishing  to  create 
any  striking  effect."  His  first  sym- 
phony, on  which  he  had  spent  10 
years,  made  a  sensation  when  prod. 
1876.  His  vln. -concerto  when  first 
shown  to  Joachim  was  so  impossible 
to  the  vln.  that  J.  laughed  at  it  till 
tears  poured  down  his  cheeks  ;  he  is 
said  to  have  materially  assisted  in  its 
revision.  Brahms  was  a  brilliant  pian- 
ist in  his  youth  ;  in  his  20th  year,  at  a 
concert  with  Remenyi,  the  piano  was 
discovered  to  be  a  semitone  below 
concert-pitch ;    B.,   playing   without 


438 


THE    MUSICAL    GUIDE 


notes,  transposed  the  accompaniment 
to  Beethoven's  "  Kreutzer"  sonata,  a 
semitone  higher  throughout.  [Beet- 
hoven similarly  transposed  his  own 
concerto  in  C  to  Of  at  a  rehearsal.] 
Biog.  by  H.  Deiters  (Leipzig, 
1880,  Part  II.,  1898,  in  Engl.,  Lon- 
don, 1888) ;  B.  Vogel  (Leipzig)  ; 
Widmann  (Berlin,  1898) ;  A.  Dietrich 
(Leipzig,  1898). 

Compositions  (exclusive  of  Songs  for 
one  voice  with  pf.).  For  orch. 
Symphonies,  Op.  68,  in  C  minor,  Op. 
73,  D,  op.  90,  F,  op.  98,  E  minor; 
overtures,  op.  80,  Akadeniische  Fest- 
over litre  ;  op.  81,  Pragische  Ouver- 
tiire  ;  op.  11 — 16,  serenades  ;  op.  56, 
variations  on  a  theme  of  Haydn's. 
Chamber  Music.  Op.  8,  trio  for 
pf.,  vln.,  'cello ;  18,  36,  sextet  for 
strings  ;  40,  trios,  pf.,  vln.,  horn  ;  114, 
pf. ,  clar.  and  'cello;  51,  two  string- 
quartets;  67,  string-quartet ;  88,  III, 
string-quintet  ;  115,  quintet  for  clar. 
and  strings. 

For  Piano,  op.  i,  2  and  5,  sonatas  ;  4, 
scherzo  ;  9,  variations  on  a  theme  by 
Schumann  ;  10,  four  ballads  ;  15,  83, 
concertos ;  21,  35,  variations  ;  24, 
variations  and  fugue  on  theme  by 
Handel;  op.  76,  8  pes.;  79,  2  Rhap- 
sodies ;  116,  Fantasien  ;  117,  3  Inter- 
mezzi ;  118,  6  Clavierstlicke  (3  Inter- 
mezzi, Ballades,  Romanze)  ;  119,  4 
Clavierstiicke  (3  Intermezzi,  Rhapso- 


die  ; — unnumbered — Cluck's  gavotte, 
and  2  studies).  P'or  piano,  4  hands,  op. 
23,  variations  on  a  theme  by  Schu- 
mann ;  34,  sonata  arr.  from  op.  34 ; 
39,  16  waltzes;  op.  25,  26,  60,  pf.- 
quartets  ;  34,  pf. -quintet ;  87,  loi,  pf.- 
trios.  For  piano  and  'cello,  op.  38, 
and  99  ;  sonatas;  for  vln.,  77,  con- 
certo ;  78,  100 — 108,  sonatas  pf, 
and  vln ;  for  vln.  and  'cello,  op. 
102,  concerto ;  for  clarinet  (or 
viola)  and  pf.,  op.  120,  2  sonatas  ;  for 
organ.  Prelude  and  fugue,  and  fugue 
(unnumbered).  For  voices,  op.  50, 
'^  Rinaldo"  cantata  (Goethe);  63, 
Rhapsodic  (from  Goethe's  "  Harz. 
reise  "),  for  alto  solo,  male  chor.  and 
orch.;  54,  "  Schicksahlied"  (Song  of 
Destiny),  for  chor.  and  orch.;  55, 
"  Triumphlied"  (Revelations,  chap. 
XIX.),  for  8-part  chor.  and  orch.;  82, 
'''  Ndnie"  (Schiller),  for  chor.  and 
orch.;  89,  "  Gesang  der  Parzen" 
(Goethe),  for  6-part  chor.  and  orch.; 
op  12,  ''Ave  A/aria"  female  chor. 
with  orch.  (or  org.) ;  13,  funeral 
hymn,  109.  Deutsche  Fest-und  Ge- 
denkspruche,  for  double  chorus,  also 
numerous  works  for  choruses  of  all 
sorts  accompanied  or  a  cappella. 
Brahms'  songs  are  generally  ad- 
mired even  by  those  opposed  to  him ; 
they  are  very  numerous  and  are  pub. 
in  sets,  op.  121  being  his  last  pub- 
lished work. 


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Johannes  Brahms. 


By  ]t 


HUNI 


SCHUMANN,  in  his  much-discussed  article  *'  New  Paths,"  called, 
Brahms  the  true  successor  to  Beethoven,  His  prediction  was  veri- 
fied. To-day  Johannes  Brahms  stands  for  the  ultra-classic  in  sym- 
phonic music,  though  singularly  enough  he  is  really  a  hardy  romanticist, 
who  has  widened  and  deepened  the  symphonic  form.  The  career ; 
Brahms  compared  to  Wagner's  was  a  quiet,  scholarly,  uneventful  one. 
severe  student  and  self-critic,  he  made  his  way  slowly,  for  the  Wagner 
furor  was  at  hand,  and  the  modest  writer  of  chamber-music,  of  songs  and 
symphonies,  was  completely  eclipsed  by  the  glory  of  his  so-called  rival.     ^I' 


DICTIONARY   OF  MUSICIANS    439 


.vas 


Von  Billow's  audacious  epigram,  "  The  three  B's, — Bach,  Beethoven, 

ind  Brahms,"  that  drew  down  upon  the  head  of  the  innocent  composer  the 

re  of  the  Wagner  camp.      As  a  matter  of  record  Brahms  never  posed  as  an 

jpponent,  much  less  as  a  rival  of  the  Bayreuth  hero  ;  indeed  he  was  an  ad- 

nirer,  and  knew  his    scores  as   only    he   could    know    a  score — absolutely. 

But  he  was  not  in  the  least  affected  by  Wagner — how  could  he  be,  working 

is  he  did  in  such  a  totally  different  genre  ?     This  genre,  however,  was  not  the 

)ut-worked   vein   it   was    so   contemptuously   christened    by   the  new   men. 

To-day  Brahms   is   a   modern  among  the  moderns — indeed  his  has  also  been 

ailed  the  music  of  the  future.      ^To  old    forms  like  the  symphony,  to  the 

mailer  forms,  he  has  brought  an   abounding  invention,  a  vitality  in  execu- 

ion,    and  a  musical   intellect  the  most   profound  since    Beethoven's.       To 

he  complex  symphonic  structure  of  Beethoven  he  had  superadded  a  poly- 

hony  almost  Bachian  in  its  mastery  of  intricate  voicing  and  the  weaving  of  a 

larvellous  contrapuntal  web.      The    dignity  of  his  themes,  the   depth  and 

ikveetness  of  his  cantitena,  the  massiveness  of  his  musical  architecture — he  is 

1  music  the   born   builder — combined   with   a    fecund   fantasy,  a  grim  but 

'.astic  humour,  and  no  little  susceptibility,  mark  Brahms  as  one  of  the  elect, 

master  among  masters.      His  control  of  the  orchestra  is  absolute  in  its  elo- 

laence,  though  he  is  no  painter,  no  seeker  after  the  unique  word,  the  only 

olour.      ^He  has  been  reproached  for  a  colour  monotone  by   those  critics 

ho  are  easily  moved  by  brilliant  and  showy  externals.      But  that  reproach 

lis  to   earth  when    the  adaptability  of  the  garb  to   the  musical  idea  is  dis- 

)vered.      Brahms   never   erred  in   this   matter  ;  his   taste  was  impeccable. 

He  had  a  message  and  he  delivered  it  in  tones  that  befitted  its  weight,  its 

[iportance.      He  is  a  symphonist   primarily  ;  his   themes  as  if  carven   from 

ianite  are  symphonic  and  not  dramatic  themes,  and  in  his  development  of 

i.em  he  is  second  only  to  Beethoven.      A  philosopher,  he  views  his  subject 

)m  every  possible  side,  and  the  result  is  an  edifice  of  tone  comparable  to  a 

othic  Cathedral.      In  his  songs  he  is  the  sweet-voiced,  the  tender  German 

rist,  deep  in  feeling,  capricious,  noble  and  moving  as  Schumann  or  Schu- 

rt.      He  will   rank  with  these   song  writers.      In  chamber-music,  in  the 

aiable  conjunction  of  piano  and  strings,  trios,  quartettes,  quintettes,  horn-trio 

id  two  clarinet-quintettes,  Brahms  is  supreme.      He  has  written  a  sterling 

Vlin-concerto  dedicated  to  Joachim  and  played  first  by  him.    His  two  piano- 

<incertos  in  D  minor  and  B  flat  major,  introduced  here  by  Rafael  JosefFy, 

«::  masterpieces  ;   though  pianists  complain  of  the  dearth  of  display  passages, 

t:y  are  sincere   in    feeling  and   perfect   concertos  in  the  balance  of  the  solo 

i  trument  with  the  orchestra.      ^[The  Brahms  solo  piano-music  is  a  new  and 

ilependent  literature.     He  wrote  three  sonatas  ;  of  these  the  last  is  the  most 

ipular  ;  its  andante  and  scherzo  are  beautiful  specimens  of  piano-writing. 


440 


THE    MUSICAL    GUIDE 


The  solo  scherzo  in  E  flat  minor,  opus  4,  was  a  great  favourite  with  Liszt, 
who  saw  in  it  trace  of  Chopin.  The  little  pieces  written  during  the  clos-; 
ing  years  of  the  composer's  life  are  exquisite  and  poetic  gems,  conceived 
by  a  poet,  executed  with  all  the  dainty  cunning  of  a  lapidary.  These 
miniatures  are  Brahms  in  his  most  genial  mood.  The  forger  of  thunderbolts 
was  now  resting  and  plotting  lovely  little  gardens  of  fragrant  flowers.  ^[His 
extraordinary  technical  invention  is  nowhere  better  evidenced  than  in  his 
Paganini  variations  for  the  piano,  the  Ultima  Thule  of  pianists.  These 
variations  are  paralleled  in  his  St.  Anthony  variatipns  for  orchestra,  a  noble 
disapproval  of  the  assertion  that  Brahms  had  no  intimate  feeling  for  the- 
orchestra.  His  German  Requiem  written  in  1868  is  tremendous  in  its! 
scope  and  elemental  power.  It  is  the  apotheosis  of  a  nation's  grief  ^He; 
was  not  uniformly  successful — little  wonder,  for  his  published  works  numbei 
130.  But  if  this  Titian  stumbled,  was  intermittent  in  his  inspiration,  the 
main  body  of  his  work  stands  out  marmoreal,  of  overwhelming  grandeur, 
truly  German,  and  withal,  sounding  the  big  note  as  no  one  has  sounded  ii 
in  music  since  Beethoven. 


Brah-Muller  (bra-mul'-ler)  (rightly 
Miiller),  K,  Fr.  Gv.,  Kritschen, 
Silesia,  1839— Berlin,  1878 ;  1867, 
dramatic  composer. 

Brambach  (bram'-bakh),  (i)  Kas- 
par  Jos.,  b.  Bonn,  July  14,  1833  ; 
pupil  in  Comp.  of  A.  zur  Nieden, 
then  of  Cologne  Cons.;  won  Mozart 
scholarship,  and  studied  under  Fd. 
Hiller,  Frankfort;  1858-61,  teacher 
Cologne  Cons.;  1861-69,  dir.  at  Bonn, 
where  he  composed  important  secular 
cantatas;  also  an  opera  ''Ariadne"  ; 
concert  -  overture  ''  Tasso"  ;  pf.- 
concerto,  etc.  (2)  Wm.,  b.  Bonn, 
Dec.  17,  1841  ;  since  1872,  librarian 
Carlsruhe  ;  writer. 

Brambilla  (bram-bel'-la),  (i)  Paolo, 
Milan,  1786 — (?);  dram,  composer. 
(2)  Marietta,  Cassano  D'Adda, 
1807 — Milan,  1875  ;  singer,  teacher, 
and  composer ;  contralto  and  eldest 
of  five  singers.  (3)  Teresa,  Cassano 
d'Adda,  1813 — Milan,  1895  ;  sister  of 
above,  soprano;  she  created  "Gil- 
da"  in  "  Rigoletto"  1851. 

Branca  (bran'-ka),  Guglielmo,  b.  Bo- 
logna, April  13,  1849 ;  pupil  of  A. 
Busi,  Bologna  Cons.;  composed  succ. 


operas  "  Za  Catalana"  (Florence, 
1876)  ;  "  Hertnosa"  (Floreaice,  1883)- 
and  "Zfl  Figlia  di  Jorio"  (Cremonaj 
1897). 

Brancaccio  (bran-kiit'-cho),  A.,  Na' 
pies,  1813— 1846  ;  dram,  composer. 

Brandeis  (bran'-dls),  Fr.,  Vienna 
1835 — New  York,  1899 ;  toured  th< 
U.  S.,  then  lived  in  N.  Y.,  late 
Brooklyn,  as  organist  and  prolifi( 
composer. 

Brandenburg  (bran'-den-boorkh),  Fd. 
b.  Erfurt — d.  Rudolstadt,  1850 
violinist  and  dram,  composer. 

Brandes  (bran'-des),  Emma,  b.  nea 
Schwerin,  Jan.  20,  1854 ;  pianist 
pupil  of  Aloys  Schmitt  and  Goiter 
mann  ;  m.  Prof.  Engelmann,  Utrecht 

Brandl  (brant'-'l),  (i)  Jn.,  Kloster 
Rohr,  near  Ratisbon,  1760 — Carls 
ruhe,  1S37  ;  dir.  and  dram,  composer 
(2)  Jn.,  composer  of  operettas,  livinj 
in  Vienna  ;.  has  prod.  15  or  20  pop' 
works  since  1S69. 

Brandstetter.     Vide  garbrfxht. 

Brandt  (brant),  Marianne  (rightl] 
Marie  Bischof),  b.  Vienna,  Sept.  12 
1842  ;  dram,  contralto ;  pupil  Frai 
Marschner   and    of    Viardot-Garcia 


i 


DICTIONARY    OF   MUSICIANS    44^ 


1868-86  at  Berlin  Ct.  Opera  ;  created 
*'  Kundry  "  in  Parsifal  at  Bayreuth, 
18S2  ;   18S6  sang  in  New  York. 
Brandt-Buys  (brSat-bois),  (i)  Corne- 
lius Alex.,  b.  Zalt-Bommel,  April  3, 
1812  ;  from  1S40  lived  in  Deventer  as 
organist  and  cond.     His  sons  are  (2) 
Marius  Adrianus  (b.  1S40)  ;   (3)  L. 
F.  (1S47),  organist  and  conductor  at 
Rotterdam;    (4)  H.   (185 1),  conduc- 
tor at   Amsterdam   and   dram,  com- 
poser. 
Brandus,  Dufour  et  Cie,  Paris  firm 
of  mus.-pubs.    founded    1S34,  by  M. 
Schlesinger,  and  bought  in  1840  by 
the    brothers    Louis    (d.    18S7)    and 
Gemmy  B.  (d.  1S73). 
Brant    (brant),    Jobst   (or    Jodocus) 
vom,     Jtinior,     i6th     cent,     captain 
and  gov.  of  Liebenstein  ;  cptist. 
Brassin    (bras-san),    (i)    Louis,    Ai.x- 
la-Chapelle,     1840— St:     Petersburg, 
1884  ;  pianist.     (2)    Ld.,  Strassburg, 
1843 — Constantinople,      i8go  ;      bro. 
and    pupil    of    above ;    pianist.     (3) 
':;    Gerhard,    b.   Ai.>c-la-Chapelle,    June 
, '    10,    1844  ;  leader ;    teacher   at    Stern 
*ii'    Cons.,  Berlin;     1875-80,     cond.     of 
I ,    Tonkiinstlerverein  in   Breslau  ;  since 
:    then,  St.  Petersburg. 
Bratsch  (bratsh),  Jn.  G.,  Zell,  1817— 
Aschaffenburg,  1887  ;  director. 
■   3rauer(brow'-er),  Max,  b.  Mannheim, 
May  9,  1855  ;  pupil    of  V.    Lachner, 
Hiller,  Jensen  and  De  Lange  ;  from 
■i  I    1880-88,    dir.    Kaiserslautern  ;    since 
\   1888,  dir.  court-church   at  Carlsruhe  ; 
-     prod.  ''  Der  Loise,"  sncc.  i-act  opera, 
Carlsruhe,  1SS5. 
Jrebos,  Gilles.     Vide  gii.i.es. 
»ree  (bra)  (Jn,  Bernardus),  J.  Ber- 
nard van,  Amsterdam,    1801— 1857  ; 
violinist;     1840,    founded    the    "Ce- 
cilia." 

Ireidenstein  (brl'-den-shtin),  H. 
,  ■  K.,  Steinau,  Hesse,  1796— Bonn, 
1876  ;  dir.,  composer  and  writer. 
•reitkopf  und  Hartel  (brlt'-kopf 
oont  hert''-l),  mus.-publishers,  found- 
ed (as  a  printing-office)  1719  by  B. 
C.  Breitkopf;  Klausthal,  Harz, 
1695—1777.       His  son,  J.   G.   Im- 


manuel  Breitkopf  (1719 — 1794),  suc- 
ceeded and  revived  Petrucci's  inven- 
tion of  movable  types  and  took  up 
music  printing.  1795,  Gottfr,  Chr. 
Hartel  (Schneeberg,  1763 — 1827), 
added  a  piano-factory,  founded  the 
"Allg.  musikalische  Zeitung  "  (179S)  ; 
later  heads  were  Florenz  Hartel 
(1827-35),  Dr.  Hermann  Hartel  (d. 
1882),  and  his  bro.  Reimund  (d. 
1888)  ;  two  nephews,  Wm.  Volkmann 
(1837— 1893?)  and  Dr.  Oskar  von 
Hase  (b.  1846). 

Breitner  (brit'-ner),  Ludovic,  b. 
Triest,  March  22,  1S55  ;  pianist  and 
composer  ;  studied  Milan  Cons.,  and 
with  Rubinstein  and  Liszt  ;  toured, 
Germany ;  Chev.  of  the  Legion  of 
Honour,  officer  of  Public  Instruction, 
etc.,  composed  music  to  "  IVil/wl/u 
J/e'is/t'r,"  song  cycles,  etc. 

Breraa  (bra'-mji),  Marie,  b.  of  German 
parents,  in  England  ;  notable  dra- 
matic soprano  in  pop.  concerts  Lon- 
don ;  debut  in  opera,  Shaftesbury 
Theatre,  1891  ;  sang  in  New  York 
in  frequent  seasons ;  1897  at  Bay- 
reuth. 

Brem'ner,  Robt.,  Scotland,  1720— 
Kensington,  17S9  ;   teacher. 

Brendel  (brent'-'l),  K.  Fz.,  Stolberg, 
1811 — Leipzig,  1868;  critic,  prof, 
and  writer. 

Brenet  (brii-na),  Michel,  b.  France, 
1SS2  ;  wrote  "  Histoire  de  la  syin- 
phoiuc  a  orchesire  depuis  ses  orig- 
iiifs  "  (prize-essav),  etc. 

Brenner  (bren-neV),  L.,  Ritter  von, 
Leipzig,  1833—1902  ;  pupil  of  the 
Cons. ;  toured  the  Continent ;  15  years 
member  of  the  Imp.  orch.  ;  1872-76, 
cond.  Berlin  .Symphony  Orch.;  1897, 
cond.  Meyder's  Concert  Orch.,  Bres- 
lau ;  composed  4  grand  masses  ;  sym- 
phonic poems. 

Brent,  Charlotte,  d.  1802,  Engl.  ; 
soprano  ;   m.  Pinto,  a  violinist,  1766. 

Breslaur  (bras'-lowr),  Emil,  b.  Kott- 
bus,  May  20,  1836  ;  pupil  Stern 
Cons.,  Berlin  ;  1868-79,  teacher  Kul- 
lak's  Acad.  ;  since  1883  choirm.,  Re- 
formed Synagogue  ;  founder  and  dir. 


442 


THE    MUSICAL    GUIDE 


Piano  -  Teachers'  Seminary  ;  ed. 
'"  A'lavierlehrer" ;  wrote  technical 
works,  etc. 

Brethol.     Vide  pierson-bkethol. 

Breuer  (broi'-er),  Hans,  b.  Cologne, 
1869  ;  tenor  ;  studied  at  the  Cons,  at 
Stolzenberg.  Sang  "Mime"  and 
"  David  "  at  Bayreuth. 

Breuning(broi  -nlng),  Fd.,  Brotterode, 
Thuringia,  1830 —  Aix-la-Chapelle, 
18S3  ;  pf.  prof.,  Cologne  Cons.  ; 
1865,  director. 

Br^val  (bra-vai),  (i)  J.  Bap.,  Dept. 
of  I'Aisne,  France,  1765 — Chamouille, 
1825  ;  'cellist  and  teacher.  (2)  Lu- 
cienne,  b.  France,  1870  (?)  ;  notable 
dramatic  soprano  at  Grand  Opera, 
Paris,  for  years  ;  debut  there  in  L'Af- 
ricaine,  iSg2  ;  created  Brunnhildc 
in  French  ;  has  sung  at  Covent  Gar- 
den, and  1900  in  New  V'ork. 

Brew  er,  (i)  Thos.,  1609 — 1676  ;  vioL- 
olayer,  "  father  of  the  glee."  (2)  J. 
Hyatt,  b.  Brooklyn,  N.  Y.,  1856  ;  for 
7  years  boy-soprano  ;  studied  with 
Dudley  Buck  and  others;  since  1871 
organist  various  churches,  since  1881 
at  the  Lafayette  Av.  Presby.  Ch.  ; 
cond.  various  vocal  societies ;  com- 
posed cantatas,  etc. 

Briccialdi  (bret-chal'de),  Giulio, 
Terni,  Papal  States,  1818 — Florence, 
iSSi  ;   flutist. 

Bridge,  (i)  Sir  J.  Fr.,  b.  Oldbury, 
Worcestershire,  Engl.,  Dec.  5,  1844; 
son  and  pupil  of  J.  Bridge,  lay- 
clerk  ;  pupil  later  of  J.  Hopkins  and  Sir 
J.  Goss  ;  organist  i86g  Manchester 
cathedral  ;  1S82  of  Westminster  Ab- 
bey ;  1S68  Mus.  Bac.  (O.xford),  with 
the  oratorio  ''Mount  Moriak''; 
now  prof,  of  harm,  and  cpt.  R.  A. 
M.;  cond.  Western  and  the  Madrigal 
Societies  ;  1S97,  knighted  ;  composed 
cantatas,  overtures,  etc.  ^(2)  Jos. 
Cox,  b.  Rochester,  Engl.*,  1853  ; 
pupil  and  bro.  of  above  ;  since  1877 
organist  of  Chester  cathedral  ;  Mus. 
Bac.  O.xon.,  1876  ;  Mus.  Doc,  1884  ; 
composed  oratorios,  etc. 

Bridge'tower,  G.  A.  P.,  Poland,  1779 
— ca.  1845  ;  son  of  an  African  fathei 


and   European  mother  ;   brilliant  vi 
linist.  I 

Briegel     (bre'-gel),   Wg.     K.,     Gci 
many,   1626 — Darmstadt,  17 
ductor  and  composer.  ,      i 

Brighenti  (or  Brighetti)  (bre-get'-t€' 
Mana  (nee  Giorgi),  b.  Bologn 
1792;  soprano;  created  "  Rosina; 
in  "  Bar  bit-re  di  Siviglia.'" 

Brind,  Richard,  d.  1718  ;  organist  S' 
Paul's  Cathedral  from  1707. 

Brink,  Jules  Ten  (tan  brenk),  Ar 
sterdam,  1838 — Paris,  1889;  direct 
and  dram,   composer. 

Brins'mead,  (i)  J.,  b.  North  Devo 
Oct.  13,  1814;  1835,  founded  plan 
factory,  London ;  inv.  "  Perfe'i 
Check  Repeater  Action";  in  18(1 
his  sons  (2)  Thomas  and  (3)  Edg;! 
were  taken  in  partnership. 

Brissler  (bres-ler),  Fr.  Fd.,  Instej; 
burg,  1818 — Berlin,  1893;  pianiii 
and  dram,  composer.  i 

Brisson  (brls'-soh),  Fr.,  b.  Angoij; 
Icme,  Charente,  1821 — Orleans,  igod' 
teacher  and  dram,  composer.  • 

Bris  tow,  (i)  W.  R.,     England,    i8cjr 
— N.  Y.,  1867  ;  cond.  in   New  Yon 
(2)  G.    Fr.,    Brooklyn,    N.  Y.,    Deji 
19,  1825 — New  York,  Dec.  13,  i%gi.'< 
son  of  above  ;  violinist   N.  Y.  Phil 
.Soc;  cond.   of   the    Harmonic    Soc 
later  of  the   Mendelssohn  Union  ;  o^    . 
ganist    various    churches  ;    compose^ 
operas,  oratorios,  etc.  I 

Brito  (bre'-to),  Estdban  de,  ca.  162!" 
Portuguese  director  and  composer.   ; 

Brit'ton,  Thos.,  1651 — 1714  ;  calh) 
"Musical  Small-coal  Man,"  becau;]' 
he  earned  his  living  by  hawking  coal.' 
gave  concerts  in  a  room  over  his  sho]]  - 
which  were  patronised  by  the  aristo} ' 
racy  ;  Handel  and  Pepusch  were  pej  i 
formers  at  these  concerts.  I 

Brixi  (bre.\'-e),  Fz.  Xaver,  PragU': . 
1732 — 177 1  ;  conductor  and  con' 
poser. 

Broad  wood  &  Sons,  firm  of  Londci  ! 
pf. -makers;    est.    1730  by   the   Swii!  ' 
harpsichord-maker BurkhardTschi'  i 
di  (or  Shudi),  succeeded  by  his  soi 
in-law  J.  Broadwood  (1732 — 1812 


812;      s 

J 


DICTIONARY    OF   MUSICIANS     443 


later  by  James  and  Thos.  Shudi ; 
they  by  H.  Fowler  Broadwood  (d. 

London,  1893). 
Brock  way,  Howard  A.,  b.  Brooklyn, 
N.  Y.,  Nov.  22,  1870;  studied  pf. 
with  Kortheuer  ;  1890-95,  Berlin ; 
pupil  of  Barth  (pf.)  and  O.  B.  Boise 
(comp.)  ;  since  1S95,  1.  N.  Y.  teach- 
ing and  touring  ;  his  symphony  in  D 
succ,  prod.  Berlin;  composed  also 
cantata.  Ballade  and  Scherzo  for 
orch.,  etc. 

Brod  (bro),  H.,  Paris,  1801— 1839 ; 
oboist  and  conductor. 

Brode  (bro'-de),  Max,  b.  Berlin,  Feb. 
25,  1850  ;  studied  with  Paul  Mendels- 
sohn and  at  Stern  Cons.,  Leipzig 
Cons,  and  Berlin  Hochschule ;  de- 
but Frankfort-on-Main  ;  prof,  and 
teacher  at  Konigsberg. 

Bro'derip,  (i)  Wm.,  Fngland,  1683— 
1726;  organist,  etc..  Wells  Cathe- 
dral. (2)  J.,  d.  1770;  son  of  above 
organist  ;  (3)  Robt.,  d.  1808  ;  bro.  of 
above  ;  writer  and  composer. 

Brodsky  (brod'-shkl),  Adolf,  b.  Ta- 
ganrog, Russia,  March  21,  1851  ;  vio- 
linist ;  pupil  of  J.  Hellmesberger  and 
Vienna  Cons.;  member  Hellmes- 
berger Quartet ;  1868-70  Imp.  Opera- 
orch.;  pupil  of  Laub,  Moscow,  later 
prof,  at  the  Cons.;  1879,  cond.  sym- 
phony concerts  at  Kiev  ;  toured,  1881  ; 
1883,  vln.-prof.  at  Leipzig  Cons.; 
18QI-94,  N.  Y.;  1894  in  Berlin; 
1895,  prof,  of  vln.,  later  dir.  R.  C. 
M.,  Manchester,  England. 

Broekhoven  (brak'-h6-fen),  J.  A.,  b. 
Holland,  1852  ;  prof,  of  harm,  and 
comp,  Cincinnati  Coll.  of  Mus.;  com- 
posed grand  overture  "Co/ttmdia"  etc. 

Bror  (brar),  Ernst,  Silesia,  1809— 
Tarnopol,  1886  ;  'cellist,  organist,  and 
singing  teacher. 

Bronsart  (bron'-zart),  (i)  von  Schel- 
lendorf,  Hans  (Hans  von  Bron- 
sart), b.  Berlin,  1830  ;  pupil.  Dehn, 
KuUak,  Liszt  ;  concerts  in  Paris ; 
1867,  intendant  R.  Th.  at  Hanover  ; 
1887  "  Hofmusikintendant,"  Berlin  ; 
composed  opera,  cantata,  symphony 
"  /«  den  A//>e/i,"ctc.    (2)  Ingeborg, 


von  (nee  Starck),  b.  St.  Petersburg, 
1840 ;  wafe  (since  1862)  of  above ; 
pupil  of  Liszt ;  composed  3  operas, 
etc. 

Brooks,  Walter  M.,  b.  Birmingham, 
March  19,  1861  ;  pupil  of  King  Edw. 
School,  later  of  Prout ;  lives  in  Lon- 
don as  writer  and  teacher  ;  composed 
Allegro  for  orch.  (prize  at  Belfast, 
1891),  etc. 

Bros  (bros),  Juan,  Tortosa,  Spain, 
1776 — Oviedo,  March  12,  1852  ;  con- 
ductor ;  composed  important  masses, 
etc. 

Brosig  (br5'-zrkh),  Moritz,  Fuchs- 
winkel.  Upper  Silesia,  1815 — Bres- 
lau,  1887  ;  organist  and  theorist. 

Brossard  (du  bros-sar),  (i)  S^bastien 
de,  1660 — Meux,  France,  1730  ;  con- 
ductor, lexicographer,  and  composer. 
(2)  Noel  Matthieu,  Chalon-sur- 
Saone,  Dec.  25,  1789 — after  1853  ; 
magistrate  and  theorist. 

Brouck  (brook),  Jakob  de  (or  de 
Prugg).  collector,  Antwerp,  1579. 

Broustet  (broo-sta),  Ed.,  b.  Toulouse, 
April  29,  1836;  pupil  of  Stamaty, 
Litolfif  and  Ravina  ;  pianist  and  com- 
poser ;  toured  Russia,  etc.;  lives  in 
Toulouse. 

Brown,  (i)  Dr.  J.,  Northumberland, 
1715— 1766;  writer.  (2)  Obadiah 
Bruen,  b.  Washington,  D.  C,  July 
2,  1829;  pupil  of  Zerrahn,  Parker, 
Kreissmann,  Hause  and  D.  Paine, 
and  of  Lobe  and  Plaidy,  Leipzig, 
1S69;  teacher  and  organist;  pub. 
school-songs,  etc. 

Browne,  Lennox,  Dr.,  b.  London, 
1S41;  prominent  throat-specialist  and 
writer  on  the  voice  ;  lives  in  London. 

Brown'smith,  J.  Leman,  Westmin- 
ster, 1809 — i8fc6  ;  organist. 

Brozel',  Philip,  b.  in  Russia  ;  tenor  ; 
studied  at  R.  A.  M.,  London  ;  de'but 
i8g6  at  Covent  Garden  in  I  Pagliac- 
ci  J   1901  in  New  York. 

Bruch  (brookh),  Max,  b.  Cologne, 
Jan.  6,  183S  ;  Jewish  pianist  and 
composer;  at  first,  pupil  of  his  moth- 
er (nee  Almenrader),  a  singer  ;  later 
with   Breidenstein,    Bonn.;     i''53   he 


444- 


THE    MUSICAL    GUIDE 


gained  the  four-year  scholarship  of 
the  Mozart  Foundation  at  Frankfort, 
and  studied  with  Hiller,  Reinecke, 
and  Breuning  ;  at  14,  prod,  a  sj-m- 
phony,  Cologne  ;  1S58,  his  first  dram. 
work,  Goethe's  Singspiel,  '' Scherz 
List  und Rac/ie'"  (op.  i) ;  1S64,  prod, 
opera  ''  Lore  ley,"  etc.;  male  chorus 
'' Frithjof"  \  \%b^~b-i,  at  Coblenz, 
composed  his  first  pop.  vln. -concerto 
(G  minor)  ;  1S67-70,  court-cond.  at 
Sondershausen  ;  in  1S78  cond.  Stern 
Choral  Union,  Berlin  ;  in  18S0, 
cond.  Liverpool  Philh.  Soc;  1883, 
dir.  Breslau  Orchestral  Soc;  188 1, 
m.  Frl.  Tuczek,  of  Berlin,  a 
singer ;  lived  in  Breslau  till  1890 ; 
1S92,  with  K.  Hochschule  in  Berlin ; 
prod.  1S72,  opera  "  Hcrmione"  based 
on  "  Whiter  s  Tale";  1873-78, 
prod,  the  chorals  ''  Arminius"  and 
'^'^  Lied  von  der  Glocke"  and  the  2d 
vln. -concerto ;  1883,  came  to  U.  S. 
and  prod,  his  '''  Arminius"  Boston. 
The  epic  cantata  is  his  special  field  ; 
among  his  works  of  this  sort,  are 
"  Odysseus,  Armiiiitis,  Lied  von  der 
Glocke,  and  Achilleus" ;  for  male 
chorus,  ''  FritJijof,  Salamis,  Nor- 
mannenzitg  a.rvA  Leonidas"  (op. 
66).  He  arranged  the  old  Hebrew 
melody  Kol  Nidre,  and  composed 
a  cantata  ''Das  Feuerkreuz"  (op. 
52,  18S8);  three  symphonies;  ora- 
torio, '"Moses"  (1S95)  ;  3  vln.- 
concertos. 

Bruck  (brook)  (or  Brouck),  Arnold 
von  (a  German  Swiss  (?) ),  d.  1545  ; 
conductor  and  composer. 

Briickler  (bruk'-ler),  Hugo,  Dresden, 
1S45 — 1S71  ;  composer. 

Bruckner  (brook'-ner),  Anton,  Aus- 
felden,  Upper  Austria,  Sept.  4,  1S24 
— Vienna,  Oct.  il,  1896;  mainlyself- 
taught  as  organist ;  1S67,  court-or- 
ganist at  Vienna  ;  prof,  of  org.,  harm, 
and  cpt.  at  Vienna  Cons. ;  1875, 
"  Lektor  "  of  music  at  Vienna  Univ.; 
1891,  Dr.  hon.  causa;  one  of  the 
chief  contemporary  organ-virtuosi,  and 
a  disciple  of  Wagner  ;  he  composed 
9   symphonies,  the  4th   called    "  Jio- 


mantic."        Biog.    by    Fz.    Brunm 
(Linz-on-Danube,  1895). 

Bruckner  (brlik-ner),  Oscar,  b.  Ed 
furt,  Jan.  2,  1857  ;  'cellist  ;  pupil  o 
Griitzmacher  and  Draeseke ;  tourec 
Germany,  Russia,  etc. ;  Ducal  cham- 
ber-virtuoso at  Strelitz ;  since  i88c 
teacher  in  the  Wiesbaden  Cons.,  anc 
composer. 

Bruhns  (broons),  Nikolaus,  Schwab-f 
stadt,  Schleswig,  1665 — Husum, 
1697  ;  organist  and  violinist. 

Briill  (brll),  Ignaz,  b.  Moravia,  Nov.  7 
1S46  ;  pianist ;  pupil  of  Epstein,  Ru- 
finatscha  and  DessofT  ;    1872-78,  pf.- 
prof.   Horak    Institute,   Vienna ;    his 
first   opera    "Die  Bettler   von  Sam- 
markand"  (1864)  was  not  succ,  but 
"Das      Goldene     Kreuz"     (Berlin),  ;ip 
1875)  was  very  pop. ;  followed  by  6  ^ 
other   operas    and    the    succ.    comui 
opera  "  Der  Husar"  (Vienna,  Marct  \ 
2,    1S98) ;     composed    also    hunting!  1 
overture  " /w   IValde,"  etc. 

Bruniel(broo'-mel),  Anton,  ca.  1480 — (  i 
ca.  1520;  Flemish  cptist.  :' 

Bruneau  (brii-no)  (Louis  Chas.ji 
Bonaventure),  Alfred,  b.  Paris,;  f 
March  3,  1857  ;  pupil  of  Franchommel  | 
at  the  Cons.  ;  took  first  'cello  prizeJK 
1876  ;  studied  with  Savart  and  Mas- 
senet ;  1881,  took  first  prize  with  can- 
tata "  &/«/^  Genevieve";  composed 
operas  "Kerim"  (Opera-Populaire, 
1SS7),  "  Le  Reve"  (Paris,  1892),  and; 
the  verj'  succ.  drame  lyrique  "  L'At- 
taque  dii  Moulin  "  (Opera-Comique, 
Paris,  1893)  ;  unsucc.  drame  lyrique 
"  Messidor"  (Paris,  Gr.  Opera,  Feb. 
19,  1S97) ;  the  last  three  are  on  texts 
from  Zola,  some  of  the  music  being 
set  to  plain  prose,  as  also  in  the  songs 
set  to  CatuUe  Mendes'  "  Lieds  en 
prose";  1893-95,  critic  of  "  Gii 
Bias,"  1895  of  'Le  Figaro,"  Chev. 
of  Legion  of  Honour  ;  composed  also 
Heroic  overture;  legende  "  Pen-' 
thesilee,  Reine  des  Amazones," 
etc. 

Brunelli  (broo-nel'-le),  A.,  17th  cent.; 
conductor  to  Duke  of  Florence  J 
writer  and  composer. 


DICTIONARY  OF  MUSICIANS    445 


'■  'Brunetti(broo-net'-te),  Gaetano,  Pisa, 
1753 — Madrid,  1808  ;   composer. 

E   Bruni  (broo'-ne),  A.  Bart.,  Coni,  Pied- 
mont,   1759 — 1823  ;    violinist,    cond. 

■>"       and  dram,  composer. 

-   Brunner     (broon  -ner),     Chr.    Trau- 
gott,       Briinlos,       1792 — Chemnitz, 

•       1S74  ;  organist  and  conductor. 
Bruyck   (broik),   K.  Bebroid  van,  b. 

'I  '     Brlinn,  March  14,  182S  ;  studied  law, 

f       Vienna,  1S50;  and  theory  with   Rufi- 
natscha  ;  writer  on  Bach,  etc. 
Bry  cison     Bros.,      London ;     organ- 
builders. 
Bryennius,   Manuel,  lived  ca.  1320 ; 
last  Greek  theorist. 

'  Bryne,  Albertus,  ca.  1621 — after  1677; 
organist  St.  Paul's  and  Westminster 

=       Abbey,  London. 

'  iBuchholz    (bookh'-holts),  (i)  Jn.   Si- 

'       meon,  Schlosswippach,  1758 — Berlin, 

■'        1825  ;  founded  firm  of  organ-builders  ; 

succeeded  by  his   son   (2)    K.  Aug. 

(1796— 18S4),  whose  son  (3)  K.  Fr., 

d.  Feb.  17,  1885. 

Biichner  (biikh'-ner),  Emil,   b.  Oster- 

li  field,  near  Naumburg,  iJec.  25,  1826; 
pupil  of  Leipzig  Cons.;  1865,  court- 
conductor  ;  composed  2  operas,  etc. 
Buck,  (i)  Zechariah,  Norwich,  Eng- 
land, 1798 — Newport,  Essex,  1879  ; 
organist  Norwich  Cathedral  ;  teacher 
and  composer.  (2)  Dudley,  b.  Hart- 
ford, Conn.,  March  10,  1839;  pupil 
W.  J.  Babcock  (pf.),  then  of  Plaidy 
and  Moscheles  (pf.)  ;  Hauptmann 
(comp.)  and  J.  Reitz  (instrumenta- 
tion), Leipzig  Cons. ;  later  Dresden, 
under  Reitz  and  Johann  Schneider 
(organ);  and  1861-62  in  Paris;  1862, 
organist  of  the  Park  Ch.,  Hartford, 
U.  S.  A. ;  St.  James,  Chicago,  1872, 
St.  Paul's  and  of  the  Music  Hall  As- 
sociation, Boston  ;  1875,  organist 
Cincinnati  May  Festival  ;  then,  asst. 
',  cond.  to  Th.  Thomas,  New  York ; 
I  since  organist  of  Holy  Trinity  Ch., 
'  Brooklyn ;  director  Apollo  Club ; 
composed  comic  opera  "'  Deserei" 
(prod.  1880)  ;  symphonic  overture 
i  "  Marmion  "  (1880)  ,  many  cantatas  ; 
the    46th    Psalm ;    "  TAe    Christian 


Year"  a  series  of  5  cantatas ;  wrote 
2  books  of  Pedal-phrasing  Studies, 
and  ''Illustrations  on  Choir-acconipa- 
niiiient,  with  Hints  on  Registration  "; 
pub.  "  T/ie  Organist's  Repertoire" 
.  (with  A.  P.  Warren)  ;  "  The  Influ- 
ence of  the  Organ  in  History  "  (1882)  ; 
and  a  ''Dictionary  of  Musical 
Terms." 

Biihler  (bii'-ler),  Fz.  P.  Gregorius, 
Schneidheim,  1760 — Augsburg,  1824  ; 
Benedictine  monk,  1794 ;  conductor 
at  Botzen  ;  dram,  composer  and  theo- 
rist. 

Bull,  John,  Dr.,  Somersetshire,  Eng- 
land, 1563 — Antwerp,  March  12, 
1628  ;  1582,  organist ;  1592,  Mus. 
Doc.  Oxon.;  1596,  Prof,  of  music  at 
Gresham  Coll.  on  Queen  Elizabeth's 
recommendation ;  resigned  on  his 
marriage,  1607  ;  16 17,  organist  Notre 
Dame,  Antwerp ;  an  early  English 
composer  whom  Oscar  Bie  credits 
with  remarkable  originality  in  the 
midst  of  over-ornamentation. 

Bull  (bool),  Ole  (Bornemann),  Ber- 
gen, Norway,  Feb.  5,  18 10 — Lysoen, 
Aug.  17,  1880  ;  enormously  popular 
and  brilliant  violin-virtuoso,  a  whit 
charlatanic  ;  pupil  of  Paulsen  ;  then 
self-taught,  using  a  bridge  almost 
level  and  a  flat  fingerboard  ;  studied 
theology,  but  failed  in  examinations  ; 
1828,  dir.  Philh.  and  Dram.  Soc, 
Bergen ;  1829,  studied  with  Spohr 
briefly;  1832,  debut,  Paris,  after  liv- 
ing there  a  year  observing  Paganini's 
methods  ;  toured  Europe  frequently, 
and  North  America  5  times  (1843- 
79):  he  died  at  his  country-seat.  He 
played  his  own  comps.  almost  alto- 
gether ;  wrote  2  concertos,  and  charac- 
teristic solos  ;  biog.  by  Sara  C.  Bull, 
his  second  wife,  Boston,  1883,  and  by 
Vlik  (Bergen,  1890). 

Bul'lard,  Fred.  F.,  b.  Boston,  Mass., 
Sept.  21,  1864.  1888-92,  studied 
comp.  under  Rheinberger,  Munich ; 
teacher  of  comp.,  critic  and  composer, 
Boston  ;  has  pub.  many  successful  bal- 
lads and  four-part  songs  for  male 
voices,  also  sacred  music. 


446 


THE    MUSICAL    GUIDE 


Billow  (fon  bii'-lo),  Hans  Guido  von, 

Dresden,  Jan.  8,  1830 — Cairo,  Egypt, 
Feb.  12,  1S94  ;  versatile  and  influen- 
tial musician  ;  pianist  and  conductor 
of  remarkable  accuracy  and  memory, 
popularising  the  custom  of  conducting 
without  score  ;  often  called  the  best 
interpreter  of  Beethoven,  but  rather 
cold  as  a  pianist ;  at  9,  studied  pf. 
with  Fr.  Wieck  ;  harmony  with  Ebe- 
wein ;  1848,  entered  Leipzig  Univ. 
as  law-student,  but  studied  cpt.  with 
Hauptmann  ;  1849,  Wagner's  "'Die 
Kunst  und  die  Revolution "  stirred 
him  deeply,  and  having  heard 
''Lohengrin"  at  Weimar  under 
Liszt's  direction,  he  joined  Wagner, 
then  e.\iled  at  Zurich,  1S50-51  ;  stud- 
ied conducting  with  him,  and  acted  as 
cond.  in  theatres  at  Zurich  and  St. 
Gallen,  and  later  with  Liszt  ;  1S53 
and  1855  toured  Germany  and  Aus- 
tria, with  success  ;  1855-64,  hrst  pf.- 
teacher  Stern  Cons.,  Berlin.  1S57, 
m.  Cosima,  Liszt's  natural  daughter, 
whom  he  later  surrendered  to  his 
friend  Wagner  (q.v.);  1858,  court- 
pianist  ;  1863,  Dr.  Phil.  /ion.  causa, 
Univ.  of  Jena  ;  1864,  court-pianist. 
Mynich  ;  1867-69,  court-conductor 
and  dir.  School  of  Music  ;  1869-72, 
teacher  and  pianist  in  J"lorence ; 
1875-76,  gave  139  concerts  in  Amer- 
ica ;  1878-80,  court-conductor  at 
Hanover;  then  till  1885,  Hofmusik- 
intendant,  Sa.xe-Meiningen  ;  1882, 
m.  Marie  Schanzer  ;  1885-88,  teach- 
er Raff  Cons.,  Frankfort,  Klindworth 
Cons.,  Berlin,  and  dir.  Berlin  Fhilh. 
Concerts;  in  188S,  founded  the  succ. 
"Subscription  Concerts."  Composed 
music  to  "Julius  Caesar"  (op.  10)  ;  a 
Ballade  for  orch.,  "  Des  Siingers 
Fluch"  (op.  16);  "  iVirwana"  a 
symphonic  Stimmungsbild  (op.  20) ; 
4  Charakterstiicke  for  orch.  (op.  23) ; 
a  few  pf.-pcs.  and  songs  ;  also  many 
piano  arrangements.  His  critical  ed. 
of  Beethoven's  sonatas,  and  Cramer's 
etudes,  are  standard  ;  biog.  by  his 
2d  wife  (Leipzig,  1S95). 
Bulss    (bools),    Paul,    Birkholz    Man- 


or, Priegnitz,  Dec.  19,  i847-^TemeS2! 
var,  Hungary,  March  20,  1902;  pupil! 
of   G.    Engel  ;  barytone    at    Dresd< 
(1876-89),  later  at  Berlin  court  opei 

Bulthaupt  (boolt -howpt),  H, 
Bremen,  Oct.  26,  1849  ;  wrote  a  valu- 
able "  Dramaturgie  der  Oper  "  (Leip- 
zig, 1887). 

Bungert  (boong'-ert),  August,  b. 
Muhlheim-on-Ruhr,  March  14,  1S46; 
pupil  of  Kufferath  (pf.),  later  at  Co- 
logne Cons.  ;  for  4  years  at  Paris 
Cons.;  then  (1869)  with  Mathias; 
lived  (1873-81)  at  Berlin,  and  stud- 
ied cpt.  with  Kiel  ;  since  lives  near 
Genoa.  His  life-work  has  been 
"  Das  Homerische  Welt"  in  2  Ho- 
meric opera-cycles,  occupying  6 
"evenings"  (Abende),  each  with  a 
"  Vorspiel ;  "  The  Iliad  {"Die  /lias") 
is  unfinished  :  (a)  Achilles  ;  (b)  JCly- 
temnestra.  The  Odyssey  {"Die 
Odyssee")  consists  of  Circe;  Nau- 
sikaa  ;  Odysseus'  Neitnkehr  (Berlin, 
March  31,  iSq8  ;  succ),  and  Odys- 
seus' Tod  (Dresden,  1902).  Other 
comp.  are  (comic  opera)  "  Die  Stu- 
denten  von  Salamanca "  (Leipzig, 
1884);  symph.  poem,  " Auf  der  IVart- 
burg" ;  "  Hohes  Lied  der  Liebe," 
with  orch.;  overture,  "  Tasso"  pf, 
quartet,  op.  18  ;  Florentine  quartet 
(prize,  1878)  ;  "  Ltalienishe  Reise- 
bilder"  etc.,  for  pf.;  songs  to  Car- 
men Sylva's  "  Lieder  einer  Konigin" 
etc. 

Bun  nett,  Edw.,  b.  Norfolk,  England, 
1834  ;  articled  to  Dr.  Buck,  1849  ;  or- 
ganist various  churches,  Mus.  Doc. 
O.xon,  1869;  1871-92,  cond.  Nor- 
wich Mus.  Union  ;  since  1S72  organ- 
ist of  the  Norwich  Festivals ;  com- 
posed cantata,  etc. 

Bun  ning,  Herbert,  b.  London,  May 
2,  1863 ;  pupil  of  V.  Ferroni ;  c. 
Italian  scena,  "  Ludovico  il  Mora" 
(prod,  with  succ,  1892),  also  2  sym- 
phonic poems,  opera  "  The  Last 
Days  of  Pompeii  "  (MS.),  etc. 

Bun  ting,  Edw.,  Armagh,  Feb.,  1773 
—Belfast,  1843 ;  historian  and  col- 
lector of  Irish  music. 


^ 


DICTIONARY  OF  MUSICIANS    447 


Buonamente  (boo-6-na-men'-te),  Giov. 
Bat.,  cond.  Franciscan  monastery  at 
Assisi ;  early  and  important  composer 
for  violin,  also  cornetti  (1623-36)  ; 
confused  by  Fetis  with  Bonometti. 

Buonamici  (boo-5-na-me -che),  Giu., 
b.  Florence,  1846  ;  pianist  ;  pupil  of 
his  uncle  Ceccherini,  and  of  Biilow 
and  Rheinberger  at  Munich  ;  1873, 
cond.  Florentine  Choral  Society 
"Cherubini";  founded  the  Flor. 
"  Trio  Society"  ;  pub.  etudes,  etc. 

Buononcini.     Vide  bononcini. 

Burbure  de  Wesembeck  (biir-biir  dii 
va-ziin-bek),  L^on  Ph.  M.,  Chevalier 
de,  Termonde,  18 12 — Antwerp,  1889; 
Flemish  nobleman  ;  writer  and  com- 
poser. 

Burde-Ney  (biir'-de-nl'),  Jenny, 
Graz,  1826 — Dresden,  1886  ;  so- 
prano ;  1855,  m.  the  actor  E. 
Biirde. 

Burette  (bii-ret),  P.  J.,  Paris,  1665— 
1747  ;  Prof,  of  Medicine,  Paris  Univ. ; 
writer  on  Greek  music. 

Biirgel  (biir-gel),  Konstantin,  b. 
Silesia,  June  24,  1837  ;  pupil  of  Bro- 
sig  and  Kiel ;  1869-70  pf.  teacher  in 
Kullak's  Acad.,  now  private  teacher  ; 
composer. 

Biirger  (biir'-ger),  Sigmund,  b.  Vien- 
na, 1856;  pupil  of  Popper;  'cel- 
list ;  since  1887  soloist  at  R.  Opera, 
Pesth,  and  teacher  in  the  Cons. 

Burgle  (boorkh),  Joachim  Moller  (or 
Miiller),  called  Joachim  A.  Burgk 
(or  Burg,  or  Burck),  Burg,  near 
Magdeburg;  ca.  1541  —  Miilhausen, 
Thuringia,  May  24,  1610 ;  organist 
and  eminent  composer  of  Protestant 
music. 

Burgmein,  J.,  pen-name  of  "  Giulio 
Ricordi." 

3urgmiiller  (boorkh'-miil-ler),  (i)  Jn. 
Fr.  Fz.,  Ratisbon,  1806— Beaulieu, 
1874  ;  composer.  (2)  Norbert,  Diis- 
seldorf,  1810— Ai.x-la-Chapelle,  1836; 
pianist  and  composer. 

Jurgstaller  (boorkh'-shtal-ler),  Alois, 
b.     Holzki'.chen,      Sept.     27,    1871  ; 

'  tenor ;  studied  with  Bellurth  and 
Kniese  ;  sang  small  roles  at  Bayreuth 


from     1894,      "Siegfried"      (1897); 
"  Siegmund  "  (1899). 

Burke,  Jos.,  Ireland,  1818— New 
York,  Jan.  19,  igo2  ;  came  to  Amer- 
ica at  12  as  prodigy  violinist  ;  pupil 
of  de  Beriot  ;  retired  about  1855. 

Burkhard  (boorkh'-hart),  Jn.  Andreas 
Chrn.,  Pastor,  Leipheim,  Swabia ; 
theorist  and  editor. 

Burmeister  (boor'-mi-shter),  (i)  Rich- 
ard, b.  Hamburg,  Dec.  7,  ig6o;  pian- 
ist ;  pupil  of  Liszt,  accompanying  him 
as  he  travelled ;  teacher  Hamburg 
Cons.;  for  12  years  head  of  pf.  dept., 
Peabody  Inst.,  Baltimore;  1898,  dir. 
N.  Y.  Scharwenka  Cons.;  c.  pf.-con- 
certo(op.  i),  "  The  Chase  after  Fort- 
une "  ('"Diejagd  nach  dem  Gliick  "), 
a  symphonic  fantasy  in  3  movements  ; 
rescored  Chopin's  F  minor  concerto, 
and  wrote  orch.  accomp.  for  Liszt's 
'''Pathetic"  concerto.  (2)  Dory 
(nee  Peterson),  b.  Oldenburg,  1S60  ; 
pianist  ;  wife  of  above. 

Burmester  (boor'-ma-shter),  Willy,  b. 
Hamburg,  1869  ;  violin-virtuoso  ; 
studied  with  his  father  and  Joachim  ; 
toured  with  his  sister,  a  concert-pian- 
ist. Von  Biilow  aided  him  and  brought 
public  attention  to  his  abilities  ;  has 
toured  Europe,  and  1899,  America. 

Bur'ney,  Chas.,  Shrewsbury,  Eng- 
land, 1726 — Chelsea,  1814  ;  toured 
Europe;  Mus.  Doc.  Oxon,  1769; 
pub.  very  interesting  and  gossipy 
"  The  Pre  sett  t  State  of  Music  itt 
France  and  Italy  "  etc.  (1771)  ; 
"do.  in  Gertnany,  the  A'etherlands,'' 
etc.  (1.773)  ;  "  General  History  of 
Music"  (4  vols.,  1776-89),  etc. 

Burr,  Willard,  b.  Ohio,  Jan.  17,  1852 ; 
graduated  Oberlin  Cons.  ;  pupil  of 
Haupt,  Berlin  ;  lives  in  Boston, Mass. ; 
composed  grand  sonata  for  pf.  and 
vln.,  etc. 
Bur'rowes,  J.  Freckleton,  London, 
1787 — 1852  ;  organist,  pianist  and 
writer. 
Burton,  (i)  Avery,  composer  in  reign 
of  Henry  VIII.  (2)  J.  Yorkshire, 
1730 — 1785;  harpsichord.  (3)  Fred- 
erick R.,  graduated  at  Harvard  ;  1. 


448 


THE  MUSICAL  GUIDE 


Yonkers,  N.  Y. ;  founded  there,  1896, 
a  choral  society  ;  c.  pop.  cantata 
"  Hiawatha"  etc. 

Bur'tius  (or  Burci  (boor'-che))  or  Bvtr- 
zio  (boor'-tsl-o),  Nicolaus,  Parma, 
1450 — ca.  1520;  wrote  the  earliest 
specimen  of  printed  mensural  music. 

Busby,  Thos.,  Westminster,  Eng- 
land, 1755 — London,  1S38  ;  Mus. 
Doc.  ;  composer  and  writer. 

Busi  (boo -ze),  (i)  Giu.,  Bologna,  1808 
— 1S71  ;  Prof.  (2)  Alessandro,  Bo- 
logna, 1S33 — 1S95  ;  son  of  above  ; 
'cellist  and  conductor. 

Busnois  (blin-wa),  A.  (rightly  de 
Busne  (du  bun)),  d.  1481  ;  Nether- 
land  contrapuntist. 

Busoni  (boo-s6  -ne),  Ferruccio  Ben- 
venuto,  b.  Empoli,  near  P'lorence, 
April  I,  1S66  ;  pianist  ;  pupil  of  his 
father  (Fdo.),  clarinettist,  and  his 
mother  {ace  Weiss),  a  pianist ;  at  8, 
debut  at  Vienna  ;  then  studied  with 
W.  A.  Remy  ;  18S1,  toured  Italy  ;  at 
15,  elected  a  member  of  the  Reale 
Accademia  Filarmonica,  Bologna  ; 
i836,  Leipzig,  where  he  c.  a  fantastic 
opera,  a  string-quartet  (D  min.),  sym- 
phonic suite,  etc.  ;  1SS8-S9,  Prof. 
Helsingfors  Cons.;  1890,  won  Rubin- 
stein prizes  for  comp.  and  pf. -play- 
ing, with  a  Concertstiick  for  pf.  and 
orch.,  op.  31a  ;  sonata  for  pf.  and 
vln. ;  pf.  arr.  of  Bach's  Eb  Organ 
Prelude,  and  Fugue ;  and  other  pf. 
pes.  incl.  2  Cadenzas  to  Beethoven's 
Concerto  in  G ;  1890,  Prof,  in  the 
Moscow  Imp.  Cons.;  1891-93  at  New 
England  Cons.,  Boston,  IJ.  S.  A.; 
1S95,  toured  ;  now  lives  in  Berlin  ; 
edited  Bach's  "  Well-tempered  Clavi- 
chord" with  etudes  ;  other  comps., 
''  Lustspiel  OuvertUre" ;  4  choruses 
with  orch.  ;  2  suites  for  orch.  ;  a 
"'  Symphonisches  Tongedicht"  for 
orch.,  etc. 

Busser  (bus-sa),  H.  Paul,  b.  Tou- 
louse, 1872  ;  pupil  of  Guiraud  and 
Gounod ;  took  first  Grand  Prix  de 
Rome,  with  cantata  ''Antigone" ; 
since  1892,  organist  at  St.  Cloud  ;  c. 
succ.    i-act   pastorale    ''  Daphnis    et 


Chloe"  (Paris,  Op.  Com.),  1897  ;  can 
tata    ''  Amadis  de  Cattle"  1892  (tak 
ing  2d  Grand  Prix  de  Rome);  orches 
tral   suite    ''A   la   Villa  Medicis" ; 
lyric   drama    "  Colomba"  and  opera  |; 
"  Le  Miracle  des  Perles." 

Busshop     (biis-shop),     Aug.     Guil., 
Paris,      1810 — Bruges,     1896;      self 
taught;  c.    prize-cantata,  "'  Le  Dra\\ 
peau  Beige"  1834,  etc.  I 

Bussler  (boos'-ler),   L.,   Berlin,  Novh 
26,    1838 — Jan.    18,    1900;    theorist  I  c 
son    of    the    painter-author,    Rober;  1 
Bussler ;    pupil    of    von    Hertzberg; 
Dehn,    Grell,   and   Wieprecht  ;    1865! 
teacher   of   theory,    Ganz    School  oj 
Music  ;  from  1879,  at  the  Stern  Cons.l  u 
Berlin  ;  critic   and   writer  of  variouj  i 
treatises.  j 

Bussmeyer  (boos'-ml-er),  (i)  Hugo,  b;  -i. 
Brunswick,   1842 ;    pianist ;    pupil  o(    1 
K.  Richter,   Litolff  (pf.),  and  Methi   i 
fessel  (comp.)  ;  1S60,  toured  in  Soutl    ; 
America ;     i860,    N.   Y.  ;     compose    \ 
and  writer.     (2)  Hans,  b.  Brunswick' 
1853  ;  bro.  of  above  ;    pianist  ;  pupi 
of  Royal  School  of  Music  at  Munich 
and  teacher  there  since   1874;    als^ 
studied  with  Liszt ;  toured  S.  Amei 
ica,   1872-74  ;   1879,  founded  Munic     i 
Choral  Society.  J 

Bustini    (boos-te'-ne),  Aless.  ;    youni;  M 
Italian   composer,   prod.  succ.  oper'  t^. 
"  Maria   Dulcis"    Rome,    1902  ;    1; 
bretto  by  Luigi  Ilica. 

Buths  (boots),  Julius,  b.  Wiesbaden 
May  7,  1851  ;  pianist;  pupil  of  hi 
father  (an  oboist),  also  of  Gernshei-ii 
Ililler  and  Kiel ;  1871-72,  cond.  th 
"  Cecilia,"  at  Wiesbaden  ;  1873,  wo 
Meyerbeer  Scholarship,  and  lived  i 
Milan  and  Paris;  1875-79,  cond.  i 
Breslau  ;  in  Elberfeld,  1S79-90;  sine 
cond.  Mus.  Soc.  at  Elberfeld ;  c 
concerto,  etc.,  for  pf. 

Butt,  Clara,  Eng.  contralto ;  won 
scholarship  at  London  R.  C.  M.;  df 
but,  London,  1892  ;  toured  America 
1899 ;  m.  Kennerly  Rumford,  bar) 
tone,  1900.  Her  great  success  ha 
been  emphasised  by  her  imposin 
beauty  (she  is  6  ft.  2^  inches  tall). 


J 


DICTIONARY  OF  MUSICIANS    449 


Buttstedt  (boot'-shtet),  Jn.  H,,  Bin- 
dersleben,  1666 — Erfurt,  1727  ;  writer 
of  a  famous  defence  of  sol-mi-sa-tion  ; 
also  organist  and  composer. 

Buus  (boos),  Jachet  (Jacques)  de, 
b.  Bruges  (?),  1510;  Flemish  cptist ; 
1541,  asst.  organist,  San  Marco. 

Buxtehude  (boox'-te-hoo-de),  Die- 
trich, Helsingor  (Elsinore),  Den- 
mark, 1639 — I.iibeck,  1707;  organist; 
1673,  he  established  the  "  Abend- 
musiken,"  which  J.  S.  Bach  walked 
50  miles  to  hear  ;  great  composer  of 
fugues  and  suites. 
Buzzola  (bood-z6'-la),  A.,  Adria,  1815 
— Venice,  1871 ;  conductor  at  San 
Marco  and  dram,  composer. 
Jyrd  (Byrde,  Bird,  or  Byred),  Wm. ; 
according  to  his  will,  discovered  in 
1897,  he  was  born  London,  1542,  or 
1543  (not  1538  or  1546,  as  stated) ;  d. 
July  4,  1623  ;  organist  and  notable 
English  composer,  in  whose  work  there 

t     is   much    modernity;    1554,  organist  ; 

ji  ■  1563,  choirmaster  and  organist  Lin- 

•  coin  Cathedral ;  1575,  procured  with 
Tallis,  his  former  teacher,  an  exclu- 
sive patent  for  the  privilege  of  print- 

.  •  ing  music  and  selling  music-paper. 

aballero  (ka-bal-la'-ro),  Manuel 
Fernandez,  b.  Murcia,  March  14, 
1835  •  pupil  of  Fuertes  (harm.)  and 
Eslava  (comp.),  Madrid  Cons. ;  c. 
pop.  Zarzuclas  (v.  D.D.)  and  church- 
music. 

abel  (ka-bel),  rightly  Cabu,  (i)  Ed., 
singer  Op.  Com.,  Paris.  (2)  Marie 
Josephe  (nee  Dreulette),  Liege, 
1827 — 1SS5  ;  sister-in-law,  or  perhaps 
mother,  of  above  ;  soprano. 
abo  (ka -bo),  Francisco  Javier,  b. 
Naguera,  near  Valencia,  1832  ;  or- 
ganist, conductor  and  composer. 
accini  (kat-che-ne),  Giulio  (called 
Romano),  Rome,  ca.  1546 — Flor- 
ence, ca.  1615  ;  a  Revolutionary  com- 
poser well  called  ' '  The  father  of  a  new 
style  of  music  "  ;  studied  singing  and 
flute-playing  with  Scipione  della  Pal- 


la.  Wrote  and  sang  '''Musica  in  Stile 
Jiapprt'seiitativo"a.ViA  c.  '' II  Rapii- 
viento  di  Cefalo  "  (Oct.  9,  1600),  the 
first  opera  ever  publicly  prod.  ;  he 
had  also  set  to  music  other  works  by 
Bardi  (q.  v.),  and  collaborated  with 
Peri  (q.  V.)  in  '' Daftie"  the  first 
opera  ever  composed.  He  c.  also 
a  novel  set  of  madrigals  justly  called 
"Z^  miove  mtisichc"  and  other 
works  of  notable  originality  and  im- 
portance to  progress. 

Cadaux  (ka-do),  Justin,  Albi,  France, 
1813 — Paris,  1874  ;    dram,  composer. 

Cadiac  (kad-yak),  P.,  choirmaster  at 
Auch,  France,  and  composer  (1543- 
58). 

Cadore  (ka-do'-re),  Arturo,  young 
Italian  composer,  prod,  comic  opera 
"  /  Vespri  "  (Milan,  189S  ?)  and  succ. 
i-act  "  Jl  Xatale"  (Milan,  1902). 

Caesar,  Julius,  RLD.,  b.  Rochester, 
England ;  amateur  composer,  17th 
cent. 

Cafaro  (ka-fa -ro),  Pasq.  (called  Caf- 
fariel'lo),  San  Pietro,  Galatina,  Italy, 
1706 — Naples,  1797  ;  noted  composer; 
c.  operas,  oratorios,  a  notable  "  Stabat 
mater,"  etc. 

Caffarelli  (rightly  Gaetano  Majora- 
no)  (kaf-fa-rel'-ll),  Bari,  April  16, 
1703 — Santo-Dorato,  near  Naples, 
Nov.  30,  1783  ;  famous  male  so- 
prano ;  discovered  as  a  peasant  boy, 
by  Caffaro,  a  musician,  he  took  the 
name  Caffarelli  out  of  gratitude  ;  he 
studied  5  years  with  Porpora  ;  was  a 
skilful  sight-reader  and  harpsichord- 
ist, a  marvellous  singer  of  florid  mu- 
sic, and  also  gifted  with  pathos  ;  had 
most  successful  debut,  Rome,  1724, 
in  a  female  role,  and  sang  with  enor- 
mous success  everywhere  except  Lon- 
don ;  made  money  enough  to  buy  a 
dukedom. 

Caffl  (kaf'-fe),  Fran.,  Venice,  1786— 
Padua,  1874  ;  writer. 

Caffiaux  (kaf-ft-6),  Dom.  Phillippe 
Jos.,  Valenciennes,  17 12 — Paris, 
1777  ;    abbe  and  writer. 

Cagniar  de  la  Tour  (kin'-yar  dii  la 
toor'),  Baron,  Chas  ,  Paris',  1777— 


450 


THE  MUSICAL  GUIDE 


1859;  improved  the  "  Svren "  (v. 
D.  D.). 

Cagnoni  (kan-yo'-nT),  A.,  Godiasco, 
1828 — Bergamo,  1896;  conductor  and 
dram,  composer. 

Cahen  (ka-an),  (i)  Ernest,  Paris, 
1828 — 1893  ;  pianist  and  dram,  com- 
poser. (2)  Albert,  b.  Paris  (?),  Jan. 
8,  1846 ;  pianist  ;  pupil  of  \Ime. 
Szarvady  and  Cesar  Franck ;  c. 
''Jean  le  Pri'cttrseur"  biblical  poem 
(1874);  com.  opera  ''  Le Bois"  (1880, 
Op.  Com.) ;  fairy  opera  "  La  Belle  au 
Bois  Dormant"  (Geneva,  1886);  4- 
act  opera  "  Le  Vt'nitien"  (Rouen, 
1890)  ;  unsucc.  opera  "  La  Fern  me  de 
Claude''  (Paris,  Op.  Com.,  1896); 
lives  in  Paris. 

Caillot  (kl-yo),  Jos.,  Paris,  1732 — 
18 16  ;  tenor-barytone. 

Cain  (kin),  Henri,  b.  Paris,  1859; 
painter  ;  and  librettist  to  Massenet, 
etc. 

Caimo  (ka'-e-mo),  Joseffo,  b.  Milan, 
ca.  1540  ;  composer. 

Cal'ah,  J.,  1758 — 1798,  English  organ- 
ist. 

Caldara  (kal-da'-ra).  A.,  Venice,  1678 
— Vienna,  Dec.  28,  1763;  court-con- 
ductor and  noted  composer,  Vienna  ; 
c.  operas,  70  sacred  dramas,  etc. 

Caldicott,  Alfred  Jas.,  Worcester, 
England,  1842— near  Gloucester,  Oct. 
24,  1897  ;  organist  of  St.  Stephen's 
Church,  Worcester,  and  Corporation 
organist;  1883,  prof,  at  R.  C.  M., 
London ;  from  1885,  cond.  at  the 
Albert  Palace  ;  c.  cantatas,  13  oper- 
ettas, etc. 

Calegari  (kal-a-ga -re),  (i)  (or  Calle- 
gari)  Fran.  A.,  d.  Padua,  1742; 
a  Franciscan  monk,  1702-24 ;  con- 
ductor and  writer  at  Venice,  then 
Padua.  (2)  A.,  Padua,  1758— 1828  ; 
dram,  composer  and  writer. 

Cal  kin,  J.  Bapt.,  b.  London,  March 
16,  1827  ;  pianist,  organist  and  com- 
poser ;  prof.  Guildhall  School  of 
Mus.  ;  pub.  services,  etc. 

Call,  Leonard  de,  1779 — Vienna, 
1815  ;  guitar  virtuoso    and   compos- 


Callaerts  (kiil'-larts),  Jos.,  b.  Ant 
werp,  Aug.  22,  1838 ;  pupil  at  Brusj 
sels  Cons,  of  Lemmens  ;  organist  a'l 
Antwerp  Cathedral,  and  teacher 
the  Music  School  from  1867  ;  c. 
prize  symphony  and  pf.  trio,  comiil 
opera  ;  '  Le  Retottr  Imprevu  "  (Ant 
werp,  1889),  etc. 

Call'cott,  (i)    J.   Wall,    Kensingtoni 
Nov.  20,  1766 — May  15,  1821  ;  main 
ly    self-taught;      organist;     1789    h 
won   all    the    prizes    offered     by    th 
"  Catch  Club;  "  1790,  pupil  of  Haydn 
1800,   Mus.  Doc.  (Oxon) ;   1806,  led 
ured  at  the   Royal    Institute  ;    ovei 
work     on     an     unfinished     music; 
dictionary  destroyed  his   reason  ;    h .'    -. 
''Grann)tar    of     Music"    (1806)     ;■ 
standard.  (2)  Wm.  Hutchins,  Ken;-  ,i 
ington,  1807 — London,  1882;  son  i\m 
above  ;  organist  and  pianist.  j  j|. 

Calliope  (kal-li'-6-p§    or   kal-le'-o-paj  Ir 
the  Greek  muse  of  heroic  verse.        ;    J 

Calo'ri,  Angiola,  Milan,  1732 — 179CI  \ 
soprano. 

Calsabigi  (kal-sa-be'-je),  Ranierod 
Livorno,  1715  —  Naples,  179; 
Gluck's  librettist  and  aide  in  oper 
reformation. 

Calv6  (kal-va),  Emma  (de  Roquei 
b.  Madrid,  1864 ;  eminent  operal 
actress  and  soprano  ;  pupil  of  Ms 
chesi  and  Pugets ;  1882,  debut 
Massenet's  "  ILtfrodiade"  Th.  de 
Monnaie,  Brussels  ;  1884,  Paris  1 
Italien  ;  1885,  Op.  Com.  ;  has  su 
constantly  in  New  York,  London,  et 
she  is  an  Ofificier  d' Academic, and  liv 
in  Paris. 

Calvis'ius,  Sethus  (rightly  Se 
Kallwitz(kar-vets)),Feb.  21,  1556 
Leipzig,  Nov.  24,  161 5  ;  son  of 
peasant ;  singer  for  alms,  then  as 
teacher  obtained  funds  to  stud 
(1581)  mus.  dir.  ;  writer  of  import.' 
treatises  and  composer. 

Calvor  (kal'-far),  Kaspar,  Hildeshei; 
1650 — Clausthal,  1725  ;  theorist. 

Cambert   (kah-bar),   Rob.,  Paris,   '. 
1628 — London,  1677  ;  first  compojr 
of    French   operas ;    organist   at 
Honore;  1659,  "  Za  Pastorale"  \ 


DICTIONARY    OF   MUSICIANS    451 


succ.  prod,  at  the  Chateau  d'Issy  ; 
and  followed  by  others  on  the  texts  of 
Perrin,  who  received  letters  patent  for 
establishing  the  "  Academic  royale  de 
musique  "  (new  the  Gr.  Opera)  ;  with 
Perrin  he  also  wrote  the  first  genu- 
ine opera,  ''  Ponttnie"  prod.  1671, 
before  Lully,  who  later  took  the  pat- 
ent for  himself  ;  he  went  to  England 
where  he  died  as  Master  of  the  Music 
to  Charles  II. 

Cambini     (kam-be'-ne),    Giov.    Giu., 

■  Leghorn,  1746 — Bicetre,  1825  (?); 
cond.  at  Paris,  and  prolific  but  cheap 
composer  of  over  60  symphonies,  144 
string-quartets,  several  operas,  etc.  ; 
he  died  in  the  almshouse. 

Camerana  (kam-a-ra'-na),  Luigi,  b.  in 
Piedmont,  1S46  ;  theatre  -  cond.  in 
Savona ;  dram,  composer. 

Cam  idge,  (i)  J.,  ca.  1735  —  York, 
Engl.,  1S03  ;  organist  York  cath.,  47 
years ;  composer.  (2)  Mat.,  York, 
I  1758 — 1844  ;  son  and  successor  of 
above.  (3)  J.,  York,  1790 — 1859; 
son  and  successor  of  (2). 

Campagnoli  (kam-pan-yo-le),  Bart., 
Cento,  1751 — Neustrelitz,  1S27  ;  vio- 
linist and  court-conductor. 

Campana  (kam-pa-na),  Fabjo,  Leg- 
horn, 1S19 — London,  1882  ;  singing- 
teacher  and  dram,  composer. 

Campanari  (kam-pa-na-re),  (i)  Lean- 
dro,  b.  Rovigo,  Italy,  Oct.  20,  1S57  ; 
pupil  at  Milan  Cons.  ;  toured  Europe 
2  years  ;  America,  1S79  ;  lived  in 
Boston  ;  organised  "  C.  String-quar- 
tet"; 18S3  1st  prof,  of  vln.  in  N. 
E.  Cons.  ;  1890.  ist  prof,  of  vln. 
and  head  of  orch.  dept.  Cincinnati 
Cons.  ;  since  1897  conductor  at 
Milan ;  writer  and  composer.  (2) 
Giuseppe,  eminent  dram,  barytone, 
bro.  of  above,  sings  at  Met.  Op.,  N.Y. 

Campanini  (kam-pa-ne'-ne),  Italo, 
Parma,  1S45 — Vigatto,  near  Parma, 
Nov.  22,  1S96 ;  operatic  tenor,  a 
blacksmith  when  discovered  ;  debut, 
1869,  at  Odessa,  without  much  suc- 
cess ;  then  studied  with  Lamperti, 
and  reappeared,  Florence,  1S71,  as 
"  Lohengrin,"    with     great      succ.  ; 


toured  Europe  and  U.  S.  with  Nils- 
son,  Patti,  etc. 

Campbell,  Alex.,  organist,  editor, 
and  publisher,  i8th  century. 

Campenhout  (kam'-pen-oot),  Fran- 
cois van,  Brussels,  1779 — 1848  ;  vio- 
linist, then  tenor,  then  dram,  com- 
poser. 

Campioli  A.  Gualandi,  called  Cam- 
piole,  b.  Germany,  of  Sp.  parents  ; 
male  contralto  ;  debut  Berlin,  1708. 

Cam'pion,  (i)  Thos.,  d.  London,  Feb. 
1619  ;  English  physician,  poet,  dram- 
atist and  noteworthy  writer  and 
composer  ;  pub.  two  books  of  Ayres, 
etc.  (1610);  2  more  (1612).  (2)  Fran., 
1703-19,  theorbist,  Paris  Gr.  Opera. 

Campio'ni,  Carlo  A.,  Leghorn,  ca. 
1720 — Florence,  1793;  court-conduc- 
tor. 

Camporese  (kam-p6-ra'-ze).  Violante, 

b.  Rome,  1785  ;  operatic  sopr.  of 
Napoleon's  private  music  ;  debut, 
London,  1S17  ;  retired.  1S29. 

Campos  (kam  -pos),  Joao  Ribeiro  de 
Almeida  de,  b.  Vizen,  Portugal,  ca. 
1770;  cond.,  and  professor. 

Campra  (kan-pra),  (i)  Andr6,  Dec.  4, 
1660 — Versailles,  July  29,  1744  ;  cond. 
at  Notre  Dame  ;  prod.  2  succ.  operas 
under  his  bro's  name  and  gave  up 
church-mus.  ;  cond.  Royal  Orch.  and 

c.  18  operas.  (2)  Jos.,  bro.  of  above  ; 
double-bass  player. 

Camps  y  Soler  (kamps  e  s6'-lar),  Os- 
car, b.  .\le.\andria,  Egypt,  Nov.  21, 
1S37;  Spanish  pianist  ;  pupil  of  Dohler 
and  Mercadante  ;  played  in  public  at 
13;  lives  in  Madrid  ;  writer  and  theo- 
rist. 

Candeille  (kan-de'-yu).  (i)  P.  Jos., 
Estaires,  1744  —  Chantilly,_  1827; 
dram,  composer.  (2)  (Simons- 
Candeille)  Am61ie  Julie,  Paris, 
1767 — 1834  ;  operatic  sopr.,  actress, 
and  composer  ;  daughter  of  above  ; 
lived  in  Paris  as  teacher  ;  she  wrote 
libretto  and  music  of  the  succ.  oper- 
etta "  Z-rt  Belle  Fermih-e"  {\-q2)  \ 
she  played  the  leading  role  and  sang 
to  her  own  ficcomp.  on  piano  and 
harp. 


452 


THE  MUSICAL  GUIDE 


Cange  (dti  kafizh),  Chas.-Dufrfesne, 
sieur  du,  Amiens,  1610 — Paris,  166S  ; 
lawyer  and  lexicographer. 

Cannabich  (krin'-na-blkh),  (i)  Chr., 
Mannheim,  1731 — Frankfort,  1798  ; 
noteworthy  violinist  and  conductor, 
a  pioneer  in  orchestral  diminuendo  ; 
son  of  (2)  Mathias,  a  flutist  in  the 
Electoral  Orch,  at  Mannheim  of 
which  Chr,  C.  became  leader  in  1765, 
and  cond.  1775.  (3)  K.,  Mannheim, 
1769 — Munich,  1805  ;  son  of  (i) ; 
court-conductor.  (4)  Rose,  b.  about 
1762  according  to  Mozart,  whose  pu- 
pil she  was  ;  daughter  of  (i) ;  notable 
pianist. 

Canniciari  (kan-ne-chji'-rg),  Don 
Pompeo,  Rome,  1670 — 1744;  con- 
ductor and  composer. 

Canthal  (kan'-tal),  Aug.,  b.  Lubeck  (?); 
flutist  1832  Hamburg  Th. ;  1847,  succ. 
concerts,  Copenhagen  ;  1848,  band- 
master, Leipzig ;  composer. 

Cantor,  Otto,  Engl,  song-writer,  lives 
in  London. 

Campella  Martianus  Minucius 
(Mineus),  Felix,  5th  cent.,  Latin 
scholar  at  Carthage  ;  writer. 

"Capelli,"  pen-name  of  Jn.  D.  von 
.  Apell. 

•Capocci   (ka-p6t'-che),    (i)  Gaetano, 

-  Rome,  Oct.  16,  1811 — Jan.  ii,  1-S98  ; 
notable  teacher  ;  pub.  much  sacred 
music.  (2)  Filippo,  b.  Rome.  May 
II,  1840  ;  son  of  above  ;  Italian  or- 
ganist, perhaps  the  best  living  ;  since 
1875  organist  of  San  Giovanni  in 
Laterano  ;  c.  for  organ. 

Caporale  (ka-p5-ra'-ie),  Andrea,  d. 
London,  ca.  1756  ;  'cellist. 

Capoul  (ka-pool)  (Jos.  Am6d6e),  Vic- 
tor, b.  Toulouse,.  .Feb.  27,.  1S39  ; 
tenor;  pupil  of  Revial  and  Mocker, 
Paris  Cons.  ;  1861-72  at  the  Op. 
Com.  ;  1892  prof,  of  operatic  singing 
in  Nat.  Cons.,  New  York;  asst.  dir. 
Gr.  Opera,  Paris,  1899  ;  1902  (?)  di- 
rector Op.  Com.,  Paris. 
Caraccio  (ka-rat'-ch5)  (or  Caravac- 
cio),  Giov.,  Bergamo,  ca.  1550 — 
Rome,  1626  ;  conductor. 
Caraccioli      (ka-rat-cho'-le),      Luigi, 


lies!  I 


Adria   (Bari),    1849 — London,  1887  ; 
dram,  composer. 

Carado  ri-Allan,  Maria  C.  R.  (nee 
de  Munck),  Milan,  1800 — London, 
1865  ;  soprano. 

Carafa  de  Colobrano  (ka-ra-fa  da 
k6-l5-bra'-n5),«  Michele  Enrico, 
Naples,  Nov.  17,  1787 — Paris,  July 
26,  1872  ;  son  of  Prince  Colobrano 
while  very  young  c.  an  opera,  2  can 
tatas,  etc.,  with  much  success  ;  183 
member  of  the  Academy  ;  1840,  pn 
of  comp.  at  Cons.  ;  c.  also  ballei 
cantatas,  and  good  church-music 

Caramuel'  de  Lob  kowitz  (vets) 
Juan,  Madrid,  1606 — Vigevano, Italy, 
1682  ;  bishop  and  writer. 

Cardon  (kir-doh).  (i)  Louis,  Paris, 
1747 — Russia,  1805  ;  harpist.  (2) 
P.,  b.  Paris,  175 1  ;  'cellist  and  singer. 

Cardoso,    Manuel,    Fronteira,  1569  ;t  i 
Spanish  priest  and  composer. 

Caresana    (kar-a-sa-na),    Cristoforo,]  j 

b.  Tarentum,    1655  ;  lives  in  Napli 
as  composer.  * 

Carestini  (ka-ras-te'-ne),  Giov.  (stage 
name  Cusanino),  Mente  Filatrano 
(Ancona),  ca.  1705 — 1760;  male  so- 
prano (musico). 

Ca'rey,  Henry,  1685  (?) — London,  Oct. 
4,  1743  ;  a  reputed  natural  son  of 
Marquis  of  Halifax,  and  disputed 
composer  of  "  God  save  the  King"  ; 

c.  the    song  ''Sally  in  our  Alley"; 
ballad  operas,  etc. 

Cario  (ka-rl-o),  Jn.  H.,  Eckernforde, 
Holstein,  1736 — after  1800  ;  trum- 
peter. 

Carissimi  (ka-rts'-se-me),  Giacomo, 
Marino,  near  Rome,  ca.  1604 — Rome, 
Jan.  12,  1674 ;  ca.  1624,  church- 
conductor  at  Rome  ;  important  ch.- 
composer  and  writer ;  many  of  his 
MSS.  are  lost ;  5  oratorios  and  other 
pieces  remain. 

Carl,  Wm.  Crane,  b.  Bloomfleld,  N. 
J.,  March  2,  1S65  ;  pupil  of  S.  P. 
Warren  (org.  and  theory),  Mad. 
Schiller  (pf.)  and  Guilmant,  Paris; 
since  1892,  organist  First  Presby. 
Ch.,  N.  Y.  ;  cond.  of  N.  Y.  "  Gamut 
Club  "  ;  tours  as  concert-organist. 


^5^ 


DICTIONARY  OF  MUSICIANS   453 


Car'michael,  Mary  Grant,  b.  Birken- 
head, Engl.  ;  pupil  of  O.  Beringer, 
W.  Bache,  and  F.  Hartivigson  (pf.) 
and  E.  Prout  (comp.)  ;  accompanist  ; 
c.  operetta,  ''The  Snow  Queen'' ; 
a  pf. -suite  ;  and  many  pop.  songs. 

Car  naby,  Wm.,  London,  1772 — 1839  ; 
m  i«°''g?"  composer. 
,jj(  Carnicer  (kar-ne-thar),  Ramon,  Tar- 
egge,  Catalonia,  Oct.  24,  1789 — 
Madrid,  March  17,  1855  ;  cond. 
Royal  Opera,  Madrid,  i83c^54,  prof. 
of  comp.  Madrid  Cons.;  one  of 
the  creators  of  the  Zarzuela  (v. 
D.  D.). 

Caron  (ka-roh),  (i)  Firmin,  15th  cent., 
cptist.  of  Netherlands  ?  (2)  Rose, 
noted  soprano  Gr.  Opera,  Paris. 

Carpani  (kar-pa'-ne),  Giu.  A.,  b.  Vil- 
albese  (Como),  1752— Vienna,  1S25  ; 
writer. 

Carpentras      (II       Carpentrasso). 

Vide  El.EAZEK  GENET. 

Carr,  Frank  Osmond,  b.  Yorkshire, 
ca.  1S57  ;  1882  Mus.  Bac.  Oxon  ; 
i8gi,  Mus.  Doc.  ;  c.  farces,  bur- 
lesques, and  comic  operas  ;  ''Joan  of 
Arc"  (1891),  "Blue-Eyed  Susan" 
(London,  1892),  "hi  Town"  (i8g2), 
"Bis  Excellency"  (1894,  libretto  by 
W.  Gilbert),  etc. 

Carre  (kar-ra),  (i)  Louis,  Clofontaine 
Brie,  1663 — Paris,  171 1  ;  writer.  (2) 
Albert,  b.  Strassburg,  June  22,  1852; 
1898,  dir.  Op.-Com.,  Paris;  lib- 
rettist. 

Carreno  (kar-ran'-y6),  Teresa,  b.  Ca- 
racas, Venezuela,  Dec.  22,  1853  ; 
pupil  of  L.  >L  Gottschalk,  and  G. 
Mathias  ;  notable  pianist  ;  played  in 
public  at  12  ;  at  22  toured  the  U.  S.  ; 
1889-go  toured  Germany  with  much 
success;  for  some  years  wife  of  E. 
Sauret  ;  then  of  Giov.  Tagliapietra  ; 
1892-95,  wife  of  Eugen  d'Albert  ; 
1902,  m.  Arturo  Tagliapietra,  bro.  of 
Giov.  T.  ;  c.  a  string-quartet  and  pf. 
salon  pieces.  Her  daughter  Teresita 
:  ,  Tagliapietra  is  a  pianist. 
^.  iCarro'dus,  J.  Tiplady,  Keighley 
(Yorkshire),  1836  —  London,  1895; 
violinist. 


Carter,  (i)  Thos.,  Ireland,  ta.  1735— 
London,  1804;  composer.  (2)  H., 
b,  London,  March  6,  1837  ;  organ- 
ist ;  pupil  of  Haupt  (org.),  Pauer  (pf.), 
Kiel  and  liiller  (comp.) ;  at  9,  church 
organist ;  later  at  Quebec,  Boston, 
etc.;  1880,  prof,  in  Coll.  of  Music, 
Cincinnati  ;  1883  organist  Brooklyn, 
later  N.  Y.  ;  composer. 

Cartier  (kart-ya),  J.  Bap.,  Avignon, 
1765 — Paris,  1841;  violinist  and  dram, 
composer. 

Carulli  (ka-rool'-le),  (i)  Fdo.,  Naples, 
1770 — Paris,  1841  ;  self-taught  gui- 
tar-virtuoso and  teacher ;  c.  400 
concertos.  (2)  Gustavo,  Leghorn, 
1880 — Boulogne,  1877;  son  of  above; 
teacher  and  dram,  composer. 

Caruso  (ka-roo'-z6),  Luigi,  Naples, 
1754 — Perugia,  1821  ;  conductor;  c. 
69  operas. 

Carvalho  (kar-val'-S)  (rightly  Car- 
vaille),  (i)  Leon,  in  a  French  colony, 
1825 — Paris,  1897;  from  1875  dir. 
Op.  Com.  (2)  Carvalho-Miolan 
(me-6-lah),  Caroline  M. -Felix, 
Marseilles,  1827 — Puys,  near  Dieppe, 
1895  ;  soprano  ;  wife  of  above  ;  de- 
but 1849. 

Ca'ry,  Annie  Louise,  b.  Wayne  (Ken- 
nebec County,  Me.),  Oct.  22,  1S42  ; 
distinguished  operatic  and  concert 
contralto ;  studied  in  Boston  and 
Milan,  and  with  Viardot-Garcia,  etc.; 
debut  1S68,  at  Hamburg  ;  later 
Stockholm,  Copenhagen,  Brussels, 
London,  New  York  (1870),  St.  Pet- 
ersburg (1875) ;  1882,  m.  C.  M.  Ray- 
mond, Cincinnati. 

Casali  (ka-sii'-le),  Giov.  Bat.,  d.  1792; 
conductor  and  dram,  composer. 

Casamorata  (ka-sa-mo-ra'-ta),  Luigi 
Fdo.,  Wiirzburg,  1807 — Florence, 
188 1  ;  editor,  writer,  and  compos- 
er. 

Casarini  (or -a)  (ka-sa-re'-ne),  Italian 
soprano  in  Handel's  operas,  London, 
1748. 

Casel'la,  P.,  Pieve  (Umbria),  1769— 
Naples,  1843  ;  dram,  composer. 

Caser  ta,  Philippe  de,  Neapolitan 
theorist,  15th  century. 


454 


THE  MUSICAL  GUIDE 


Casini  (ka-se'-ne),  G.  M.,  b.  1675  (?)  ; 
Florentine  priest  ;  he  tried  to  revive 
Greek  modes. 

Cassell ,  Guillaume,  Lyons,  1794 — 
Brussels,  1836  ;  singer  and  teacher. 

Cassiodo  rus  Magnus  Aurelius,  b. 
Syllaceum  (Lucania),  ca.  470  ;  writer. 

Castel  (kas-tel),  Louis  Bertrand, 
Montpellier,  168S — Paris,  1757  ;  a 
Jesuit  writer  who  attempted  without 
success  to  construct  a  "Clavecin 
oculaire,"  to  prod,  colour  harmonies. 

Castellan  (kis-tel-lah),  Jeanne  A.,  b. 
Beaujeu,  Oct.  26,  1819;  retired, 
1859;  singer. 

Castelli,  (i)  Ignaz  Fz.,  Vienna,  1781 
— 1862  ;  editor.  (2)  ,  so- 
prano in  London,  1825-28. 

Castelmary  (kas-tel-ma-re)  (stage 
name  of  Comte  Armand  de  Cas- 
tan),  Toulouse,  Aug.  16,  1834 — 
New  York,  Feb.  9,  1897  ;  barytone  ; 
died  on  the  stage  of  the  Met.  Op., 
N.  Y.,  just  after  the  first  act  of 
''Martha." 

Cas'tro,  Jean  de,  played  Lyons,  1570; 
composer  and  lutist. 

Castil-Blaze.     Vide  blaze,  f.  h.  j. 

Castrucci  (kas-troot'-che).  P.,  Rome, 
1689 — London,  1769;  violinist;  lead- 
er of  Handel's  opera-orch. ;  inv.  and 
played  the  violeita  marina.  His 
bro.  (2)  Prospero  (d.  London,  1769); 
violinist  and  composer. 

Catalani  (kat-a-la -ne),  Angelica, 
Sinigaglia,  Oct.,  1779 — Paris,  June 
12,  1849  ;  famous  operatic  soprano  of 
great  beauty  ;  her  voice  was  notably 
flexible  and  reached  to  g"  (v.  chart 
OF  PITCH) ;  in  1806,  at  London,  she 
earned  over  ;^i6,ooo  ($80,000)  in  one 
year;  1814-17,  she  took  up  manage- 
ment of  the  Th.  Italien,  Paris,  without 
succ.  After  final  appearance,  York 
festival,  in  1828,  she  retired  to  her 
country-seat,  near  Florence. 

Catalini  (ka-ta-le'-ne),  Alfredo,  Luc- 
ca, July  19,  1S54 — Milan,  Aug.  7, 
1S93  ;  pupil  of  his  father  a  musician 
at  Milan ;  gained  admission  without 
exam,  to  Paris  Cons.  ;  1S86  prof,  of 
comp.,  Milan  Cons.  ;  c.  6  operas,  of 


which  the  most  succ.  were,    ''  Deja- 
nire"  "  LoreUy"  and  "  La  JFa//y." 

Catel  (ka-tel),  Chas.  Simon,  L'Aigle, 
Orne,  1773 — Paris,  1830;  dram, 
composer  and  writer. 

Catelani  (kat-a-la'-ne),  Angelo,  Guas- 
talla,  1811 — S.  Martino  di  Mugnano, 
1866  ;  dram,  composer  and  writer. 

Catenhausen  (ka-ten-how'-zen), 

Ernst,  b.  Ratzeburg,  1841  ;  conduc- 
tor and  composer. 

Cat'ley,  Anne,  London,  1745 — 1789; 
soprano,  debut,  1762  ;  m.  Gen.  Las- 
celles. 

Catrufo  (ka-troo'-fo),  Giu.,  Naples, 
1 77 1 — London,  185 1  ;  dram,  com- 
poser, ■mlk? 

Caurroy  (kor-wa),    Fran.    Eustachejy 
du,  sieur   de  St.-Fremin,   Gerberoy, 
1549 — Paris,   i6og ;    singer  and  con- 
ductor. 

Causton,  Thos.,  d.  Oct.  28,  1569;  of 
the  Chapel  Royal  ;  English  com- 
poser. 

Cavaccio  (ka-vat'-cho),  Giovanni, 
Bergamo,  ca.  1556 — Rome,  1626;' 
conductor. 

Cavaille-Coll.  (ka-vl'-ya-kol)  (Doni' 
Hyacinthe),  Aristide,  Montpellier, 
1811 — Paris,  1899;  son  of  famous 
org. -builder  ;  177 1  — 1862,  org. -build- 
er and  inv.  of  separate  wind-chests 
with  different  pressures,  etc. 

Cavalieri  (del  ka-val-ya'-re),  (i)  Emilio' 
del,    Rome,    ca.    1550 — Florence  (?), 
1599  (?)  ;   "  Inspector-Gen.  of  Art  and 
Artists"  to    the  Tuscan    court;    ad-' 
vocated  non-polyphonic  music;     his' 
"  Rappresentazioiie    di    Aiiinia   e  di 
Corpo"  (Rome,  1600)  is  the  first  ora- 
torio.    (2)  Katherina,  Vienna,  I76i| 
— iSoi  ;  singer,  whom  Mozart  wrotej 
for  and  praised.    (3)  Lina,  b.  Rome,! 
Dec.  24,  1S74,   daughter   of   a   laun-1 
dress  ;  won  notoriety  as  beauty  and 
singer     in     cafes     chantants ;     then^ 
studied    with    Mme.    Mariani-Marsi ; 
succ.  debut  in  ''  Pagliacci"  Lisbon, 
1900  ;    sang    Naples,    Warsaw,    and 
1902,   engaged   at   Dal  Verme  Th., 
Milan. 

Caval'li,   Fran.,    Crema,   ca.   1600— 


DICTIONARY  OF  MUSICIANS    455 


Venice,  Jan.  14,  1676  (rightly  Pier 
Francesco,  Caletti-Bruni),  son  of 
Giambatt.  Caletti,  called  Bruni, 
Maestro  at  Crema.  A  Venetian 
nobleman,  Federigo  Cavalli,  had  him 
taught  and  he  took  his  name.  He  sang 
at  S.  Marco,  1665  ;  first  organist 
there ;  166S,  conductor ;  he  was  a  pu- 
pil of  Monteverde  and  developed  M.'s 
principles,  composing  41  operas,  the 
most  succ.  being  "  Giasoiie  '  (Venice, 
1649);  "  Sffse"  (1654);  '' Ercole 
Ainante"  (Paris,  1662)  ;  he  c.  also  a 
notable  requiem,  and  other  church- 
music. 

Cavallini(le'-ne),  Ernesto, Milan,  1807 
— 1873  ;  clarinettist  and  composer. 

Caval'lo,  Peter,  Munich,  1819— Paris, 
1892  ;  organist. 

Cavendish,  Michael,  English  com- 
poser,  1599. 

Cavos  (ka-v6s),  Catterino,  Venice, 
1775 — iit.  Petersburg,  1840  ;  1799, 
court-conductor;  c.  13  Russian  operas; 
also  others. 

Caylus  (ke'-liis),  Anne  Claude  Phi- 
lippe de  Tubieres,  comte  de,  Paris, 
1692 — 1765  ;  writer. 

Cazzati  (kad-za -te),  Maurizio,  Man- 
tua, 1625 — 1677  ;  composer  and  con- 
ductor. 

Cecil'ia  (Saint),  d.  Rome,  a.d.  230,  in 
Christian  martyrdom  ;  her  feast-day 
is  Nov.  22d  ;  legendary  inventor  of  the 
organ,  and  patron  saint  of  Christian 
music. 

Celestino  (cha-les-te'-n6),  Eligio, 
Rome,  1739 — Ludwigslust,  1812; 
violinist  and  conductor. 

Celler,  Ludovic.  Vide  leclerq. 
\  Cellier  (sel'-yer),  Alfred,  Hackney, 
London,  Dec.  i,  1844 — Dec.  28, 
1891  ;  conductor  in  London,  etc.  ;  c. 
15  operettas,  incl.  the  very  succ. 
''Dorothy''    (1886)  ;  "  The   Mounte- 

^banks"  (London,  1892),  etc. 

Cernohorsky  (or  Czernohorsky), 
(cher-no-hor'-shkl),  Bohuslav,  Nim- 
burg,  Bohemia,  17th  cent. — Italy, 
1740  ;  a  Minorite  monk  ;  conductor  ; 
his  comps.  are  still  sung  in  Bohemian 
churches. 


Cerone  (cha-ro'-ng),  Dom.  P.,  b.  Ber- 
gamo, ca.  1566  ;  theorist. 

Cerreto  (cher-ra-to),  Scipione,  Na- 
ples, 155 1— ca.  1632;  lutist  and  the- 
orist. 

Certon  (ser-toh).  P.,  i6th  cent.,  con- 
trapuntist ;  choirm.  Sainte  Chapelle, 
Paris. 

Ceru  (cha-roo').  Dom.  Ag.,  b.  Lucca, 

^  Aug.  28,  181 7  ;  engineer  and  writer. 

Cerveny  (char'-va-ne),  V.  F.  (Wen- 
zel  Fz.),  Dubec,  Bohemia,  1819 — 
Koniggratz,  Jan.  19,  1896 ;  maker 
and  improver  of  brass  instrs.  and  inv. 
of  the  important  "roller"  cylinder 
mechanism,  also  of  the  contrabass 
(1845),  metal  contrafagotto  ('56),  alt- 
horn  obbligato  ('59),  primhorn  ('73), 
and  the  complete  waldhorn  quartet 
(primhorn,  Ec  alto,  waldhorn  in  F, 
tenor  in  Bb,  basso,  11  in  D^?),  sub- 
contrabass  and  subcontrafagotto  ;  im- 
proved the  family  of  cornets,  the  eu- 
phonion,  the  screwdrum,  and  the 
church-kettledrum,  etc. 

Cervera  (ther-va'-ra),  Fran.,  b.  Val- 
encia, i6th  cent.  ;  theorist. 

Cervetti.     Vide  gelinek. 

Cervetto  (ch^r-vet'-to),  (i)  Giacomo 
(rightly  Bassevi),  Italy,  ca.  1682 — 
London,  Jan.  14,  1783  ;  'cellist.  (2) 
Giacomo,  d.  Feb.  5,  1837  ;  son  of 
above  ;  'cellist  and  composer. 

Cesbron  (se -broh),  Suzanne  Cathe- 
rine, b.  Paris,  May  29,  1879,  soprano; 
pupil  of  the  Cons.,  taking  prizes  1899, 
1900,  1901  ;  debut,  X901,  Opera  Co- 
mique  as  Griseldis  in  Massenet's  op- 
era. 

Cesi  (cha'-ze),  Beniamino,  b.  Naples, 
Nov.  6,  1845  ;  pupil  of  Naples  Cons, 
under  Mercadante  and  Pappalardo, 
pf. -pupil  of  Thalberg  ;  since,  1866, 
prof.  Naples  Cons.  ;  c.  an  opera, 
"  Vittor  Pisani"  (not  prod.),  etc. 

Cesti  (chas'-te).  Marc  A.,  Arezzo, 
1620  —  Venice,  1669  ;  Franciscan 
monk  ;  conductor  and  tenor  singer ; 
first  opera,  "  Orontea,"  succ.  at  Ven- 
ice, 1649  ;  wrote  10  other  operas 
mainly  succ;  all  lost  now  except  "Za 
Dori "  (Venice,    1663)  ;  his   cantatas 


456 


THE    MUSICAL    GUIDE 


are  better  preserved  ;  he  wrote  them 
for  the  stage. 

Cevallos  (the-val'-los),  Fran.,  1535 — 
1572  ;  Spanish  composer. 

Chabrier  (shab-rl-a),  Alexis  Emm., 
Auvergne,  Jan.  18,  1842 — Paris,  Sept. 
13,  1894  ;  studied  law  in  Paris,  then 
music  ;  1881,  choirm.  under  Lamou- 
reux  ;  c.  operettas,  a  rhapsodic  "  Es- 
pafii  "  fororch.,  etc. 

Chad'wick,  G.  Whitfield,  b.  Lowell, 
Mass.,  Nov.  13,  1S54  ;  studied  organ, 
etc.,  under  Eugene  Thayer  at  Boston; 
1876  head  of  mus.  dept.  of  Olivet 
Coll.,  Mich.;  1877-78  studied  Leipzig 
Cons.  (Reinecke,  Jadassohn),  his 
graduation  piece  being  an  overture  to 
''Rip  Van  Winkle;"  studied  at 
Munich  with  Rheinberger  ;  1880,  or- 
ganist Boston  and  teacher  of  harm., 
comp.  and  instrumentation  at  the  N. 
E.  Cons.,  of  which  he  is  dir.  ;  cond. 
the  Worcester  Mus.  Festivals,  re- 
signed, 1902  ;  c.  3  symphonies ;  4 
overtures,  ''Rip  Van  IVinkle"  {^"jq), 
"  Thalia  "  ('83),  "  Melpomene"  ('87), 
"  The  Miller's  Daughter"  ('88);  3 
symphonic  sketches  for  orch.  ;  comic 
opera  "Tabasco"  (New  York,  '94); 
many  choral  works  ;  "  The  Colum- 
bian Ode"  (Chicago, '93),  etc.;  wrote 
a  text-book  on  "  Harmony"  (Boston, 
1898). 

Challier  (shal'-lT-er),  Ernst,  b.  Berlin. 
July  g,  1843;  music-publisher,  Berlin. 

Chamberlain,  Houston  Stewart,  b. 
Portsmouth,  England,  Sept.  9,  1855  ; 
son  of  a  British  Admiral,  took  doc- 
tor's degree  in  Germany,  and  lived  at 
Vienna  because  of  his  health  ;  pub. 
famous  book  "Richard  Wagner" 
(Leipzig,  1892),  followed  by  others. 

Chambonniferes  (shah-biin-yar), 
Jacques  Champion  (called  *'  Cham- 
pion de  Chamb."),  d.  ca.  1670;  first 
chamber  cembalist  to  Louis  XIV. 

Chaminade  (sham'-I-nad),  C^cile 
(Louise  St6phanie),  b.  Paris,  Aug. 
8,  1861  ;  pianist  and  composer  of 
unusual  spirit  and  originality  ;  pupil 
of  Lecouppey,  Savard,  Marsick  and 
Godard  ;    she  lives  in  Paris ;    c.   the 


succ."ballet-symphonie"  "Callirhoe  \ 
(Marseilles,  1888) ;  the  "  symphonic; 
lyrique  "  "  Les  Amazones  "  (An vers,;  1 
1888)  ;  2  suites  for  orch.  ;  "  Concert-i  % 
stuck  "  for  pf.  with  orch.  and  many;  ti 
pop.  songs  and  pf .  -pieces  ;  opera  inj ', 
MS.,  book  by  A.  Silvester.  ' 

Champein  (shah-pah),  Stanislas,;  ^ 
Marseilles,  1753 — Paris,  1830;  dram.|  t, 
composer.  i  ^i 

Champion      (shaap-yoh),      Jacques.j)|j 

Vide  CHAMBONNIERES.  >  | 

Champ'ington,  J.,  English  organ-i  * 
builder  ;   1597. 

Channay  (shan-ng),  Jean  de,  i6th 
cent,  music-printer,  Avignon. 

Chanot  (sha-n6),  Fran.,  Mirecourt, 
1787 — Brest,  1823;  retired  as  a  navali 
engineer ;  designed  a  violin  which' 
the  Academy  pronounced  equal  tO'  Ji 
Stradivari's  ;  his  bro.,  a  Paris  luth-j  It 
ier,  manufactured  it,  but  found  it  im-  i 
practicable.  j 

Chapman,  Wm.  Rogers,  b.   Hano-!  i 
ver,   Mass.,    Aug.  4,    1855;  lives  irj 
New  York  as  chorus- leader,  conduc-j  i 
tor  and  composer.  ! 

Chap'pel  &  Co.,  music-publishers 
London;  founded  1812  by  (i)  Sam- 
uel C,  the  pianist,  Cramer,  and  F 
T.  Latour  (1809— 1888).  (2)  Wm 
C.  became  the  head  of  the  firm  ;  ir 
1840  he  founded  the  "  Antiquariai 
Society,"  and  pub.  colls,  of  Old  Engl 
music.  His  brothers,  (3)  Thomas 
founded,  and  (4)  Arthur,  conducted 
the  Monday  and  Saturday  Pop.  Con 
certs. 

Chap'ple,  Samuel,  Crediton  (Devon) 
1775 — Ashburton,  1833  ;  organist  am 
pianist,  blind  from  infancy  ;  compos 
er. 

Chapuis  (shap-we),  Aug.  Paul  J 
Bap.,  b.  Dampierre  -  sur  -  Salon 
France,  April  20,  1862  ;  pupil  o 
Dubois,  Massenet,  and  Cesar  Franck 
Paris  Cons.,  took  first  prize  in  harm. 
1st  prize  for  org.,  and  the  Rossin 
prize  ;  organist  at  Saint-Roch.;  fron 
1894,  prof,  of  harm,  at  the  Cons, 
since  1895,  inspector-gen.  of  musi 
instruction  in  Paris  schools  ;  c.  un 


In 


DICTIONARY  OF  MUSICIANS   457 


succ.  lyric  drama,  ''  Enguerrande" 
(Op.  Com.,  1892)  ;  lyric  drama 
"  Tancred"  (Op.  Com.,  1S98?);  an 
oratorio  ;  a  pf. -suite  "  on  the  oriental 
scale,"  etc.;  pub.  a  treatise  on  harm. 

Char  (khar),  Fr.  Ernst  ("  Fritz  "),  b. 
Cleve-on-Rhein,  May  5,  1865  ;  pupil 
of  C.  Kistler,  Wullner  and  Neitzel  ; 
cond.  opera  at  Zwichau,  Stettin,  and 
St.  Gallen  ;  now  at  Ulm  ;  wrote  book 
and  music  of  succ.  opera  '' Der 
ScheliH  von  Bergen"  (Zwickau,  1S95); 
c.  cantata    'Spielmann,"  etc. 

Chard,  G.  W.,  ca.  1765— May  23, 
1849  ;  English  organist  and  compos- 
er. 

Charpentier  (shar-paht-ya),  (i)  Marc 
A.,  Paris,  1634 — March,  1702  ;  con- 
ductor to  the  Dauphin  ;  c.  16  operas 
for  the  stage  and  many  ' '  tragedies 
spirituelles  "  for  the  Jesuits,  masses, 
etc.  (2)  Gustave,  b.  Dieuze,  Lor- 
raine, June  25,  i860  ;  pupil  of  Mas- 
sart,  Pessard,  and  Massenet,  Paris 
Cons.  ;  1887,  took  grand  prix  de 
Rome;  c.  orch.  suite  "'Impressions 
d'ltalie" ;  scene  lyrique  "Didon"; 
symphonic  drama  (or  concert  opera) 
^'La  Vie  du  Poete  "  (Grand  Opera, 
1892),  and  "  Italien "  (Hamburg, 
1902);  symph.  poem  '' Napoli" 
(1891) ;  book  and  music  of  succ.  op- 
era Louise  (Op.  Com.,  1900) ;  also  c. 
'''Marie"  ''  Orphe'e"  and  "  Tete 
Rouge"  unprod.  ;  and  songs,  "  Les 
Fleurs  du  Mai"  "  Quinze  pohnes" 
some  of  them  with  chorus  and  orches- 
tra. 

Chat'terton,  J.  B.,  Norwich,  1810 — 
London,  1S71;  court-harpist  and  com- 
poser. 

Chaulieu  (shol-yti),  Chas.,  Paris, 
1788 — London,  1849  ;  pianist,  teacher 
and  composer. 

Chaumet  (sho-ma),  J.  B.  Wm.,  b. 
Bordeau.x,  April  26,  1842  ;  won  the 
Prix  Cressent,  with  the  comic  opera 
''  Bathyle"  (prod.  1877),  also  the  Prix 
Rossini ;  c.  comic  operas  ;  lyric  drama 
Mauprat  (MS.),  etc. 

Chauvet  (sh6-va),  Chas.  Alexis, 
Marnes,    June    7,    1837 — Argentan, 


Jan.  28,  1871;  organist;  c.  noteworthy 
org. -music. 

Chavanne  (sha-van'-ne),  Irene  von, 
b.  Gratz,  ca.  1867  ;  contralto  ;  pupil, 
Vienna  Cons.,  1882-85  ;  since  1885  at 
the  Dresden  court-Opera. 

Cheese,    G.     J.,     organist,     London, 

1771  ;  writer.  ! 

Chelard   (shu-lar),  Hippolyte  Andr6  ; 

J.  Bap.,  Paris,    Feb.    i,  1789— Wei-  \ 

mar,  Feb.  12,  1861  ;  X815,  prod,  his 
first    opera,    "  La    Lasa  a    Vendere"  ' 

Naples  ;  entered  the   Paris  Operatic  j 

orch.  as  violinist ;  in  1827  his  op- 
era ''Macbeth"  (text  by  Rouget  de 
Lisle),  was  prod.,  but  failed;  he 
went  to  Munich,  and  1828  prod,  a 
revised  version  of  "Macbeth"  with 
such  succ.  that  he  was  made  court-  { 

conductor ;     he    returned    to    Paris,  i 

1829,  and  failed  with  3  other  operas  ;  \ 

conducted  the  German  Opera  in  Lon- 
don, which  failed  ;  returned  to  Mu-  ■ 
nich,  and  prod,  his  best  work,  "Die           \ 
HerDiannsschlacht" .     1835  ;       1836, 
court-conductor  at  Weimar,  where  he  1 
prod.  2  comic  operas.                                        1 

Chelleri  (kel'-le-re).  Fortunate  (right- 
ly   Keller),     Parma,     1686— Cassel,  '\ 
1757  ;     court-conductor    and    dram, 
composer. 

Cheri  (sha-re),  Victor  (rightly  Cizos),  j 

Auxerre,   1830 — suicide,  Paris,  1882  ;  \ 

cond.  and  dram,  composer. 

Cherubini  (ka-roo-be'-ne)  (M.)  Luigi  j 

(Carlo  Zenobio  Salvatore),   Flor-  j 

ence,  Sept.    14,    1760 — Paris,    March  ' 

15,  1842  ;  one  of  the  greatest  masters 
of  counterpoint ;  pupil  of  his  father,  ; 

(cembalist,  at  the  Pergola  Th.),  then  | 

of  B.  and  A.  I'elici,  Bizarri  and  Cas-  ' 

trucci ;  1779  sent  (under  patronage  of 
the  future  Emperor  Leopold  III.)  to 
Milan,  to  study  cpt.  with  Sarti  ;  at  13,  '■■ 

had  c.  a  mass  and  an  intermezzo  for  a 
society  theatre  ;  at  15,  another  inter- 
mezzo ;  1780,  "  Quinto  Fabio"  was  ; 
prod,  without  succ.  though  with  better 
results  in  a  revised  version  (1783)  ;  he 
had  succ.  with  6  other  operas,  and  ; 
was  in  1784  invited  to  London,  where 
he  prod,  an  opera  buff  a,  with   some  ' 


4J8 


THE  MUSICAL  GUIDE 


success,  and  another  with  none  ;  he 
was  court  composer  for  one  year  ; 
1788  he  prod.  "  Ifigenia  in  Aulide" 
at  Turin  ;  and  then  hved  in  Paris, 
where  his  French  opera  "  l^^^mophon  " 

.  (Grand  Opera,  17S8)  failed  ;  he  then 
cond.  at  a  small  opera  house,  until 
1792.  His  opera  '"  Lodo/sia"  1791, 
showed  a  new  style  of  emotional 
strength,  powerful  ensemble,  and 
novel  orchestral  colour  that  founded 
a  school  of  imitators.  7  other  op- 
eras and  a  ballet  followed,  incl.  his 
masterpiece  (iSoo),  ''  Les  deux  jour- 
uJes"  (in  Germany  called  "  Der 
PVassertrdger"  ;  in  England,  "The 
Water-carrier").  1795  he  had  been 
made  one  of  the  inspectors  of  the  new 
Cons  ,  Paris,  but  was  not  liked  by 
Napoleon,  whose  musical  opinion  he 
had  not  flattered.  On  invitation  he 
wrote  for  Vienna  "  Faniska"  a  great 
succ.  (1806) ;  an  invitation  to  write 
a  mass  for  the  Prince  of  Chimay,  re- 
sulted in  the. famous  3-part  mass  in 
F.  He  wrote  4  more  operas,  but 
found  church-music  more  satisfactory. 
18 1 5,  visited  London  ;  wrote  a  sym- 
phony, an  overture,  and  a  Hynnn  to 
Spring,  for  the  Philh.  Soc.  After 
many  vicissitudes  he  became  in  18 16 
prof,  of  comp.  at  the  Cons.,  Paris, 
and  1821-41  dir.  His  enormous  list 
of  works  includes  15  Italian  and  14 
French  operas,  17  cantatas,  11  sol- 
emn masses,  2  requiems,  i  oratorio ; 
I  symphony,  i  overture  ;  6  string 
quartets  ;  6  pf.-sonatas,  and  a  mass 
of  smaller  works,  mus.  for  pf.,  etc. 
The  best  biog.  is  by  Bellasis  (Lon- 
don, 1874). 

Chev6  (shu-va),  Emile  Jos,  Maurice, 
Douarnenez,  Finistere,  1804 — 1864  ; 
a  physician  ;  wrote  pamphlets  attack- 
ing the  methods  at  the  Paris  Cons.  His 
wife  (nee  Matiine,  Paris)  collaborat- 
ed with  him. 

Chevillard  (shii-ve-yar),  Camille,  b. 
Paris,  Oct.,  1859;  pupil  of  G.  Ma- 
thias  ;  took  2d  pf.  prize  at  Cons.;  till 
1897,  asst.-cond.  of  the  Lamoureux 
Concerts  ;  then  cond.  ;  c.  a  symph. 


ballade,  "  I,e  chene  et  le  roseau  "  ;  a 
symph.  poem,  a  symph.  fantasie,  etc. 

Ch'iabran  (sha-brah)  (or  Chabran  or 
Chiabrano),  Fran.,  b.  Piedmont, 
ca.  1723  ;  violinist  and  composer. 

Chiaromonte  (ke-ar-o-mon'-tf),  b. 
Castrogfovanni,  Sicily,  1809 — Brus- 
sels, It5rf6  ;  tenor  ;  prof,  of  singing 
and  dram,  composer. 

Chic  (shek),  L6on,  b.  April  28,  1819; 
son  and  pupil  of  army  musician,  di- 
rector of  marine  and  military  bands  ; 
c.  various  pieces. 

Chick'ering  &  Sons,  American  firm  of 
pf.-makers,  est.  1823,  by  (i)  Jonas 
Chickering  (New  Ipswich,  N.  H., 
1798 — Boston,  1853);  his  son  (2) 
Col.  Thos.  E,  C.  (Boston,  1824— 
1871),  was  named  Chev.  of  the  Le- 
gion of  Honour,  and  took  first  pL- 
prize  at  the  Paris  Exposition,  1867  ; 
he  was  in  turn  succeeded  by  his  sons, 
the  present  firm. 

Chilcot  (chrl'-kot),  Thos.,  organist, 
Bath,  1733,  till  end  of  century. 

Child,  Wm.,  Bristol,  1606— Windsor, 
1697  ;  organist. 

Chilesotti  (ke-la-s6t'-te),  Oscare,  b. 
Bassano,  Italy,  July  12,  1848  ;  law 
graduate  Padua  Univ.  ;  flutist  and 
'cellist  ;  self-taught  in  harm.;  lives  in 
Milan ;  wrote  important  historical 
works. 

Chimenti  (ke-men'-te),  Margarita 
(called  la  Dragherina),  sang  in 
London,  1737. 

Chipp,  Edm.  Thos.  (Mus.  Doc), 
London,  1823— Nice,  1886  ;  organist, 

Chladni  (khlat'-ne),  Ernst  Florens 
Fr,,  Wittenberg,  Nov.  30,  1756— 
Breslau,  April  3,  1827  ;  prof,  of  law 
and  investigator  in  physics  and  acous- 
tics ;  discovered  the  sound-figures 
which  sand  assumes  on  a  vibrating 
plate,  and  which  bear  his  name  ;  inv. 
the  euphonium  and  clavicylinder  (v.  • 
D.D.). 

Chollet  (shol-la),  J.  B.  M.,  b.  Paris, 
May,  1798  ;  violinist  and  singer  in 
opera. 

Chopin  (sho-pafi)  (Francois)  Fr6d6-: 
ric,  Zelazowa  Wola  (Jeliasovaya  Vo- 


DICTIONARY  OF  MUSICIANS    459 


lia),  near  Warsaw,  March  i,  1S09 
(Natalie  Janotha  declares  it  to  be 
Feb.  22,  iSio) — Paris,  Oct.  17,  1S49; 
eminent  composer  for  the  piano  ;  son 
of  Nicholas  C.  (a  native  of  Nancy, 
France,  who  was  at  first  bookkeeper 
in  a  cigar  factory,  then  teacher  in  the 
Warsaw  Gymnasium),  and  a  Polish 
woman  (nee  Justine  Kryzanowska). 
C. studied  at  his  father's  private  school, 
among  young  Polish  noblemen  ;  Al- 
bert Zwyny  taught  him  pf.  and  Jo- 
seph Eisner,  harm.,  etc.  At  9  he 
played  in  public  a  pf. -concerto  and 
improvisations ;  c.  polonaises,  ma- 
zurkas, and  waltzes  ;  in  1825,  pub, 
as  op.  I  a  rondo  ;  op.  2  a  fantasie 
with  orch.  He  played  in  German 
cities  and  had  at  19  an  individual 
style  of  comp.,  having  written  his  2 
pf. -concertos,  mazurkas,  nocturnes, 
rondos,  etc.  He  started  for  London, 
and  played  in  Vienna,  1829,  with  such 
success  that  a  critic  called  him  "  one 
of  the  most  remarkable  meteors  blaz- 
ing on  the  musical  horizon  "  :  and  at 
Paris  he  had  such  succ.  in  his  first 
concert,  1831,  that  he  settled  there 
for  life  as  a  teacher  of  the  pf.  and 
occasional  giver  of  concerts.  His 
pupils  were  of  the  most  aristocratic, 
and  his  friends  included  Liszt,  Ber- 
lioz, Meyerbeer,  BeUini,  Balzac,  and 
Heine.  Schumann  with  typical  spon- 
taneity (cf.  BRAH.Ms)  was  moved  in 
1831  by  Chopin's  op.  2,  to  say,"  Hats 
off,  gentlemen  : — a  genius  "  ;  and  in 
1839,  ii^  reviewing  certain  of  his  prel- 
udes, mazurkas,  and  valses,  to  say 
"  He  is  and  remains  the  keenest  and 
staunchest  poet-soul  of  the  time." 
C.'s  liaison  with  Mme.  Dudevant 
("  George  Sand  "),  begun  in  1836  and 
ended  in  1844,  has  caused  endless 
controversy.     In    1838    an  attack  of 


bronchitis  drove  him  to  Majorca, 
where  she  seems  to  have  been  a  de- 
voted nurse,  but  the  peevishness  and 
weakness  due  to  his  developing  con- 
sumption caused  bitter  quarrels,  and 
she  is  believed  to  have  caricatured 
him  as  Prince  Karol  in  her  novel 
'^  Lucrezia  I'loriani."  Concert  tours 
and  social  life  in  England  and  Scot- 
land in  1841-49  destroyed  his 
strength.  A  collection  of  his  letters 
was  pub.  (Dresden,  1877).  His  many 
biographers  include  Liszt,  M.  Kara- 
sowski  (Dresden,  1877),  INI.  A.  Aud- 
ley,  Fr.  Niecks  (Leipzig,  1889).  The 
latest,  in  many  ways  the  best  balanced, 
estimate  of  C.  and  his  works,  is 
James  Huneker's  "  Chopin  "  (New 
York,  1900).  His  comps.  include 
beside  those  mentioned  (74,  with  opus- 
number  12  lacking)  :  "  Don  Ciovan- 
tii,''  fantasia,  op.  2;  '"  Krakoviak" 
rondo,  op.  14  ;  E^  Polonaise,  op.  22  ; 
and  a  fantasia  on  Polish  airs  for  pf. 
with  orch  ;  duo  concertant  on  themes 
from  "Robert  le  Diable";  an  introd. 
et  Polonaise,  op.  3,  and  a  sonata,  op. 
65  for  pf.  and  'cello  ;  pf.  trio,  op.  8  ; 
and  a  rondo  for  2  pfs.  op.  73.  for 
PF.  solo:  Allegro  de  concert;  4 
ballades  ;  barcarolle,  op.  60  ;  ber- 
ceuse, op.  57  ;  bolero,  op.  19  ;  3  ecos- 
saises,  op.  72  ;  12  grandes  etudes,  op, 
10  ;  12  etudes,  op.  25  ;  3  etudes  ;  4 
fantasies  ;  3  impromptus ;  marche 
funebre,  op.  72  ;  52  mazurkas. 
"  Jilorceau  de  concert  sur  la  Alarche 
des  Puritains  de  Bellini  "  /  19  noc- 
turnes, II  polonaises;  24  preludes, 
op.  28  ;  prelude,  op.  45  ;  3  rondos  ; 
4  scherzos  ;  3  sonatas  ;  tarantelle, 
op.  43  ;  13  valses  ;  variations  on  "'  Je 
vends  des  scapulaires"  op.  12  ; 
"  Variation  dans  rUexame'ron"  ;  16 
Polish  songs  op.  74. 


46o  THE  MUSICAL  GUIDE 


Frederic  Francois  Chopin. 

By  James  Huneker. 

CHOPIN'S  home  education  doubtless  preserved  in  him  a  certain  femi- 
nine delicacy  which  never  deserted  him.  ^  At  the  age  of  nine 
he  played  a  Gyrovvetz  concerto  in  public  and  improvised,  but 
seemed  more  solicitous  about  the  impression  his  new  collar  made  on  the 
audience,  than  for  the  success  of  his  music.  ^As  a  composer  of  nineteen  he 
was  remarkable  and  far  in  advance  of  his  critics  and  audiences.  The  dis- 
turbed political  atmosphere  of  Poland  coupled  with  an  unsuccessful  love 
affair — he  vainly  adored  the  singer  Constantia  Gladowska — decided  him  on  a 
residence  in  Vienna.  There  his  playing  did  not  create  any  enthusiasm,  and 
in  the  fall  of  the  year  he  went  to  Stuttgart  en  route  for  Paris.  It  was  in  the 
German  city  that  he  heard  of  the  downfall  of  Warsaw  and  of  his  patriotic 
hopes ;  for  Chopin  was  a  fierce  patriot,  but  because  of  his  slender  physique,  a 
non-combatant.  He  journeyed  at  once  to  Paris  and  settled  there.  ^[  His 
intimacy  with  the  famous  novelist  George  Sand  lasted  ten  years,  and  her 
influence,  hurtful  according  to  some,  and  valuable  according  to  others,  was 
most  potent  and  enduring.  His  sensitive  nature  was  subject  to  many  rude 
shocks  during  his  companionship  with  the  coarser-fibred  and  more  intellectual 
woman.  Yet  it  cannot  be  denied  that  from  his  most  ardent  pangs,  he, 
artist-like,  contrived  to  wring  some  of  his  sweetest  and  most  subtle  music. 
The  shock  of  the  separation,  a  separation  that  was  inevitable,  shatter 
Chopin's  bruised  spirit,  and  two  years  later  he  died,  if  not  of  a  broken  hea 
partially  of  disappointment,  chagrin,  and  spleen.  His  lungs,  always  weak, 
became  hopelessly  diseased,  and  after  a  profitless  tour  in  England  and  Scotland, 
where  he  was  really  too  weak  to  play,  he  died  of  consumption  and  was 
buried  in  Pere-Lachaise,  near  the  graves  of  Cherubini  and  Bellini.  His 
funeral,  an  imposing  one,  called  out  the  representative  artistic  spirits  of  the 
city.  Seldom  has  genius  been  so  accompanied  to  its  last  resting-place. 
^  During  his  lifetime  Chopin  was  the  centre  of  a  circle  of  wit,  talent,  and 
fashion.  Balzac,  Delacroix,  Liszt,  Meyerbeer,  Heine,  Bellini,  Berlioz, 
Mendelssohn,  were  a  'iz\N  among  his  mtimate  associates.  His  spiritual  and 
original  piano-playing  admitted  him  into  the  inner  circle  of  aristocracy,  and 
he  was  sought  for  persistently  until  his  life  was  sapped  by  sorrow  and  constant 
social  duties.  ^Chopin  played  but  seldom  in  public,  for  he  was  unfitted  by 
nature  to  cope  with  the  audiences  of  the  larger  concert  halls.  That  task  he 
gratefully  resigned  to  Liszt.  But  in  the  twilight  of  the  salon  among  the 
favoured  choice  souls,  his  playing  took  on  almost  unearthly  qualities.  His 
touch,  light  in  weight,  was  exquisite  in  timbre  ;  his  tone  ranged  (rom  forte  to 
a  feathery  pianissimo,  while  his  style  was  absolutely  unique.     Tender,  martial, 


DICTIONARY  OF  MUSICIANS   461 

ironical,  capricious,  gay,  and  sad,  this  young  Pole  held  in  bondage  the  entire 
emotional  gamut.  Never  had  the  piano  sounded  so  before,  sounded  so 
aerial,  so  witty,  so  passionate  ;  and  it  may  be  doubted  if  it  has  sounded  thus 
since  ;  for,  while  Liszt,  Rubinstein,  Tausig,  JosefFy,  Heyman,  DePachmann, 
EssipofF,  Rosenthal,  and  Paderewski  were,  and  are,  remarkable  interpreters, 
yet  those  who  heard  Chopin  the  pianist  despair  in  their  efforts  to  describe  his 
spiritual  performances.  His  light,  finely  articulated  hand  explains  some  of 
the  characteristics  of  his  technics  ;  the  wide-spread  harmonies,  the  changeful 
play  of  inner  voices ;  the  novel  figuration  ;  and  the  lovely  melodic  life. 
^  Chopin  is  the  poet  of  his  instrument,  the  musical  poet  of  Poland.  He 
caught  up  and  treasured  the  folk-songs  of  his  country,  and  gave  them  to  the 
world  in  an  idealised  form.  His  mazurkas  are  tiny  poems  full  of  caprice, 
wounded  pride,  ecstatic  moments  ;  his  four  ballads  are  epical  in  scope,  con- 
taining noble  melodies,  the  form  absolutely  original  ;  the  four  scherzos  are 
evidences  of  Chopin's  creative  powers,  for  here  the  form  is  again  novel  ;  the 
content  startling.  Bitterness,  frantic  and  cruel,  followed  by  rapturous  out- 
bursts of  melody  arouse  in  the  listener  the  most  vivid  emotions.  It  is  Chopin 
at  the  apex  of  his  power.  The  polonaises  are  passionate  and  patriotic,  or 
else  fantastic  and  graceful,  but  always  wonder-breeding.  His  waltzes  are  for 
the  salon,  and  for  the  soul — like  the  mazurkas.  Of  the  three  sonatas,  the 
one  in  B  flat  minor  is  the  most  satisfactory.  Without  organic  unity  it  never- 
theless astonishes  by  its  originality  and  depth.  Its  slow  movement  is  the 
funeral  march,  now  a  banal  concert  number.  In  his  four  Impromptus  Chopin 
is  full  of  charm,  while  in  the  Barcarolle  and  in  the  Fantaisie,  Opus  ^g  he 
almost  achieves  perfection.  The  nocturnes  and  Cradle  Sotig,  now  for  the 
most  part  war-worn  from  repetition,  contain  much  beautiful  music.  The 
Studies,  opus  lo  and  25  with  the  Preludes,  opus  28  are  Chopin  in  all  his 
dazzling  invention,  his  never-failing  fancy,  poetry,  daring  harmonic  innova- 
•ions  and  moving  melodic  richness.  ^He  changed  the  modern  map  of 
Tiusic  by  his  subtle  and  profound  experimentings  with  the  possibilities  of 
-hromatic  harmonies,  and  for  this  ranks  among  the  great  composers.  Within 
lis  range  he  is  the  most  perfect  lyrist  that  ever  sang,  and  the  ethereal  sono- 
ities  of  his  style,  his  discreet  and  original  use  of  the  tempo  rubato,  make  him 
I  forerunner  of  all  that  is  free,  individual  and  exotic  in  latter-day  music. 
^Chopin  was  not  happiest  in  writing  for  ochestra  or  for  piano  in  conjunction 
vith  violin  or  violoncello.  His  two  concertos  contain  charming  episodes,  but 
io  not  cohere,  do  not  make  the  eloquent  appeal  of  the  smallest  o^  his 
nazurkas.  He  was  not  fashioned  for  the  epic,  this  master  of  intimate  moods. 
ie  wrote  variations,  fantasies,  a  'cello-sonata,  a  piano-trio  and  bolero,  a  tar- 
ntelle  and  songs.  ^We  have  forgotten  them  ;  but  never  so  long  as  the  piano 
emains  the  piano,  will  Chopin  be  forgotten.  He  is,  as  Rubinstein  said,  its 
oul. 


462 


THE    MUSICAL    GUIDE 


Chor'ley,  H.  Fothergill,  Blackley 
Hurst,  Lancashire,  1808 — London, 
1872 ;  critic  and  widely  travelled 
writer.  , 

Choron  (sho-ron),  Alex.  Et.,  Caen, 
Oct.  21,  1772 — Paris,  June  29,  1834; 
an  ardent  student  of  musical  theory 
and  practice,  historian  and  benefactor 
who  devoted  his  fortune  to  the  ad- 
vance of  the  art. 

Choudens  (shoo-dafis),  A.,  b.  Paris, 
1S49 ;  son  of  a  music  publisher  ;  c. 
2  operas,  "  Graziella"  (Paris,  1S77)  ; 
and  ''  La  Jennesse  de  Don  Juan,'' 
etc. 

Chouquet  (shoo-ka).  Ad.  Gv.,  Havre, 
1819 — Paris,  1886  ;  teacher  and  writer 
of  historical  works. 

Christiani  (kres-tl-ii'-ne),  (i)  Ad.  Fr., 
Cassel,  1836— Elizabeth,  N.  J.,  1885  ; 
pianist  and  writer ;  lived  in  Lon- 
don, then  America.  (2)  Elise,  Paris, 
1827 — Tobolsk,  1853  ;  remarkable 
'cellist ;  debut,  Paris.  1845. 

Christ'mann,  (i)  Jn.  Fr.,  Ludwigs- 
burg,  Wurtemberg,  1752 — Heuting- 
sheim,  1S17;  composer  and  writer. 
(2)  Fz.  X.,  Austrian  organ-builder, 
d.  Rottenmann,  Styria,  1875. 

Chrysander  (kre'-zant-gr),  Fr.,  Lub- 
theen,  Mecklenburg,  July  8,  1S26 — 
1902  ;  editor  and  writer  of  the  stand- 
ard biography  of  Handel,  etc. 

Chrysan'thos  of  Madyton  ;  writer 
19th  century  ;  teacher  of  church  sing- 
ing, Constantinople,  later  Archbishop 
of  Durazzo  in  Albania. 

Church,  J.,  Windsor,  1675 — Jan.  5, 
1741  ;  composer. 

Chwatal  (khwa-tal),  (i)  Fz.  Xaver, 
Rumburg,  Bohemia,  180S — Elmen 
(Soolbad),  1S79;  teacher  and  com- 
poser. (2)  Jos,,  b.  Rumburg,  Jan. 
12,  i8li,  bro.  of  above;  org. -builder 
in  Merseburg ;  inv.  minor  improve- 
ments. 

Ciaja  (cha -ya),  Azzolino  Bdo.  della, 
b.  Siena,  167 1  ;  organist,  amateur 
org. -builder,  and  composer. 

Ciampi  (cham'-pe),  Legrenzio  V., 
b.  Piacenza,  1719;  dram,  composer. 

Cianchettini  (chan-ket-te'-ne),  (i)  Ver- 


onica (nee  Dussek),  Czaslau,  Bohe- 
mia, 1779;  composer  and  teacher. 
(2)  Pio,  London,  1799 — 1849;  son  of 
above  ;  composer  and  pianist ;  first 
appearance  at  5  years ;  at  10  per- 
formed an  original  concerto  in  public. 

Cibber  (slb'-ber),  Susanna  M.  (nee 
Arne),  1714 — 1766;  great  English 
actress  and  notable  singer,  sister  of 
Dr.  Arne. 

Cieutat  (s'yu-ta),  H.  Maurice,  b. 
Paris,  July  15,  1861  ;  pupil  of  S. 
Rousseau ;  c.  vaudevilles  and  com. 
ops.  from  1885. 

Cifra  (che'-fra).  A.,  Rome,  ca.  1575—. 
Loreto,  ca.  1636  ;  important  com- 
poser of  the  Roman  School ;  pupil 
of  Palestrina  and  B.  Nanini ;  court- 
conductor. 

Cimador  (che'-ma-dor),  Giambattis- 
ta,  Venice,  1761 — London,  ca.  1808; 
violinist,  'cellist,  pianist  and  com- 
poser. 

Cimarosa  (che-ma-ro'-sa),  Domenico, 
Aversa,  near  Naples,  Dec.  17,  1749— 
Venice,  Jan.  11,  iSoi  ;  the  orphan  ol 
a   poor  mason  ;  studied   at   Minoritf 
charity-school,  his  first  teacher  beinj 
Polcano,  monastery  organist ;  when  12 
years  old  was  given  a   scholarship  ii 
the    Cons,   di   S.    Maria   di    Loreto 
where  he  studied  singing  with  Mann: 
and  Sacchini,  cpt.  with  FenaroU,  am 
comp.  with  Piccinni.     1770  his  ora 
torio  ''Giiiditta  "  was  prod,  in  Rome 
1772,    his    first   opera,   '' Le   Strava 
game  del  Conte"  at  Naples,  withou 
succ,  which  was  won,  however,  nex 
year  by    ''La   Finta   Farigina."    0 
phenomenal  facility,  he  c.  76  operas  i 
29    years.     Pie    lived    alternately  i 
Rome  and  Naples.     1781,  he  proc 
two  operas  in  Naples,  one  in   Rom« 
and  two  in  Turin  ;  invited  1789  to  t 
court-composer     at     St.    Petersbur 
(vice  Paesiello),  he  spent  5  months  ( 
triumphal     progress     thither,    beir 
lionised  at  various  courts  ;  he  staye 
there  3  years,  prod.  3  operas  and  wro 
500   pieces  of   music    for  the  cour 
but  he  could  not  tolerate  the  climat 
and  was  reluctantly  released,  beir 


I 


DICTIONARY  OF  MUSICIANS    463 


engaged  as  cond.  to  Emperor  Leo- 
pold at  Vienna,  with  a  salary  of  12,- 
000  florins.  He  prod.  3  operas  incl. 
his  masterpiece  " //  Matrittionio  Se- 
greto"  (1787),  which  won  an  all- 
effacing  success.  1793,  he  returned  to 
Naples.  1799,  he  took  part  in  the 
Neapolitan  revolutionary  demonstra- 
tion on  the  entrance  of  the  French 
army,  and  was  condemned  to  death 
by  King  Ferdinand,  but  banished  in- 
stead ;  he  died  suddenly  at  Venice. 
It  being  everywhere  claimed  that  he 
had  been  poisoned  by  order  of  Queen 
Caroline  of  Naples,  the  Pope's  phy- 
sician made  an  examination,  and 
swore  that  he  died  of  a  gangrenous 
abdominal  tumour.  Particularly  in 
comic,  but  at  times  also  in  serious 
opera,  C.  almost  challenges  compari- 
son with  Mozart  for  fluency  of  melo- 
dy and  orchestral  richness.  His  best 
operas  are  "Za  Fittta'  (Naples,  1773), 
"L'/taliana  inLondra"  (Rome,  1774), 
"//  Fanaticoper  gli  A  title  hi  Koniani  " 
(Naples,  1777),  in  which  were  intro- 
duced dramatically  vocal-trios  and 
quartets,  "Za  Ballerina  Ainante" 
(Naples,  17S2),  "  Z(?  Tratne  Dehtse'* 
(Naples,  1786),  " L' Impresario  in  A n- 
gtistie"  (Naples,  1786),  "  Giannina  e 
£ernadone"  {Is a.p\ts,  1788),  "Lal'er- 
gine  del  Sole"  (St.  Petersburg,  1791), 
" //  Alatrimotiio  Segreto"  (Vienna, 
1792),  ''Le  Astusie  Fetuminile"  (Na- 
ples, 1794).  He  also  prod.  2  orato- 
rios, 7  symphonies,  several  cantatas  ; 
masses,  etc. 

Cipollini  (che-p61-le'-ne),  Gaetano,  b. 
Tropea,  Italy,  Feb.  8,  1857;  pupil  of 
Francesco  Coppa  ;  now  lives  at  Mi- 
lan as  dram,  composer. 

Cipollone  (che-p61-16'-ne),  Alfonso,  b. 
Fara  S.  Martino  (Chieti),  Nov.  25, 
1843  ;  pupil  of  M.  Rute  ;  lives  at 
Terano  as  teacher  and  composer. 

Ciprandi  (che-pran'-de),  Ercole,  ca. 
1738 — after  1790  ;  tenor. 

Claassen  (kliis'-sen),  Arthur,  b.  Star- 
gard,  Prussia,  Feb.  19,  1859  ;  grad- 
uated from  Danzig  Gym.  ;  1S75, 
studied  under  Mtiller-Hartung,  Gott- 


schalk  and  Sulze,  Weimar  Music 
School  ;  1880-84,  cond.  Gottingen 
and  Magdeburg;  1884,  cond.  "  Ari- 
on  "  and  other  societies  of  Brooklyn, 
N.  Y.  ;  est.  the  "  Claassen  Mus. 
Inst.";  c.  choruses,  incl.  '"Der  Kam- 
erad "  (prize)  ;  and  symph.  poem 
"  //o/ien/riedi>erg,"  etc. 

Clag'get,  Chas.,  London,  1755 — 
1820  ;  violinist  and  inventor. 

Clapisson  (kli-pls-soh),  Antoine  L., 
Naples,  1808 — Paris,  1866  ;  violinist, 
professor  and  dram,  composer. 

Clari  (kla'-re),  Giov.  M.,  Pisa,  1669 — 
Pistoia,  ca.  1745  ;  conductor  and 
composer. 

Clar  ibel.    Vide  mrs.  chas.  baknard. 

Clark(e),  (r)  Jeremiah,  London,  1670 
— (?),  ca.  1707  ;  organist  and  dram, 
composer ;  a  suicide  for  love.  (2) 
Richard,  Datchet  (Bucks),  1780— 
London,  1856  ;  composer  and  writer. 
(3)  Vide  scoTSON  clark. 

Clarke,  (i)  Jas.  Peyton,  Scotland, 
1 80S — Toronto,  Canada,  1877  ;  or- 
ganist and  professor.  (2)  Hug^h 
Archibald,  b.  near  Toronto,  Can- 
ada, Aug.  15,  1839;  son  and  pupil  of 
above  ;  organist  in  Philadelphia 
churches  ;  1S75,  prof,  of  music  in  the 
Univ.  of  Pennsylv.;  made  Mus.  Doc. 
(18S6)  by  the  Univ.  when  his  music 
to  Aristophanes'  "  Ae/iarnians"  was 
prod.  ;  also  c.  an  oratorio,  "Jeru- 
salem" (Phila..  1891),  etc.  (3) 
J.  (Whitfield-Clarke),  Gloucester, 
England,  1770 — Holmer,  1836;  or- 
ganist, professor  and  editor.  (4) 
James  Hamilton  Smee,  b.  Bir- 
mingham, England,  Jan.  25,  1840;  at 
12  organist;  1866  at  Queen's  College, 
Oxford;  Mus.  Bac,  1867;  cond. 
various  theatres  ;  1893,  cond.  Carl 
Rosa  Opera  Co.;  c.  operettas,  2  sym- 
phonies, etc.  (5)  Wm.  Horatio,  b. 
Newton,  Mass.,  March  h,  1840;  1878- 
87,  organist  at  Tremont  Temple, 
Boston,  then  retired  to  Reading, 
Mass.,  where  he  has  an  estate  and  a 
chapel  of  music,  Clarigold  Hall,  con- 
taining a  large  4-manual  organ  with 
100  stops  ;  wrote  15  instructive  works 


464 


THE    MUSICAL    GUIDE 


"  Outline  of  the  Structure  of  the 
Pipe-Organ"  (1877),  etc.  (6)  Ma- 
ria Victoria  (Cowden-Clarke). 
Vide  NOVELLO. 

Clarus  (kla-roos),  Max.,  b.  Miihl- 
berg-on-Elbe,  March  31,  1S52  ;  pu- 
pil of  his  father,  the  municipal  mus. 
dir.  there,  and  of  Haupt,  Schneider, 
and  Loschorn,  Berlin  ;  cond.  in  va- 
rious German,  Austrian  and  Hunga- 
rian theatres  ;  1S90,  mus.  dir.  Bruns- 
wick court ;  from  1884  cond.  the 
"Orpheus,"  and  from  1890  the  "Chor- 
gesangverein";  c.  "  Patriotic  spectac- 
ular" opera,  "Z>4?j  Grossen  Konigs 
Rekrut"  (Brunswick,  1889)  ;  succ. 
romantic  opera  ''Use"  (Brunswick, 
1895)  ;  ballets,  etc. 

Clasing  (kla'-zing),  Jn.  H.,  Hamburg, 
1779 — 1829  ;  teacher  and  dram,  com- 
poser. 

Claudin  (kl5-dah),  (i).  Vide  sermisy. 
(2)  Le  Jeune.     Vide  lejkune. 

Claudius  (klow'-dl-oos).  Otto,  Ka- 
menz.  Saxony,  1793 — Naumburg, 
1877  ;  cantor  and  dram,  composer. 

Claussen  (klows'-sen),  Wm.,  Schwe- 
rin,   184.3 — 1S69  ;  composer. 

Clausz-Szarvady  (klows'-shar-va-de), 
Wilhelmine,  Prague,  1834. — Paris, 
1882  ;  pianist. 

Clay,  Fr.  (of  English  parents),  Paris, 
1840 — Great  Marlow,  near  London, 
1889 ;  dram,  composer. 

Cleaver,  Mrs.  Eleanor  (nee  Beebe), 
b.  Detroit,  Mich.  ;  alto  ;  sang  two 
years  as  soprano  in  New  York  ;  after 
short  stage  career,  studied  with  Delle 
Sedie,  and  Bertin  (acting),  Paris ; 
concert  debut,  London,  1900  ;  has 
sung  there  frequently  with  much  suc- 
cess ;   1902,  sang  in  New  York. 

Cleeman  (kla-man),  Fr.  Jos.  Chp., 
Kriwitz,  Mecklenburg,  1771 — Par- 
chim,  1827  ;  writer. 

Clegg,  J.,  Ireland  (probably),  1714 — 
Nisane,  1742  ;  remarkable  violinist 
and  composer. 

Clem  ens,  Jacob  (called  "  CI.  Non 
Papa  "  )  (i.  e.,  "  not  the  Pope"  Clem- 
ent VIL)  ;  d.  ca.  1557  (?)  ;  played 
several  instrs.  and  composed. 


Clement     (kla-ment),     Fz.,    Vienna, 

17S4 — 1S42  ;  violinist  and  dram,  com- 
poser. 

Clement  (kla-man),  (i)  Chas.  Fran., 
b.  in  Provence,  ca.  1720 ;  lived  in 
Paris  as  pf. -teacher,  writer  and  dram, 
composer.  (2)  Felix,  Paris,  1822 — 
1885  ;  organist. 

Clementi  (kla-men'-te),  Muzio,  Rome, 
1752  —  near  Evesham,  England, 
March  10,  1832  ;  son  of  a  goldsmith 
and  musical  amateur  who  had  him 
taught  by  A.  Buroni,  then  by  the 
organist  Condicelli.  At  9  he  was 
chosen  as  an  organist  in  competition 
with  older  players  ;  until  14,  studied 
under  G.  Carpani  (comp.)  and  Sar- 
tartelli  (voice);  1766,  an  Englishman 
named  Beckford  secured  permission  to 
educate  him  in  England,  and  till  1770 
he  lived  and  studied  in  Dorsetshire  ; 
then  made  a  sensation  as  pianist  in 
London.  1773,  pub.  pf. -sonatas  ded- 
icated to  Haydn,  and  highly  praised 
by  Emmanuel  Bach  ;  1777-80,  cem- 
balist at  the  Italian  Opera ;  1781 
toured  the  continent,  meeting  Mozart 
in  "  friendly"  rivalry,  without  victory 
for  either ;  lived  in  London,  1782- 
1802  ;  he  amassed  a  fortune  as  a 
teacher,  pianist  and  composer  in  spite 
of  losses  from  the  failure  of  Long- 
man and  Broderip,  instr. -makers  ;  he 
estab.  a  succ.  piano-factor}'  and  pub. 
house  (now  Collard's).  1802,  he 
made  a  brilliant  tour  with  his  pupil 
Field  ;  he  taught  other  famous  pupils, 
incl.  Moscheles,  Kalkbrenner,  Meyer- 
beer. His  comps.  incl.  symphonies 
and  overtures;  106  pf. -sonatas  (46, 
with  vln.,  'cello,  or  flute) ;  fugues, 
preludes  and  exercises  in  canon  form, 
toccatas,  etc.  His  book  of  etudes, 
the  "  Gradiis  ad  Parnassutn"  1S17, 
is  a  standard  ;  biog.  by  Giov.  Frojo 
(Milan,  1878) ;  O.  Chilesotti  (Milan, 
1SS2),  and  Clement  (Paris,  1878). 

Clement  y  Cavedo  (kla'-ment  e  ka- 
va'-dho),  b.  Gandia,  Spain,  Jan.  I, 
1810;  organist  at  Valencia;  1840- 
52,  at  Gueret,  France  ;  lived  in  Mad* 
rid  as  composer. 


DICTIONARY  OF  MUSICIANS    465 


Clarice  (kla-res),  Justin,  b.  Buenos 
Ayres,  Oct.  i6,  1S63  ;  1882,  pupil  of 
Delibes  and  Pessard,  Paris  Cons.  ; 
lives  in  Paris  ;  prod.  4  comic  operas, 
etc. 

Clicquot  (kle-ko),  Fran.  H.,  Paris, 
1728 — 1791  ;  organ-builder. 

Clifford,  Rev.  Jas.,  Oxford,  1622— 
London,  1698  ;  composer. 

Clif  ton,  J.  Chas,,  London,  1781 — 
Hammersmith,  1841  ;  teacher,  con- 
ductor and  dram,  composer  ;  inv.  the 
Eidomusicon  (v.  D.  D.). 

Clive,  Catherine  (nee  Raftor)  (called 
"  Kitty  Clive  "),  London,  1711 — Dec. 
6,  1785  ;  famous  actress,  also  singer. 

Clu'er,  J.,  d.  London,  .1729,  English 
publisher,  reputed  inventor  of  engrav- 
ing on  tin  plates. 

Cobb,  Gerard  Francis,  b.  Nettle- 
stead,  Kent,  Oct.  15,  1S38  ;  Fellow 
Trinity  Coll.,  Cambridge,  1S63 ; 
studied  music,  Dresden ;  1877-92, 
chairman  Board  of  Music  Studies, 
Cambridge  ;  c. Psalm  62,  with  orch., 
etc. 

3occhi  (kok'-ke),  Gioacchino,  Padua, 

1720 — Venice,  1804;  dram,  composer. 

^occia     (kot'-cha),    Carlo,      Naples, 

1782 — Novara,  1S73;  cond.  and  dram. 

composer. 

])occius    (kok'-tslt-oos),    Th.,    Knaut- 

hain,    near   Leipzig,    1824 — Leipzig, 

1897  ;  pf.-teacher. 

'occon  (kok-kon),  Nicold,  b.  Venice, 

Aug.   10,  1S26;  pupil   of    E.  Fabio  ; 

1856  organist,  1873  conductor  at  San 

Marco ;    c.    over    450    numbers,    an 

oratorio,  "  Saul,"  8  requiem  masses, 

30    "  messe    da    gloria,"    2    operas, 

etc. 

ochlaus  (kokh'-le-oos),  Jns.  (rightly 
Jns.  Dobnek,  pseud.  "Wendel- 
stein  "),  1479 — Breslau,  1552  ;  writer; 
opponent  of  Luther. 
ocks,  Robt.,  &  Co.,  firm  of  London 
mus.  publishers,  founded,  1827,  by 
(i)  Robt.  C,  succeeded  by  his  sons, 
(2)  Arthur  Lincoln  C,  and  (3) 
Stroud  Lincoln  C,  d.  1868;  (4) 
Robt.  Macfarlane  C.  is  now  in 
charge. 


Coclico  (ko'-kle-ko)  (Co'clicus),  Ad- 
rian Petit,  b.  in  the  Hennegau 
(Hainaut),  ca.  1500  ;  singer  and  com- 
poser. 

Coenen  (koo'-nen),  (i)  Jns.  Meinar- 
dus,  b.  The  Hague,  Jan.  28,  1824  ; 
bassoonist,  pupil  of  Liibeck  Cons. 
1S64,  cond.  at  Amsterdam;  later 
municipal  mus.  dir. ;  c.  ballet-mus.,  2 
symphonies,  cantatas,  etc.  (2)  Fz., 
b.  Rotterdam,  Dec.  26,  1826  ;  violin- 
ist; pupil  of  Vieuxtemps  and  Molique; 
lived  in  Amsterdam,  1895,  dir.  of  the 
Cons,  and  prof,  of  vln.  and  comp.  ; 
solo  violinist  to  the  Queen  ;  leader  of 
a  quartet ;  and  composer  of  a  notable 
symphony,  cantatas,  etc.  (3)  Wil- 
lem,  b.  Rotterdam,  Nov.  17,  1837  ; 
bro.  of  above ;  pianist,  toured  S. 
America,  and  \V.  Indies  ;  since  1862, 
concert-giver  in  London  ;  c.  oratorio, 
"Lazartis"  (187S),  etc.  (4)  Corne- 
lius, b.  The  Hague,  1S38  ;  violinist  ; 
1859,  cond.  at  Amsterdam ;  i860 
bandm.  Garde  Nationale,  Utrecht ;  c. 
overtures,  etc. 

Coerne  (ker'-ne),  Louis  Adolphe,  b. 
Newark,  N.  J.,  1870;  1876-80 
studied  at  Stuttgart  and  Paris,  then 
entered  Harvard  College  and  studied 
with  Paine  and  Kneisel.  Boston,  U. 
S.  A.;  1890  studied  with  Rheinberger 
and  Hieber,  Munich  ;  1893  organist 
at  Boston,  also  at  the  Columbian 
Exposition  ;  1893-96  dir.  Liedertafel, 
Buffalo  ;  c.  an  opera  "  T/ie  Maid  of 
Marblehead"  symph.  poem  "  Hia- 
wat/ta,"  etc. 

Co'gan,  Phillip,  b.  Cork,  1750;  or- 
ganist, teacher  and  composer. 

Cohen  (kow'-en  or  ko'-en),  (i)  H., 
Amsterdam,  1808 — Brie-sur-Marne, 
1880;  writer.  (2)  Leonce,  b.  Paris, 
Feb.  12,  1829  ;  violinist  and  dram, 
composer  ;  pupil  Leborne  Cons.; 
1 85 1  Gjand  prix  de  Rome.  (3) 
Jules  Emile  David,  b.  Marseilles, 
Nov.  2,  1835  ;  pupil  of  Zimmerman, 
Marmontel,  Benoist.  and  Halevy, 
Paris  Cons.  ;  won  first  prize  for  pf., 
organ,  cpt.  and  fugue  ;  1870,  teacher  of 
ensemble  singing  at  the  Cons.  ;  since 


L 


466 


THE    MUSICAL    GUIDE 


1877  Chef  lie  Chant,  and  chorus- 
master  Gr.  Opera  ;  prod.  4  operas  ; 
C.  3  cantatas,  several  symphonies, 
masses,  oratorios,  etc.  (4)  K.  Hu- 
bert, b.  Laurenzkirg  (near  Ai.\),  Oct. 
18.  185 1  ;  a  priest,  studied  at  Ai.\ 
and  Raliston,  1879-S7  cond.  Bam- 
berg ;  now  at  Cologne  Cath.  ;  c. 
masses,    etc.       (5)    Isidore.      Vide 

LAR.'V,    DE. 

Colasse  (ko-las),  Pascal,  Rheims  (or 
Paris),  1639  ( ?) — Versailles,  1709; 
cond.  and  dram,  composer. 

Col'bran,  (i)  Gianni,  court-musician 
to  King  of  Spain,  iSth  centurj'.  (2) 
Isabella  A.,  Madrid,  1785— Bou- 
logne, 1S45,  daughter  of  above;  singer 
and  composer. 

Cole,  Blanche,  d.  London,  1SS8,  con- 
cert-singer ;  1S6S,  m.  Sidney  Naylor. 

Co  leridge-Taylor,  Samuel,  b.  Lon- 
don, Aug.  15,  1875  (of  African  de- 
scent ;  his  father  a  native  of  Sierra 
Leone,  his  mother,  English) ;  one  of 
the  leading  living  English  composers; 
pupil  (vln.)  of  the  R.  A.  .\L,  1890; 
won  composition-scholarship  in  1893; 
until  1896  pupil  of  V.  Stanford  ;  1892 
pub.  an  anthem  ;  c.  a  nonet  for  pf. , 
strings,  and  wind  (1894)  ;  a  sympho- 
ny (1896)  ;  a  quintet  for  clar.  and 
strings  (1897),  a  string-quartet,  and  a 
Morning  and  Evening  Service  ;  pub. 
a  ballade  for  viola  andorch.,  operetta 
"  Dream  Lovers  "  4  waltzes  for  orch. ; 
succ.  cantata   ''  Hiaruatha,"  etc. 

Colin  (ko-lan),  P.  Gilbert  (Colinus, 
Colinaus,  Chamault),  singer  and 
notable  composer,  Paris,  1532. 

Colins  (ko-ians),  Jean  Bapt.,  b. 
Brussels,  Nov.  25,  1S34  ;  pupil  of 
Wery;  from  1863  teacher  at  the  Cons  , 
from  1888  also  at  Antwerp  school  of 
music. 

Col'la, — cond.  at  Parma,  1780,  when 
he  m.  Agujari,  who  preferred  his 
compositions  to  all  others. 

CoUard  (kol-lir'),  a  London  familv  of 
pf.-makers.  (i)  Fr.  W.  Coll'ard 
(1772 — 1860),  in  partnership  with 
Clementi,  bought  out  Longman  & 
Broderip,  1798,  then   C.  bought   out 


Clementi  ;  he  inv.  variou*  devices; 
the  firm  name  now  Collard  &  Collard, 
(2)  Chas.  Lukey  C.  being  the  head.  Jf?*^ 

Collins,  (i)  Isaac,  1797— London, 
1871  ;  violinist,  gave  concerts  with 
his  5  children,  (2)  Viotti  (violin- 
ist) and  (3)  G.  ("cellist,  d.  1869)- 
being  the  best  known. 

Colman,  (i)  Chas.,d.  in  Fetter  Lane, 
London,  in  1664  ;  teacher  and  com- 
poser. (2)  Edward,  d.  Aug.  19, 
1669,  son  of  above ;  teacher,  com- 
poser and  singer. 

Colombani  (k6-16m-ba'-ne),  Orazio, 
monk,  conductor,  and  cptist.  at  Vero-: 
na,  1576-92. 

Colom  bi,  Vincenzo,  Italian  organ-, 
builder,   Rome,  1549. 

Colonna  (k6-16n-na),  Giov.  Paolo, 
Bologna  (or  Brescia),  ca.  1640 — Bo-, 
logna,  1695  ;  organist,  conductor,, 
and  dram,  composer. 

Colonne  (ko-liin).  ^douard  (rightly] 
Judas),  b.  Bordeaux,  July  23,  1838  ; 
pupil  of  Girard  and  Sauzay  (vln.)' 
Elwart,  and  A.  Thomas  (comp.); 
Paris  Cons.  ;  1874,  founded  the  fai. 
mous  "  Concerts  duChatelet";  1878* 
cond.  official  Exposition  concerts 
1892  cond.  at  the  Gr.  Opera  ;  cond  a 
often  in  London,  and  1902,  Vienna.    1 

Coltellini  (le -ne),  C61este,  b.  Leg  ^ 
horn,  1764 — retired,  1795  ;  celebrate, i( 
mezzo-sopr.  ;  m.  Melicofre.  :  'j 

Combs,  Gilbert  Raynolds,  b.  Phil:  i 
delphia,  Jan.  5,  1863,  son  and  pup    -^ 
of  a  pianist,  organist  and  composer 
organist  and  conductor  in   Philade 
phia  ;    1885  founded    the    Broad  S' 
Cons,  of  Mus. 

Comes  (ko'-mas),  Juan  Baptista,  V 
lencia,  ca.  1560  ;  conductor  and  coi 
poser.  ; 

Comettant  (kom-et-taii).  (J.  P.)  0; 
car,  Bordeaux,  Gironde,  1819  j 
Montvilliers,  1S9S  ;  writer  and  corj 
poser. 

Commer    (kom'-mer),    Fz.,   Cole 
18 1 3 — Berlin,  1887  ;  editor  and  ccl 
poser. 

Compenius  (kom-pa'-nt-oos),  (i)  I  };• 
b.  Nordhausen,  1540  ;  organ-build  «r. 


DICTIONARY  OF  MUSICIANS   467 


etc.  His  bro.  (?),  (2)  Esajas,  organ- 
builder,  inv.  the  "  Duiflote  "  pipe. 

Compere  (koii-par),  Louis  (diminutive, 
Loyset),  Flanders,  15th  cent. — St. 
Quentin,  Aug.  16,  15 18  ;  famous  con- 
trapuntist. 

Co  nacher  &  Co.,  organ-builders, 
Huddersfield,  since  1854. 

Concone  (kon-ko'-ne),  Giu.,  Turin,  ca. 
1810 — June,  1861  ;  organist,  famous 
singing-teacher  in  Paris,  1832-48, 
later  court-organist  Turin;  c.  2  operas 
and  famous  vocal  exercises. 

3on'dell,  H.,  d.  June,  1824  ;  English 
violinist  and  composer. 

"onforti  (kon-for'-te),  Giov.,  b.  near 
Mileto,  1560;  singer. 

^onfrerie   de   St.   Julien,  a   musical 

society,  Paris,  1 330-1 761. 
;^o  ninck,  (i)  Jacques  F61ix  de,  Ant- 
werp, lygT  —  Schaerbeck-les-Brux- 
elles,  1866;  conductor  at  Berlin,  and 
composer.  (2)  Fran,  de,  b.  Leb- 
beke,  Belgium,  Feb.  20,  1810;  pian- 
ist ;  pupil  of  Pixis  and  Kalkbrenner, 
Paris ;  .  teacher  and  composer,  at 
Brussels.  (3)  Jos.  Bernard  de,  b. 
Ostend,  March  10,  1827  ;  dram,  com- 
poser ;  son  of  (i) ;  pupil  of  de  Leun, 
Antwerp,  and  Leborne,  Paris  Cons.  ; 
lived  in  Paris. 

!onradi  (kon-ra'-de),  (i)  Jn.  G.,  17th 
cent.  ;  conductor  ;  one  of  the  first 
composers  of  German  opera,  his 
works  prod,  at  Hamburg.  (2)  Jo- 
han  G.,  Norway,  ca.  1820 — Christi- 
ania,  1896  ;  composer.  (3)  Aug., 
Berlin,  1821 — 1S73  ;  organist  and 
dram,  composer.  (4)  Jules,  b.  Liege, 
Jan.  27,  1834  ;  pupil  of  Decharneux 
and  of  Daussoigne-Mehul  at  Liege 
Cons,  (comp.)  ;  he  won  second  grand 
prix  de  Rome  at  Brussels  ;  1864,  prof, 
of  solfeggio  at  the  Cons.  ;  c.  5  i-act 
comic  operas,  etc. 

onstantin  (koh  -  stah  -  tan),-  Titus 
Chas,,  b.  Marseilles,  Jan.  7,  1835  ; 
pupil  of  Thomas,  Paris  Cons.,  i860; 
cond.  of  the  "Fantasies  Parisi- 
ennes";  1875,  Op.  Com.;  c.  a 
comic  -  opera,  ''Dans  la  ForH" 
(1872),  etc. 


Conti  (kon'-te),  (i)  Fran.  Bart.,  Flor- 
ence, 1681^ — 1732;  court  -  theorbist 
and  dram,  composer.  (2)  ("  Conti- 
ni  ")  Ignazio,  Florence,  1699 — 
Vienna,  1759  ;  son  and  successor  of 
above  ;  composer.  (3)  Gioacchino 
(named  Gizziello,  after  his  teacher 
Dom.  Gizzi),  Arpino,  Naples,  1714 — 
Rome,  1761  ;  famous  male  soprano; 
1739,  iri  London  with  Handel ;  re- 
tired to  Arpino  in  1753.  (4)  Carlo, 
Arpino,  Naples,  1797 — Naples,  1868  ; 
prof,  and  dram,  composer.  (5)  Gia- 
cinto,  Brescia,  1815 — 1895  ;  violin- 
ist and  composer  ;  son  and  pupil  of 
(6)  Defendente,  theatre -dir.  at 
Brescia. 

Continue  (k5n-te'-noo-6),  Giov.,  d. 
Mantua,  1556  ;  conductor  and  con- 
trapuntist. 

Con  verse,  Chas.  Crozat  (pen-names, 
K.  Redan,  C.  Nevers,  etc.),  b. 
Warren,  Mass..  Oct.  7,  1832  ;  pupil 
of  Richter,  Plaidy,  Leipzig  Cons.  ; 
lawyer,  Erie,  Pa.  ;  pub.  Amer.  Con- 
cert-overture, ''Nail  Columbia"  for 
orch.  (Paris,  1869)  ;  Fesl-Ouvertiire 
(1870)  ;  cantata  (on  the  126th  Psalm) 
for  soli,  chorus  and  orch.  (1888), 
"Jesus,  lover  of  iny  soul"  (very 
pop.)  ;  in  MS.  2  symphonies,  2  ora- 
torios, etc. 

Cooke,  (i)  H.,  d.  July  13,  1672  ;  buried 
Westminster  Abbey  ;  court-composer 
and  teacher.  (2)  Nathaniel,  b. 
Bosham,  1773;  organist.  (3)  Benj., 
London,  1734 — 1793;  conductor  and 
composer.  (4)  Thos.  Simpson, 
Dublin,  1782 — London,  1848  ;  con- 
ductor, later  tenor,  then  prof,  at  the 
R.  A.  M.;  prod,  nearly  20  operas  at 
Drury  Lane.  (5)  H.  Angelo  Mi- 
chael (called  Grattan),  son  of  above; 
oboist  and  bandmaster. 

Coombe,  Wm.  Francis,  b.  Plymouth, 
1786  ;  son  of  a  singing  teacher ;  com- 
poser. 

Coombs,  (i)  Jas.  Morrison,  Salis- 
bury, 1769 — 1820  ;  organist  and  com- 
poser. (2)  Chas.  Whitney,  b. 
Bucksport,  Maine,  Dec.  25,  1859; 
pupil  of  Speidel  (pf.)  and    Max  Sei- 


468 


THE  MUSICAL  GUIDE 


friz,  Draeseke  (comp.),  Hermann 
John,  P.  Janssen,  and  Lamperti ; 
1887-91,  organist  Amer.  Cli,  in 
Dresden;  returned  as  organist  Church 
of  the  Holy  Communion,  New  York, 
still  there  ;  pub.  ' '  The  Vision  of  St. 
John,"  cantata  with  orch.  and  org., 
songs,  etc. 

Cooper,  (i)  H.  Christopher,  Bath, 
Engl.,  iSig — Glasgow,  1881,  con- 
ductor. (2)  G.,  Lambeth,  London, 
1820 — London,  1876  ;  organist  and 
composer. 

Coote,  Chas.,  England,  1809 — Lon- 
don, 1880  ;  bandmaster,  etc. 

Coperario  (ko-per-a'-rt-o)  (rightly  J. 
Cooper),  famous  English  lutenist 
and  viola-da-gambist,  i6th  century. 

Coppola,  (i)  Giu.,  singer  in  London, 
1777.  (2)  P.  A.  (Pierantonio), 
Castrogiovanni,  Sicily,  1793 — Canta- 
nia,  1877  ;  dram,  composer  and  con- 
ductor. 

Coquard  (ko-kar),  Arthur,  b.  Paris, 
1846  ;  pupil  of  Cesar  Franck  ;  mus. 
prof.  Nat.  Inst,  of  the  Young  Blind  ; 
critic  for  "  Z^  A/onJf"  ;  c.  operas 
'' TEpc'e  du  Roi"  (Angers,  1884); 
"  Z^  Marl  d'un  Jour"  (Paris, 
1886);  lyric  dramas,  ^'L'oiscau  bleu" 
(Paris,  1894)  ;  ''La  Jacquerie"  (Monte 
Carlo  and  Paris,  1895),  etc. 

Corbet  (kor-ba),  Francisque,  Pavia, 
ca.  1630 — Paris,  1700;  guitar  virtu- 
oso and  composer. 

Cor'bett,  Win.,  1669  (?)— London 
(?),  1748  ;  Engl,  violinist  and  com- 
poser, 

Cordans  (kor-dans),  Bart.,  Venice, 
1700 — Udine,i757;  Franciscan  monk, 
then  conductor  and  dram,  composer. 

Cordelia,  Giacomo,  Naples,  1786 — 
1S46  ;  dram,  composer. 

Corder,  Fr.,  b.  Hackney,  London, 
Jan.  26,  1S52  ;  pupil  of  R.  A.  M.  ; 
1875,  won  the  Mendelssohn  Scholar- 
ship ;  1875-78,  pupil  of  Ferd.  Hiller  ; 
1880,  cond.  of  Aquarium  Concerts 
at  Brighton  where  he  lives  as  a  transl. 
and  critic,  and  composer  of  operas, 
cantatas,  etc.;  wrote  "  The  Orchestra 
and  how  to  write  for  it"  etc. 


Cordier  (kord-ya),  Jacques,  Lorraine, 
ca.  1580 — Paris,  ca.  1629 ;  violin- 
ist. 

Corel'li,  Arcangelo,  Fusignano,  near 
Imola,  Italy,  Feb.  i,  1653 — Rome, 
Jan.  13,  1713  ;  pupil  of  Bessani  and 
Simonelli ;  toured  Germany,  then 
lived  under  patronage  of  Cardinal 
Ollobone  ;  one  of  the  founders  of 
vln. -style,  systematiser  of  bowing  and 
shifting,  introducer  of  chord-playing ; 
a  composer  for  the  vln.  whose  works 
still  hold  favour.  On  invitation  from 
the  King  of  Naples  he  gave  a  succ. 
court-concert,  but  at  a  second  made 
various  blunders  and  returned  to 
Rome,  in  chagrin,  increased  with 
fatal  results  on  finding  or  imagining 
himself  supplanted  there  by  a  poor 
violinist  named  Valentini.  His  mas- 
terpieces ' '  Concerti  grossi"  were  pub. 
just  before  his  death.  Many  spuri- 
ous comps.  were  issued  under  his 
name. 

Corfe,  (i)  Jos.,  Salisbury,  1740 — 1820; 
organist  and  composer.  (2)  Arthur  < 
T.,  Salisbury,  1773 — 1S63  ;  son  of 
above  ;  pianist,  organist  and  writer. 
(3)  Chas,  W.,  son  of  above  ;  organ-: 
ist  Christ  Church,  Oxford. 

Cornelius  (kor-na'-ll-oos),  Peter,  Ma-i 
yence,  Dec.  24,  1824 — Oct.  26,  1874,! 
unsucc.  actor;  then  studied  cpt.  withj 
Dehn  at  Berlin,  and  joined  the  Wag-i 
nerian  coterie  at  Weimar.     His  operai 
"  Der  Bar  bier  von  Bagdad"  was  al 
failure   through  organised  opposition* 
which  led   Liszt  to  leave   the   town 
but    in    1886-S7    it    succeeded.     C. 
wrote    his   own   libretti    and    transl 
others.      1886-87,    ^t    Dresden,    andBi^T 
other   cities;   1859,    with  Wagner  al 
Vienna,   and   Munich,  where  he  be-- 
came    reader   to   King    Ludwig,  anci 
prof.;  prod,  the  opera  ''Der    Cid,'- 
W'eimar,    1865  ;    he    left    "  Gunlod' 
unfinished  ;  Lassen  completed  it,  ant' 
it    was  prod.,   Strassburg,   1892;    h<j 
pub.  many   songs.     Biog.    by   Sand; 
berger  (Leipzig,  1887).  | 

Cornell',  J.  H.,  New  York,  i828-'i 
1894  ;  organist,  composer  and  wri 


UioBt 


i 


DICTIONARY  OF  MUSICIANS    469 


Cor'nyshe,  ''i)  Wm.,  d.  before  1526; 
English  teacher  and  composer.  (2) 
Wm.,  son  of  above  ;  composer. 

Cornet  (kor'-nat),  (i)  Julius,  S.  Can- 
dido,  Tyrol,  1792— Berlin,  i860  ; 
tenor  and  dir.  His  wife,  (2)  Franz- 
iska  (1S06 — 1S70)  was  also  a  singer. 

Coronaro  (ko-ro-na'-ro),  (i)  Gaetano, 
b.  Vincen/^a,  Italy,  Dec.  18,  1852;  vio- 
linist;  till  1S73,  pupil,  Milan  Cons., 
then  in  Germany ;  prod,  the  succ. 
opera  "  £/«  Tramonto"  (Milan  Cons. 
Th.,  1S73)  ;  3-act  ''La  Creola" 
(Bologna,  1878);  "' II  Malacarne'" 
(Brescia,  1894)  ;  for  several  years 
prof,  of  harm.,  and  since  1894, 
prof,  of  comp.,  Milan  Cons.  (2) 
Gellio  Bv.,  b.  Italy,  ca.  1863  ;  pian- 
ist (protege  of  Sonzogno)  ;  debut  at  8 ; 
at  9,  organist  in  Vincenza  ;  at  13,  th. 
cond.,  Marosteca  ;  at  15,  chorusm.  ; 
at  16,  pupil  Bologna  Cons.,  graduat- 
ing with  first  prizes  ;  c.  a  symphony  ; 
opera.,  "/o/ii/ida"  (1889?);  unsucc. 
"  Claudia''  (Milan,  1895). 
-orri  (kor'-re),  Dom.,  Rome,  1744 — 
London,  1825  ;  dram,  composer  and 
writer. 
'or'si,  Jacopo,  b.  ca.  1560  ;  Florentine 
nobleman,  in  whose  house  and  in 
Bardi's,  Peri,  Caccini,  Emilio  del 
Cavaliere,  Galilei,  Rinuccini,  and 
others  met  and  inaugurated  modern 
opera  (v.  peri)  ;  C.  was  a  skilful  gra- 
vicembalist. 

lorteccia  (kor-tet'-cha),  Fran,  Bdo. 
di,  Arezzo,  i6th  cent.,  Florence, 
1571  ;  organist,  conductor  and  com- 
poser. 

oss'mann,  B.,  b.  Dessau,  May  17, 
1822  ;  'cellist ;  pupil  of  Espenhahn, 
Drechsler,  Theo.  Miiller  and  Rum- 
mer ;  1840,  member  of  Gr.  Opera 
Orch.,  Paris  ;  1S47-48,  solo  'cellist  at 
Gewandhaus,  Leipzig ;  then  studied 
comp.  under  Hauptmann  ;  1850,  at 
Weimar,  with  Liszt ;  1866,  prof.  Mos- 
cow Cons.;  1870-78  at  Baden-Baden  ; 
since  prof,  of  'cello,  Frankfort  Cons.; 
composer. 

os'ta,  (i)  Sir  Michael  (rightly 
Michele),     Naples,     Feb.    4,    18 10 


(1807  ?) — Brighton,  England,  April 
29,  1884;  son  and  pupil  of  (2)  Pas- 
quale  C.  (composer  ch.-mus.) ;  pupil 
also  of  Tritto,  Zingarelli  (comp.), 
and  Crescentini  (singing)  at  the 
Naples  Cons.;  prod.  4  succ.  operas 
at  Naples,  was  sent  to  Birmingham, 
England,  to  cond.  a  psalm  of  Zin- 
garelli's,  but  through  a  misunder- 
standing, had  to  sing  the  tenor  part ; 
he  thereafter  lived  in  England  as  dir. 
and  cond.  of  King's  Th. ,  London, 
where  he  prod,  three  ballets  ;  1846, 
cond.  of  the  Philh.  and  the  new  Ital. 
Opera  ;  1848,  Sacred  Harmonic  So- 
ciety ;  from  1849,  cond.  Birmingham 
festivals;  from  1857,  the  Handel  festi- 
vals ;  knighted  in  1869;  1871  dir.  of 
the  music  and  cond.  at  H.  M.'s 
Opera ;  c.  3  oratorios,  6  operas,  3 
symphonies,  etc.  (3)  Andrea,  b. 
Brescia,  settled  London,  1825  ;  com- 
poser and  teacher.  (4)  Carlo,  Naples, 
1826 — 1888  ;  teacher  Naples  Cons. 
(5)  P.  Mario,  b.  Taranto,  July  26, 
1858,  nephew  of  above ;  c.  cham- 
ber-music and  pop.  songs  in  Neapoli- 
tan dialect ;  also  2  pantomimes,  "  Le 
Modele  Reve"  and  the  succ.  '  L' His- 
toire  d'un  Pierrot  "  (Paris,  1894?). 

Costantini  (te'-ne),  Fabio,  b.  Rome, 
ca.  1570;  composer  and  teacher. 

Costanzi  (ko-stan'-tsi),  Juan  (or  Gio- 
annino),  Rome,  1754 — 1778  ;  con- 
ductor. 

Coste  (kost),  Gaspard,  composer  at 
Avignon,  1530. 

Cost  eley,  Wm.,  Scotland,  1531 — Er- 
reux,  1606  ;  organist  and  writer. 

Cotta  (kot'-ta),  Jn.,  Ruhla,  Thuringia, 
1794 — Willerstet,  near  Weimar,  1868; 
pastor  and  composer. 

Cot'to  (Cotto'nius),  Jns.,  nth  to 
1 2th  cent.  ;  writer. 

Cottrau  (kot-tro,  or  kot-tra'-oo),  (i) 
Guillaume  (Guglielmo),  Paris,  1797 
— Naples,  1847  ;  composer.  His 
sons  (2)  Teodoro  (pen-name  Euta- 
lindo  Martelli)  (Naples,  1827 — 
1879)  and  (3)  Giulio  (Jules),  also 
song-composers ;  the  latter  c.  2 
operas. 


470 


THE  MUSICAL  GUIDE 


Cotumacci  (ko-too-mat'-che),  Carlo, 
Naples,  1698 — 1775  ;  organist  and 
composer. 

Coucy  (du  koo-se),  Regnault,  Chate- 
lain,  de,  d.  Palestine,  1192;  trouba- 
dour to  Richard  Coeur  de  Lion  ;  a 
poem  of  ca.  1228  tells  that  he  begged 
that  his  heart  be  sent  to  his  love, 
whose  husband  intercepted  it,  and 
had  it  roasted  and  served  up  to  his 
wife,  who  died  broken-hearted  on  be- 
ing told  of  her  menu  ;  his  songs  are  in 
MSS.  in  the  Paris  Librar)',  and  have 
been  re-published. 

Couperin  (koo-pu-rah),  a  family  of 
French  musicians,  famous  for  two 
centuries.  The  first  known  were 
three  brothers :  (i)  Louis,  1630 — 
1665  ;  organist  of  St.  Gervais  and 
composer.  (2)  Fran.  (Sieur  de 
Crouilly),  1631 — 1701  ;  organist  and 
composer.  (3)  Chas.,  1638 — 1669  ; 
organist ;  his  son,  (4)  Fran,  (called 
Le  Grand),  Paris,  1668— 1733  ;  the 
first  great  composer  to  write  exclusive- 
ly for  the  harpsichord  (or  clavecin); 
pupil  of  Thomelin,  and  successor  of 
his  uncle  Fran9ois,  at  St.  G.,  1698  ; 
1701,  clavecinist  and  organist  to  the 
King ;  c.  brilliant  and  fascinating  mu- 
sic pub.  at  Paris,  and  wrote  "Z'yir^ 
de  toucher  du  Clavecin"  (171 1).  (5) 
His  son  Nicholas,  Paris,  16S0 — 
1748,  was  organist.  (6)  Armand 
Louis,  Paris,  1721 — 1789,  son  of  (5), 
a  remarkable  org. -virtuoso.  His  wife 
(7)  Elisabeth  Antoinette  (nee 
Blanchet),  b.  1721,  was  an  organist 
and  clavecinist,  and  played  in  public 
at  81.  They  had  2  sons  (8)  P.  Louis 
(d.  1789),  his  father's  asst.  organist, 
and  (9)  Gervais  Fran.,  his  father's 
successor. 

Courtois  (koor-twa),  Jean,  i6th  cent., 
French  contrapuntist  ;  conductor  and 
composer. 

Courtville  (koort'-vll),  (i)  Raphael, 
d.  1675  ;  of  the  Chapel  Royal.  (2) 
d.  ca.  1735  ;  organ-composer,  son  of 
above.  (3)  Raphael,  d.  1771,  son 
of  (2)  ;  organist  and  writer. 

Courvoisier   (koor-\^as-ya,   or  koor'- 


foi-ser),  K.,  b.  Basel,  Nov.  12,  1846; 
violinist  ;    pupil    of    David,   Rontger'; 
and  Joachim  ;   1871,  a  member  of  the. 
Thalia  Th.,  orch.,    Frankfort;  then,.i 
till  1875,  cond.  of  singing  with  Gus-i 
tav    Earth  ;    '76,    cond.    Dusseldori' 
Th.,     orch.,     and    choral    societies 
since  1SS5   singing-teacher  at   Liver 
pool  ;  c.  a  symphony,  2  concert-over 
tures,    a   vln. -concerto    (MS.),    etc. 
wrote    "Z>/<f   Violintechnik"   (transl 
by   H.   E.    Krehbiel ;    N.  Y.,  i8g6) 
an  '■'  ^cole  de  la  velocity'  and  a  '"Ml 
tkode"  (London,  1892). 

Coussemaker  (koos-mi-kir'),    Chas 
Ed.   H,,    Bailleul,    Nord,   April   ic 
1805 — Bourbourg,   Jan.   10,   1S76  ; 
remarkable  sight-reader,  studied  cp 
with  V.  Lefebvre  ;  while  serving  as 
judge  he  made  musical  research  h 
avocation,  and  pub.  important  wor! 
on    Hucbald   and    mediaeval    instr 
ments,  theory  and  composers,  incl.  h 
"  Scripiores     de   musica    medii    ei 
nova  series"    (1864-76,    4    vols.),     j 
great  collection  intended   as  suppl    1 
ment  to  Gerbert.  ;  J 

Cousser.    Vide  kusser.  ;  : 

Coverley     (kuv'-er-ll),     Robert,    A 
Oporto,    Portugal,   Sept.   6,  1863, 'l 
Scotch  father  and  aristocratic  Por''  | 
guese  mother;  studied  cpt.,  orch.  a| 
vln.  with    Hill,  Ludwig,  and  Jacqi- 
not,  in  London  ;  lived  in  New  Yi«' 
many  years,  since    1898  in   Londc,; 
pub.  many  graceful  and  succ.  son;, 
orch.  and  pf. -pieces  ;  c.  the  immerj- 
ly  succ.  march  "  The    Passing   R*,-; 
ment"  and  a  comic  opera  (MS.).    ■ 

Cow'ard,  (r)  Jas.,  London,  182- 
18S0  ;  organist,  conductor  and  o?- 
poser.  (2)  H.,  b.  Liverpool,  K'. 
26,  1849 ;  grad.  Tonic-sol-fa  CL. 
1889  Mus.  Bac;  1894  Mus. 
Oxon  ;  singing-teacher  and  con 
Sheffield. 

Cow'en,  Frederic  Hymen,  b.  Kis^^, 
ton,   Jamaica,    Jan.    29,    1852  ;  .' 4  "' "'<^ 
brought  to  London  to  study,  pupof    ■  \  , 
Benedict  and  Goss,  then  of  Ha)t- 
mann,  Moscheles,  Reinecke,  Ricl:''i 
and  Plaidy,  Leipzig  ;  and  Kiel,  J"*  " 


i 


DICTIONARY  OF  MUSICIANS    471 


lin  ;  1882,  dir.  Edinburgh  Acad,  of 
Music  ;  1887,  cond.  London  Philh.  ; 
i888-g,  mus.-dir.  Melbourne  Centen- 
nial Exhibition  ;  1896,  cond.  Liver- 
pool Phil.,  and  the  Manchester 
Concerts ;  prod,  four  operas ;  two 
oratorios,  The  Deluge  (1878),  and 
Rtith  (1887) ;  7  cantatas  ;  6  sympho- 
nies (No.  3  "  Scattdinavian  "  (1880), 
4  "  Welsh,"  6  "  Idyllic  ")  ;  four  or- 
chestral suites,  "  The  Language  of 
Flo7uers,"  ''In  the  Olden  Tifne" 
"In  Fairyland"  Suite  de  Ballet ; 
Sinfonietta  in  A  for  orch.  ;  2  over- 
tures ;  pf.-concerto ;  pf.-trio ;  pf.- 
quartet ;  pf.-pcs. ;  over  250  songs. 

Cramer  (kra-mgr  or  kra-mer),  (i) 
Wm.,  Mannheim,  1745  (1743?) — 
London,  1799  (1800?);  violinist  and 
conductor.  (2)  K.  Fr.,  Quedlinburg, 
1752 — Paris,  Dec.  1807;  professor.  (3) 
Jn.  Bap.,  Mannheim,  Feb.  24,  1771 
—London,  April  16,  1858  ;  eldest  son 
and  pupil  of  (i).  Brought  to  London 
when  a  year  old  ;  pupil  of  Benser, 
Schroeter,  then  of  Clementi;  in  comp. , 
chiefly  self-taught ;  toured  as  concert- 
pianist  at  17  ;  in  1828  est.  a  mus.- 
pub.  firm  (now  Cramer  &  Co.)  in 
partnership  with  Addison  ;  managed 
it  till  1842  ;  1832-45,  lived  in  Paris  ; 
pub.  "a  Method  for  pf.  ("  Crosse 
praktische  Pfte-Schule"),  in  5 
parts,"  the  last  containing  the  cele- 
brated "  84  Studies  "  (op.  50),  still  a 
standard;  c.  7  concertos,  105  sonatas, 
quartet,  quintet,  and  many  pf.-pcs. 
(4)  Fz.,  b.  Munich,  1786  ;  nephew  of 
(i),  first  flute  in  the  Munich  orch., 
and  composer.  (5)  Josef  Hubert, 
b.  Wageningen,  Holland,  Feb.  29, 
1844  ;  violinist ;  studied  with  Graven- 
stein  and  van  Bree,  Leonard  and 
David ;  at  12  played  in  public  at 
Amsterdam  where  he  now  lives  as 
teacher  in  the  Cons.,  and  com- 
poser. 
rane,    Helen,    American   composer ; 

;  pupil  of  Ph.  Scharwenka,  Berlin,  for 
3  years;  c.  symphonic  poem  "The 
Last  Tournament,"  suite  and  sere- 
nade for  orch. ,  etc. 


Crang  &  Hancock,  organ-builders  in 
London  during  i8th  cent. 

Cranz  (kriints),  August,  Hamburg, 
mus.-pub.  firm,  founded  1813  by  A. 
H.  Cranz  (1789-1870).  His  son  Al- 
win  (b.  1834),  is  now  the  head. 

Craywinckel  (kri'-vlnk-el),  Fd.  Ma- 
nuel Martin  Louis  Barth^lemy 
de,  b.  Madrid,  Aug.  24,  1820  ;  pupil 
of  Bellon  ;  cond.  St.  Bruno,  at  Bor- 
deau.x,  where  he  lived  from  1825  ;  c. 
e.xcellent  masses  and  other  church- 
mus. 

Cre(c)quillon  (krek-we-yon),  Thos., 
n.  Ghent,  (?) — Bethune,  1557 ;  ca. 
1544-47  conductor  and  compos- 
er. 

Crescentini  (kra-shSn-te'-ne),  Giro- 
lamo,  Urbania,  near  Urbino,  Feb.  2, 
1766 — Naples,  April  24,  1846;  fa- 
mous male  soprano  and  composer. 

Crespel  (kres-pel),  Guillaume,  Bel- 
gian composer  15th  cent. 

Cressent  (kr6s-sah),  Anatole,  Argen- 
teuil,  1824 — Paris,  1870;  lawyer  and 
founder  of  the  triennial  prize  "  prix 
Cressent,"  endowed  with  120,000 
francs,  to  be  equally  divided  between 
the  librettist,  and  the  composer  of  the 
best  opera;  first  awarded  to  Chaumet, 
1875- 

Creyghton  (kra'-tun),  Rev.  Robt.,  b. 
ca.  1639  ;   English  composer. 

Cristofo'ri,  Bart,  (wrongly  Cristo- 
fali  and  Cristofani),  Padua,  May  4, 
1653 — Florence,  March  17,  1731;  inv. 
the  first  practical  hammer-action  to 
which  he  gave  the  name  "piano- 
forte" (v.  D.  D.)  ;  in  1711  he  substi- 
tuted for  the  plucking  quills  "a  row 
of  little  hammers  striking  the  strings 
from  below,"  the  principle  adopted  by 
Broadwood,  and  called  the  "  English 
action." 

Crivel'li,  (i)  Arcangelo,  Bergamo,  (?) 
— 1610;  tenor  and  composer.  (2)Giov. 
Bat.,  Scandiano,  Modena  (?) — Mo- 
dena,  1682  ;  organist  and  conductor. 
(3)  Gaetano,  13ergamo,  1774 — Bres 
cia,  1836  ;  famous  tenor.  (4)  Dom., 
b.  Brescia,  1794-  son  of  above,  dram, 
composer. 


472 


THE    MUSICAL    GUIDE 


Croce  (kr6'-ch6),  Giov.  dalla  (called 
"  II  Chiozzotto  "),  Chioggia,  ca.  1560 
— Venice,  1609  ;  conductor  and  com- 
poser. 

Croes  (kroos),  H.  Jas.  de,  Antwerp, 
1705 — Brussels,  1786  ;  violinist  and 
conductor. 

Croft(s),  Wm.,  Nether-Eatington, 
Warwickshire,  Engl.,  1678— Bath, 
1727  (buried  Westm.  Abbey)  ;  1704, 
joint  organist,  1707,  sole  organist 
Westm.  Abbey;  pub.  "■  Musica 
sacra  "  (the  first  English  church-music 
engraved  in  score  on  plates). 

Crogaert  (kro'-gart),  J.  Ed.,  b.  Ant- 
werp ;  pupil  of  Benoit ;  1882  cond. 
at  Antwerp,  since  1882  lives  in  Paris; 
writer  of  treatises. 

Croisez  (krwa-sa),  Alex.,  b.  Paris  (?), 
18 16  ;  composer  and  writer. 

Cros'dill,  J.,  London,  1751 — Escrick, 
Yorkshire,  1825  ;  'cellist. 

Cross,  Michael  Hurley,  Philadelphia, 
1833 — 1897  ;  composer  and  director. 

Cross' ley,  Ada,  Australian  soprano ; 
debut,  Melbourne  as  a  girl ;  has  sung 
with  succ.  in  London  for  many  years, 
also  in  Paris,  etc. 

Crotch,  Wm.,  Norwich,  Engl., July  5, 
1775 — Taunton,  Dec.  29,  1847  ;  at 
the  age  of  2^^  he  played  on  a  small 
organ,  built  by  his  father,  a  master- 
carpenter  ;  at  10  played  in  public  at 
London  ;  at  the  age  of  11  asst.  or- 
ganist of  Trinity  and  King's  Colleges 
Cambridge ;  at  14  c.  an  oratorio, 
"  TAe  Captivity  of  Judah"  (perf. 
1789),  became  organist  of  Christ  Ch., 
Cxford;  1797,  prof,  of  mus.  Oxford  ; 
1799,  Mus.  Doc.  there;  1822  principal 
of  the  new  R.A.M.,  c.  2  oratorios. 

Crouch,  (i)  Mrs.  Anna  M.  (nee  Phil- 
lips), 1763 — Brighton,  1805  ;  Engl, 
operatic  singer.  (2)  Fr.  Nicholls, 
London,  July  31,  1808 — Portland, 
Me.,  Aug.  18,  1896  ;  basso,  'cellist 
and  singing-teacher  ;  c.  2  operas,  and 
songs,  incl.  " Kathleen  Mavoin-neen." 

Crow,  Ed.  J.,  b.  Sittingbourne,  Engl., 
Sept.  II,  1841  ;  organist  Leicester, 
1861-73  ;  since,  at  Ripon  Cath.  ;  1882, 
Mus.     Doc.    Cantab.  ;    c.    oratorio, 


''Harvest-time";     Psalm    CXLVI, 
for  orch.  and  chorus,  etc. 

Cro'west,  Fr.  F.,  b.  London,  1850  ; 
organist  Christ's  Church,  Kilburn ; 
writer  and  composer. 

Cro'ziar,  Wm.,  b.  Upper  Norwood, 
Dec.  20,  1870  ;  celebrated  Engl, 
oboist. 

Criiger  (krii'-ger),  Jns.,  Gross-Breesen, 
near  Guben,  1598 — Berlin,  1662  ; 
organist. 

Crussel  (kroos'-sel),  Bernhard,  Fin-  ■ 
land,  1775 — 1838;  composer. 

Cruvel'li  (rightly  Criiwell)  (krU'-vel),  : 
(I)  Friederike  M.,  Bielefeld,  West-! 
phalia,  1824 — 1868  ;  contralto  in  Lon-i 
don,  but  lost  her  voice  and  died  of  a; 
broken  heart.  (2)  Jne.  Sophie  Char-- 
lotte,  b.  Bielefeld,  Mar.  12,  1826,1 
sister  of  above  ;  also  contralto,  and; 
ill-trained,  but  had  enormous  successj 
Paris  Gr.  Opera,  1854,  at  a  salary  ofj 
100,000  francs  ;  in  1856  m.  Comtej 
Vigier,  and  left  the  stage. 

Cud'more,  Richard,  Chichester,  1787 
— Manchester,  1840  ;  organist,  vio- 
linist and  conductor. 

Cui  (kwe),  C^sar  Antonovitch,  b 
Vilna,  Russia,  Jan.  6,  1835  ;  one  o 
the  most  important  of  Russian  com 
posers  ;  pupil  of  Moniuszko  and  Ba 
lakirev  ;  a  military  engineer ;  Prof 
of  fortification  at  the  St.  Petersbur; 
Engineering  Acad.  ;  from  1864-8 
critic  of  the  St.  P.  ''Gazette" 
1878-9,  pub.  articles  in  Paris,  0 
"  La  mtisiqiie  en  Rtissie"  ;  c.  5  op 
eras,  "  William  Ratcliffe"  (St.  P 
1869);  "  The  Prisoner  in  the  Cat 
casus"  (1873);  "Angela"  (1876]; 
"  The  Mandaritt's  Son"  {liii)  ;  1; 
ric  comedy,  "  Le  Filibiistier"  (Pari; 
1894)  ;  the  very  succ.  " Sarazin"  (S 
P.,  1899)  ;  symphonies,  etc.,  2  sche 
zos  and  a  tarantella  for  orch.  ;  sui 
for  pf.  and  vln.  ;  pf.-pcs.  ;  50  song 
"  Esquisse  critique  "  on  Cui  and  \- 
works  by  the  Comtesse  de  Merc 
Argenteau. 

Cum'mings,  Wm.  Hayman,  b.  Su 
bury,  Devon,  Eng.,  Aug.  22,  183 
organist   Waltham  Abbey  ;  prof.  ■• 


U 


DICTIONARY  OF  MUSICIANS    473 


singing  R.  Coll.  for  the  Blind,  Nor- 
wood ;  1896,  principal  of  Guildhall 
Sch.  of  Mus.  ;  founded  the  Purcell 
Society,  edits  its  pubs.  ;  wrote  biog. 
of  Purcell  (London,  18S2)  ;  has  also 
pub.  a  music  ''Primes-,''  iSj-j  ;  and 
a  ''Biog.  Dictionary  of  Musicians''' 
(1892)  ;  c.  a  cantata,  "  The  Fairy 
Ring"  etc. 

'urci  (koor'-che),  Giu.,  Barletta,  1808 
—1877  ;  singing  teacher  and  dram, 
composer. 

^urioni  (koo-rT-o'-ne),  (i)  ( ),  so- 
prano in  London,  1754,  perhaps  the 
mother  of  (2)  Alberico,  b.  ca.  1790, 
Italian  tenor. 

^urschmann  (koorsh'-man),  K.  Fr., 
Berlin,  1805 — Langfuhr,  near  Dan- 
zig, 1841  ;  singer,  dram,  composer 
and  pop.  song-writer. 

*urti  (koor'-te),  Fz.  (or  Francesco), 
Cassel,  1854 — Dresden,  1898  ;  dram, 
composer. 

'.urtis,  Dr.  H.  Holbrook,  b.  New 
York,  Dec.  15,  1856;  grad.  Yale, 
1877  ;  1880,  M.D.  ;  vice-pres.  Am. 
Social  Science  Assn., prominent  throat 
specialist  and  writer  on  the  voice, 
pub.  "Voice  Building  and  Tone 
Placing,"  1898. 

ur'wen,  (i)  Rev.  J.,  Heckmondwike, 
Yorkshire,  Engl.,  1816 — near  Man- 
chester, 1880  ;  1862,  resigned  his  pas- 
torate, and  founded  a  college,  also  a 
pub. -house,  to  exploit  Tonic-sol-fa.  (2) 
J.  Spencer,  b.  Plaistow,  1847  ;  son 
and  pupil  of  above  ;  pupil  also  of  G. 
Oakeyand  R.A.M.;  writer,  and  since 
1880  pres.  Tonic-sol-fa  Coll. 
iisani'no.  Vide  carestini. 
asins  (kuz'-!ns),  SirWm.  G.,  London, 
1833  —  Remouchamps  (Ardennes), 
1893;  pf.-prof.  R.A.M.  ;  knighted 
1892  ;  conductor  and  composer. 
iteir,  Richard,  English  writer  of 
15th  century. 

Ut'ler,  Wm.  H.,  b.  London,  1792  ; 
organist  and  singer. 
Uvillon  (kii-ve-yoh),  J.  Bapt.  Phil 6- 
mon  de,  b.  Dunkirk,  1809  ;  pupil, 
ater  prof.  Paris,  Cons.;  notalsle  vio- 
inist  and  teacher. 


Cuzzoni  (kood-z6'-ne),  Fran.,  Parma, 
1700— Bologna,  1770  ;  debut  1719  ; 
m.  the  pianist  Sandoni ;  very  success- 
ful contralto  till  her  latter  days,  when 
it  is  said  she  earned  a  pittance  by 
covering  silk  buttons. 

Czartoryska  (char-to-re'-shka),  Mar- 
celline  (nee  Princess  Radziwill), 
b.  Vienna,  1826  ;  pianist  ;  lives  since 
1848  in  Paris  ;  pupil  of  Czerny. 

Czarwenka  (char-ven'-ka),  Jos.,  Be- 
madek,  Bohemia,  1759  —  Vienna, 
1835  ;  oboist  and  professor. 

Czerny  (Cerny)  (char'-ne),  Karl,  Vi- 
enna, Feb.  21,  1791 — July  15,  1857  ; 
pupil  of  his  father  Wenzel  C,  later 
of  Beethoven  ;  and  had  advice  from 
dementi  and  Hummel  ;  made  an 
early  reputation  as  pianist  and  was  an 
eminent  teacher  from  his  i6th  year  ; 
Liszt,  Dohler,  and  Thalberg  were 
among  his  pupils;  pub.  over  1,000 
works,  his  pf. -studies,  still  standard, 
incl.  many  such  works  as  "  Die  Schule 
der  Gelciufigkeit "  (School  of  Velocity) 
(op.  299)  ;  c.  also  masses,  sympho- 
nies, overtures,  etc. 

Czersky  (char-shkT).    Vide  TSCHIRCH. 

Czibulka  (che-bool'-ka),  Alphons, 
Szepes-Varallya,  Hungary,  May  14, 
1842 — Vienna,  Oct.  27,  1894  ;  pianist 
and  conductor  ;  c.  5  operettas,  incl. 
"■Der.  Bajazso"  (Vienna,  1892), 
waltzes,  etc. 


D 

Daase  (da-ze),  Rudolf,  b.  Berlin, 
Feb.  21,  1822  ;  pupil  of  A.  W.  Bach, 
Marx  and  Wilsing  ;  lives  in  Berlin  as 
conductor  and  teacher  ;  c.  orch.  and 
choral-pieces,  etc. 

Dachs  (dakhs),  Jos.,  Ratisbon,  1825 
— Vienna,  1896  ;  teacher  and  pianist. 

Dachstein  (djikh'-shtln),  Wolfgang, 
e.K-priest  and  composer  at  Strass- 
burg,  1554. 

Dalayrac  (or  D'Alayrac)  (dal-e-rak), 
Nicolas,  Muret,  Haute-Garonne, 
June  13,  1753 — Paris,  Nov.  27,  1809  ; 
prod,  about  60  operas. 


474 


THE    MUSICAL    GUIDE 


Dalberg  (dal'-barkh),  Jn,  Fr.  Hugo, 

Reichsfreiherr  von,  Aschaffenburg, 
1752 — 1812  ;  writer  and  composer. 

D'Albert,  Eugen,     Vide  albert,  d'. 

Dall  (dal),  Roderick,  lived  at  Athol, 
1740  ;-  the  last  of  the  Scotch  "wan- 
dering harpists." 

Dal'lam,  Engl,  family  of  organ-build- 
ers 17th  cent,  (also  spelled  Dallans, 
Dallum,  Dalham). 

Dal'lery,  organ-builders  i8th  cent,  at 
Amiens. 

Dair  Argine  (dal-ar'-zhe-na),  Const,, 
Parma,  1S42 — Milan,  1877  ;  dram, 
composer, 

Dalvimare  (dal-ve-ma'-r^)  or  d'Alvi- 
mare  (dai-vI-mSr),  Martin  P,, 
Dreux,  Eure-et-Loire,  1772 — Paris, 
1839 ;  composer. 

Damascene  (da-ma-sha'-ne),  Alex., 
Italian,  b.  in  France  ;  d.  July  14, 
1719  ;  alto  singer  and  song-writer  in 
England. 

Damcke  (dam'-ke),  Berthold,  Han- 
over, 1812 — Paris,  1875;  conduc- 
tor. 

Damm  (dam),  (r)  Fr.,  b.  Dresden, 
March  7,  1831  ;  pianist  and  compos- 
er ;  pupil  of  Kragen,  J.  Otto,  and 
Reichel ;  lived  in  North  Germany, 
then  in  the  U.  S.,  then    in    Dresden. 

(2)  G.,  v.  STEINGRABER. 

Damoreau  (d^m-o-ro),  Laure-Cinthie 
(nee  Montalant,  first  known  as 
"Mile.  Cinti"),  Paris,  1801— Chan- 
tilly,  1863  ;  soprano,  later  prof,  of 
singing,  Paris  Cons.  ;  wrote  M^thode 
de  chant." 

Damrosch  (dam'-rosh),  (i)  Dr.  Leo- 
pold, Posen,  Prussia,  Oct.  22,  1832 
—New  York,  Feb.  15,  1885  ;  1854, 
M.D.  ;  took  up  music  as  solo-violin- 
ist ;  then  as  cond.  at  minor  theatres  ; 
1855,  solo  violinist  Grand  Ducal 
Orch.,  at  Weimar  ;  here  he  m.  Hel- 
ena von  Heimburg,  a  singer;  1859- 
60  cond.  Breslau  Phil  Soc,  etc.; 
1871,  invited  to  New  York  to  con- 
duct the  Arion  Society,  made  his 
first  appearance  as  conductor  and 
composer  and  violinist ;  1873,  found- 
ed  the   Oratorio   Society ;    1878   the 


Symphony  Society  ;   1880  Mus.  DcJ 
Columbia  Coll.;   1884,  cond.  Germ 
opera    at    Met.   Op.  ;  c.    7  cantats 
symphony;  music  to  Schiller's  "y<? 
of  Arc  "  etc.    (2)  Frank,  b.  Bresl;  1 
June    22,    1859;    son    and    pupil  ': 
above  ;  pupil  of  Pruckner,  Jean  Vo 
and   von    Inten     (pf.),     Moszkowi 
(comp.) ;     1882-85,      cond.      Den - 
(Col.)  Chorus  Club;   18S4-S5,  sup- 
visor  of  music  in  public  schools,  a) 
organist   in    various  churches  ;    18  - 
91,    chorusm.    Met.    Op.;     till     i;. 
cond.  the  Newark  Harmonic  Socie.;^ 
1892  organized   the   People's  Singa 
Classes  ;   1897,  supervisor   of    mu<,ii 
N.  Y.  City  public  schools;  now  cct 
the    "  Musurgia,"    Oratorio    Soci  '.^ 
and  Mus.  Art  Soc.  (N.  Y.),  Orato^ 
Soc,  Bridgeport  (Conn.)  "Orphe"i 
and  "Eurydice"  Phila.,  etc.;  pu  a 
few  songs  and  choruses,  and  a  mi- 
od   of   sight  -  singing.     (3)    Wa:f 
(Johannis),  b.  Breslau,  Silesia,    1. 
30,  1862  ;  son  and  pupil  of  (i)  ;  J-|i 
pil    of      Rischbieter     and    Drae<«K 
(harm.),  von    Inten,  Boekelman,  idj" 
Rlax    Pinner,  (pf.),  von  Billow   {^l 
ducting) ;   1885-99   cond.  N.  Y,   a-f 
torio  and    Symphony  Societies ;  9J| 
founded  the  N.  Y.  Symphony  O) 
1894,  organized  and  cond.  the  Ijili~«. 
rosch    Opera    Co.  ;     1899,    cond'i 
Philadelphia  ;     1902,    cond.     N." 
Philh.     (vice     Paur) ;     prod.    o\  a,  | 
"  T/ie  Scarlet  Letter  "  (Boston,  i  %\- 
text  by    Geo.    Parsons    Lathrop  c 
MS.  opera  "  Cyrano   de  Berger," 
text  by  W.  J.  Henderson  ;  "  M.ilfr- 
Te  Deum  "  /  "  Danny  Deever"  c.< 

Da'na,  (i)  Chas.  Henshaw,  estj 
Newton,  Mass.,  1846  —  Worcier,|:i 
1883  ;  pianist,  organist  and  corbs-i 
er.  (2)  Wm.  H.,  b.  Warren  3.f 
June  10,  1846  ;  pupil  of  Hauptn(l 
Kullak's  Cons.,  also  R.A.M.,  Jn-,;, 
don  ;  dir.  Dana's  Mus,  Inst.,  Wjen,. 
Ohio  ;  wrote  text-books ;  c.  Dt 
Profiindis  "  for  ch.  and  orch.     ,    1 

Danb6  (dan-ba),  Jules,  b.  '«"» 
France,  Nov.  15,  1840;  viol  st ; 
pupil  of  Paris  Cons.;  till  iSgJjndv,. 


a-f:: 

'I- 


DICTIONARY  OF  MUSICIANS   475 


dir.   of   the   Cons.    Concerts ;    1895, 
cond.  Op.  Com.,  Paris  ;  composer. 

Dan'by,  J.,  1757 — London,  May  16, 
1798  ;  English  organist  and  compos- 
er. 

Dance,  Wm,,  1755 — 1840,  musician  ; 
one   of    the    founders   of     the    Phil. 
Soc,  London. 
.    Dan'do,  Jos.  H.  B.,  b.  Somers  Town, 
London,  1806  ;  violinist. 

Dancla  (dah-kla),  (i)  J.  Bap.  Chas., 
b.  Bagneres-de-Bigorre,  Dec.  19, 
1818  ;  1828  pupil  of  Baillot,  Halevy, 
and  Berton,  Paris  Cons.;  1834,  2nd 
solo  vln.  Op. -Com.;  1857,  prof,  of  vln. 
at  the  Cons.,  giving  famous  quartet 
soirees  ;  c.  four  symphonies,  over  130 
works  for  vln.,  etc.;  wrote  5  techni- 
cal books,  "  Les  compositeurs  chefs 
d'orchestre"  etc.  (2)  Arnaud,  Bag- 
neres-de-Bigorre, 1820 — 1862,  bro.  of 
above  ;  'cellist  and  writer.  (3)  L60- 
IV  pold,  Bagneres-de-Bigorre,  1823 — 
Paris,  1895,  bro.  of  above  ;  compos- 
er. 
,  Danel  (da-nel),  L.  A.  J.,  Lille,  17S7 
— 1875  ;  a  printer  who  inv.  a  nota- 
tion. 

Danhauser  (dan-how'-zer  or  dah-6- 
za),  Ad.  Ld.,  Paris,  1835— 1896 ; 
prof,  of  solfeggio  at  Cons,  and  dram, 
composer. 

)anican.     V.  philidor. 

Daniel,  (i)  Hn.  Adalbert,  b.  Cothen, 
1812;  theologian  and  writer.  (2) 
Salvador,  for  a  few  days  dir.  Paris 
Cons.,  under  the  Commune;  killed 
in  battle,  May  23,  1871  ;  writer. 

)anjou   (dah'-zhoo),  J.    L.  F.,  Paris, 
1812 — Montpellier,    1866  ;   1840,    or- 
.^,    ,  ganist  and  erudite  historian. 

)an'kers  (or  Danckerts),  Ghiselin, 
b.  Tholen,  Zealand  ;  chorister  in  Pa- 
pal chapel,  1538-65  ;  composer  and 
writer. 

•anks.  Hart  Pease,  b.  New  Haven, 
Conn.,  April  6,  1834  ;  bass  and  mus. 
dir.  in  various  churches ;  pupil  G.  E. 
Whiting ;  c.  over  1200  hymns  and 
songs,  and  operetta  '' Paulijte" 
(1872). 
anneley  (din'-lr),   John    Feltham, 


Oakingham,  Berkshire,  England,  1786 
— London,  1836  ;  organist  and  pub- 
lisher. 
Dannreuther  (dan'-roi-ter),  (i)  Ed- 
ward, b.  Strassburg,  Nov.  4,  1844  ; 
at  5  taken  to  Cincinnati,  where  he 
studied  with  F.  L.  Ritter ;  later,  pupil 
of  Richter.  Moscheles,  Hauptmann, 
Leipzig  Cons.;  1863,  London,  as 
pianist ;  1872  founded  and  cond. 
London  Wagner  Society ;  wrote 
'"  Richard  Wagner,  His  Tendencies 
and  Theories''  (London,  1873);  also 
composer.  (2)  Gustav,  b.  Cincin- 
nati, July  21,  1853  ;  pupil  of  de 
Ahna  and  Joachim  (vln.)  and  Heitel 
(theory),  Berlin  ;  lived  in  London  till 
1877;  joined  Mendelssohn  Quintet 
Club  of  Boston,  where  in  1880  he 
settled  as  a  member  of  the  newly 
formed  Symphony  Orch.  ;  1882-84 
dir.  Philh.  Soc.  Buffalo,  N.  Y.  ; 
founded  the  "Beethoven  String- 
Quartet"  of  N.  Y.  (called  "  Dannr. 
Q."  from  1894);  for  3  years  leader 
Symphony  and  Oratorio  Societies, 
N.  Y.  ;  wrote  "  Chord  and  Scale 
Studies  for  Voting  Players" 
Danzi  (dan'-tse),  (i)  Fz.,  Mannheim, 
May  15,  1763 — Carlsruhe,  April  13, 
1826  ;  dram,  composer  ;  son  and  pu- 
pil of  (2)  Innocenz  D.,  'cellist  to  the 
Elector.     (3)  Franziska.     Vide  le- 

BRUN. 

Da  Ponte  (da  p6n'-te),  Lorenzo,  Cen- 
eda,  near  Venice,  March  10,  1749 — 
New  York,  Aug.  17,  1838  ;  of  Jew- 
ish race  ;  poet- laureate  to  Joseph  II. 
at  Vienna,  until  1792  ;  wrote  text  of 
Mozart's  "  Don  Giovanni  "  and  "  Cosi 
Tan  Tutte";  London,  1803,  teacher 
of  Italian  and  poet  to  the  Italian 
Opera  ;  made  a  failure  of  different 
pursuits  in  the  U.  S.  A.,  and  was 
finally  teacher  of  Italian  at  Columbia 
College,  N.  Y.  ;  pub.  '' A/emorie" 
(Memoirs).  There  is  a  sketch  of  his 
life  in  KvehhieVs  "  A/usic  and  A/an- 
ners''  (N.  Y.,  1899). 

Daquin  (dS-kah),  L.  Claude,  Paris, 
1694 — 1772  ;  notable  organist  and 
composer. 


476 


THE    MUSICAL    GUIDE 


Darcours  (dSr-koor),  Charles,     Vide 

RETY. 

Dargomyzsky  (dar  -  go  -  mesh'  -  shke), 
Alex.  Sergievitch,  Toula,  Feb.  2, 
1S13 — St.  Petersburg,  Jan.  29,1869; 
pianist  and  composer  ;  pupil  of  Scho- 
berlechner  ;  his  opera.  "  £swt'ra/Ja" 
(c.  1839)  was  prod.  1847  with  succ; 
his  best  opera  "  Russalka"  followed 
in  1856 ;  in  1867,  at  Moscow,  an 
opera-ballet,  "  TheT7-iu»iph  of  Bac- 
chus" {wniien  1847),  was  instrument- 
ed ;  left  an  unfinished  opera,  '''  Kam- 
mennoi  Cost  "  ("  The  Marble 
Guest  ")  (finished  by  Rimsky-Korsa- 
kov).  '  Rogdana"  z  fantasy-opera, 
was  only  sketched ;  it  follows  the 
latest  operatic  creeds  ;  c.  also  pop. 
orch.  works. 

Da(s)ser  (da-ser),  (Dasserus)  Lud- 
wig,  until  1562  conductor  and  com- 
poser at  Munich,  predecessor  of  Las- 
sus. 

Daube  (dow'-be),  Fr.,  Cassel  (Augs- 
burg ?),  1730 — Vienna,  1797;  com- 
poser and  writer. 

Daublaine  et  Callinet,  Paris  firm  of 
org. -builders,  founded  1838. 

Daucresme  (do-krem),  Lucien,  El- 
beuf,  Normandy,  1826 — Paris,  1892  ; 
dram,  composer. 

Dau'ney,  Wm.,  Aberdeen,  1800 — 
Demerara,  1843  ;  writer. 

Dauprat  (do-pra),  L.  Fr.,  Paris,  1781 
— July  16,  1S68  ;  notable  horn-player 
and  composer. 

Daussoigne-M6hul  (dos'-swan-ma- 
iil).  L.  Jos.,  Givet,  Ardennes,  1790 — 
Liege,  1S75  ;  dram,  composer. 

Dauvergne  (do-vern).  Ant.  C,  Fer- 
rand,  17 13 — Lyons,  1797  ;  violinist 
and  dram,  composer. 

Davenport,  Francis  W.,  b.  Wilders- 
lowe,  near  Derby,  England,  1847 ; 
pupil  of  Macfarren,  whose  daughter 
he  m.  ;  1879,  prof.  R.  A.  M.,  and 
1882  Guildhall  Sch.  of  Music  ;  c.  two 
symphonies  (the  ist  winning  ist  prize 
at  Alexandra  Palace,  1876),  and 
other  comps.  ;  wrote  text-books. 

David  (da'-fet),  (i)  Fd.,  Hamburg,  Jan. 
19,  1810 — near  Klosters,  Switzerland, 


July  iS,  1873  ;    pupil  of  Spohr  and 
Hauptmann  ;  at  15  played  in  the  Ge- 
wandhaus,   Leipzig ;   1827,  in  Konig- 
stadt   Th.   orch.,    Berlin;    at   19,  ist 
vln.    in    the    private    quartet  of   the 
wealthy  Baron  von  Liphardt,  at  Dor- 
pat,   whose    daughter   he   m.  ;    gave 
concerts   till    1835   in   Russia  ;  at  26 
leader  of  the   Gewandhaus  Orch.  at 
Mendelssohn's  invitation  ;  his  rigor- 
ous precision  of  drill  is  still  a  terrify- 
ing tradition.     In  the  composition  off 
Mendelssohn's  vln. -concerto  he  was 
almost  a  collaborator  (cf.  Joachim  and] 
Brahms).     The   Cons,  was  estab.  in 
1843,  and  D.'s  unsurpassed  gifts  asj 
a    teacher   had  a   large   influence  in] 
making  its  reputation,  among  his  pu-j, 
pils  being  Wilhelmj  and  Joachim  ;  asi 
a   leader  he  had  a  wonderful  facult)i 
of  inspiring  the  players  with  his  owrj 
enthusiasm.     His  student  editions  oi 
classical    works    embrace    nearly  al' 
compositions  of   standard  vln.  literal 
ture  ;  edited  many  classics,  includinj'  j 
the  ''  Hohe  Schitle  des  ViolinspielsJ    \ 
His  comp.  include  an  opera,  "Han    ' 
IVackt"  (Leipzig,  1852)  ;  2  symphc    ] 
nies  ;   5  vln. -concertos,  etc. ;  wrote      \ 
standard  meth.   for   vln.     (2)  Pete    { 
Paul,  b.  Leipzig,  Aug.  i,  1840,  so    j 
of  above;  violinist;  1S62-65,  lead<-    J 
Carlsruhe  orch.;  then  teacher  at  U|'  «, 
pingham,  England.  •    j. 

David  (da-ved),  (3)  F^licien  C6sai  1" 
Cadenet,  Vaucluse,  April   13,  1810-;    [." 
St.  Germain-en-Laye,  Aug.  29,  i87( 
at  7  a  pupil  and  chorister  in  the  ma' 
trise    of    Saint-Sauveur    at  Aix ; 
hymns,  motets,  etc.;   1825-2S  studii 
in  the  Jesuit  college,  but  ran  away 
continue  his  music,  and  became  ass 
cond.  in  the   theatre  at  Aix,  and 
19    cond.    at    Saint-Sauveur;     18 
Paris    Cons.,   under   Benoist    (org 
Reber  and  Millot,  (harm.),  Fetis  (cj' 
and  fugue).    183 1,  his  rich  uncle  wil 
drew  his   allowance  of    50   francs 
month,  and  he  took  up  Saint- Simc- 
ism,  composing  hymns  for  this  soci; 
istic  sect,  which  coming  under  ban 
the  law  in  1833,  he  went  with  ot' 


il 


DICTIONARY  OF  MUSICIANS    477 


members  on  a  tour  through  Turkey, 
Egypt,  etc.;  he  returned  in  1835  with 
a  fund  of  Oriental  musical  impres- 
sions, resulting  in  an  unsucc.  volume 
of  '' Alt'lodies  Orientales.'''  He  re- 
tired to  the  country  home  of  a  friend 
and  c.  2  symphonies,  24  string-quin- 
tets, etc.  183S  his  first  symphony 
was  prod.  ;  and  1844,  his  ode-sym- 
phonie  '''' Le  Desert"  had  a  "deliri- 
ous succ."  ;  the  oratorio,  ''Aloisc  au 
Sinai"  1846  ;  a  second  symphonic- 
ode  ''  Christopke  Colo?)ibe"  and 
'^  L'Eden"  a  "  mystery  "  in  2  parts 
(Grand  Opera,  1848)  had  no  succ; 
his  opera  "  La  Perk  dii  Brt'siV  (Th. 
Lyrique,  1851),  is  still  popular;  the 
opera  "Za  Fin  du  Monde"  was  re- 
jected by  the  Gr.  Opera,  and  put  in 
rehearsal,  but  not  produced,  by  the 
Th.  Lyrique,  and  in  1859  produced 
at  the  Gr.  Opera  as  "  Herculaneum" 
the  great  state  prize  of  20,000  francs 
being  awarded  it  in  1867;  '''' Lalla 
Rookh"  {i'S,b2)  was  a  decided  succ, 
but  "Z^  Saphir"  (1865)  also  at  the 
Op.  Com.,  failed,  and  he  now  aban- 
doned dram,  comp.,  withdrawing  "  Za 
Captive"  1S69,  Academician  and  li- 
brarian of  the  Cons.  Biog.  by  Aze- 
vedo  (Paris,  1863).  (4)  Samuel, 
Paris,  1838 — 1895  ;  professor,  direc- 
tor and  dram,  composer.  (5)  Ad. 
Isaac,  Nantes,  1842— Paris,  1897  ; 
dram,  composer.  (6)  Ernst,  Nancy, 
1844 — Paris,  1886  ;  writer. 

Davide  (da-ve'-de),(i)  Giacomo  (called 
le  pere),  Presezzo,  near  Bergamo, 
1750 — Bergamo,  1830  ;  famous  tenor. 
(2)  Giovanni,  1789,  St.  Petersburg, 
ca.  185 1  ;  son  of  above  ;  tenor  of 
remarkable  range  Pt^-b". 

5avidoff(da'-vI-d6f),  Karl,  Goldingen, 
Kurland,  1838 — Moscow,  1889;  solo 
'cellist  to  the  Czar  ;  1876-87,  dir.  St. 
Petersburg  Cons.  ;  c  symph.  poem, 
"  The  Gifts  of  Perek"  etc. 
avies  (da'-vis),  (i)  Ben,  b.  Ponadawz, 
near  Swansea,  Wales,  Jan.  6,  1858  ; 
operatic  and  concert  tenor  ;  1880-3 
pupil  of  Randegger  at  R.  A.  M.  ; 
won  bronze,  silver,  and  gold  medals, 


and  the  Evill  prize  for  declamatory 
Engl,  singing ;  3  years  with  Carl 
Rosa  Opera-troupe  ;  most  prominent 
in  oratorio;  since  1S93  has  often  sung 
in  U.  S.  (2)  David  Ffrangcon,  b. 
Bethesda,  Carnarvonshire,  Dec.  ir, 
i860  ;  barytone  ;  M.  A.  Oxford  ;  pu- 
pil of  Shakespeare  ;  debut  Manches- 
ter, 1890  ;  sang  with  Carl  Rosa  Op- 
era Co.,  then  oratorio  ;  toured  U.  S. 
(3)  Fanny,  b.  Guernsey,  June  17, 
1861  ;  pianist ;  pupil  of  Reinecke, 
Paul  and  Jadassohn,  Leipzig  Cons.  ; 
later  of  Frau  Schumann  and  Dr. 
Scholz  ;  debut  Crystal  Palace,  Lon- 
don, 1885  ;  has  toured  in  England, 
Germany  and  Italy.  (4)  Henry  Wal- 
ford,  b.  Oswestry,  Engl.,  Sept.  6, 
1869  ;  pupil  and  asst.  of  Sir  Walter 
Parratt ;  1898  organist  of  the  Temple 
Church  ;  1898,  Mus.  Doc,  Cantab.  ; 
1895  prof,  of  cpt.  R.  C.  M.;  c  Sym- 
phony in  D,  cantata  ''  Hcrve  Riel" 
etc. 

Davison,  (i)  Arabella.  Vide  god- 
DARD.  (2)  J.  W.,  London,  1815 — 
Margate,  1885  ;  pianist,  critic  and 
composer. 

Da'vy,  (i)  Richard,  Engl.,  comp.  i6th 
century.  (2)  John,  Upton-Helion, 
Exeter,  1765 — London,  1824  ;  violin- 
ist. 

Day,  Dr.  Alfred,  London,  18 10 — 1849; 
physician  and  theorist. 

Dayas  (di'-as),  W.  Humphries,  b. 
New  York,  Sept.  12,  1864  ;  pupil  of  S. 
Jackson,  Warren,  S.  B.  Mills  and 
Joseffy  ;  organist  of  various  churches  ; 
then  studied  with  Kullak,  Haupt, 
Erlich,  Urban,  and  Liszt ;  made 
concert-tour  1888  ;  1890  pf. -teacher 
Helsingfors  Cons.  ;  in  Dlisseldorf 
(1894),  Wiesbaden  Cons.,  and  Co- 
logne Cons.  ;  c.  organ  and  piano 
sonatas,  etc. 

De  Ahna  (da-a -na),  (i)  H.  K.  Her- 
mann, Vienna,  1835 — BerHn,  1892  ; 
violinist,  teacher  and  composer.  His 
sister  (2)  Eleonore,  Vienna,  1838 — 
Berlin,  1865  ;  mezzo-soprano. 

De  Angelis  (da  an'-ja-les),  Girolamo, 
b.  Civita  Vecchia,  Jan.  i,  1858  ;  pupil 


478 


THE    MUSICAL    GUIDE 


of  Bazzini,  Milan  Cons.  ;  1881,  prof, 
there  of  vln.  and  via.  ;  1S79-97,  solo 
violinist  at  La  Scala  ;  1897  teacher 
Royal  Irish  Acad,  of  Music,  Dublin  ; 
c.  (te.Kt  and  music)  ''  LInnocente" 
(Novi  Ligure,  1896). 

Deane,  Thos.,  English  organist,  vio- 
linist and  composer,  17th  cent. 

Debain  (dii-ban),  Alex.  Fran., 
Paris,  1S09 — Dec.  3,  1877  ;  1834 
made  pianos  and  organs  in  Paris  ; 
inv.  the  harmonium  1840,  also  "  anti- 
phonel"  and  "  harmonichorde  "  ;  im- 
proved the  accordion. 

Debillemont  (dii-be'-yu-moh),  J. 
Jacques,  Dijon,  1S24— Paris,  1879  ; 
dram,  composer. 

Debois  (du-bwa),  F.,  Brunn,  1834 — 
1893  ;  cond.  and  composer. 

Debussy  (du-bus-se),  Achille  Claude, 
b.  Paris  {?),  1862,  French  composer  of 
much  individuality:  prod.  "  Pellcas  et 
Melisande,"  libretto  based  on  Maeter- 
linck's play.  Op.  Comique,  Paris, 
Apr.  30,  1902,  with  sensational  ef- 
fect ;  he  was  a  pupil  of  Guiraud,  Paris 
Cons.,  took  grand  Pri.x  de  Rome, 
1884,  with  cantata  ''  L' Enfant  pro- 
digue" ;  began  "  Pellcas  et  M."  in 
1893  ;  c.  also  orch.  prelude  "  VApres- 
niidi  d'jin  Faiine ;"  pf.  suite  for  4 
hands;  ''Chansons  de  Bilitis" 
"  Proses  lyriques"  etc. 

Dechert  (ddkh'-ert),  Hugo,  b.  Pots- 
chappel  near  Dresden,  Sept.  16,  i860  ; 
'cellist ;  studied  with  his  father,  then 
with  H.  Tiets,  and  at  the  Berlin 
Hochschule  ;  toured  ;  since  1894  solo- 
ist court-chapel,  Berlin. 

Decker,  Konst.,  Furstenau,  Bran- 
denburg, 1 8 10 — Stolp,  Pomerania, 
1878  ;  pianist  and  dram,  composer. 

Dedekind  (da-de-klnt),  (i)  Henning, 
abt.  1590  cantor,  theorist  and  com- 
poser at  Langensalza,  Thuringia.  (2) 
Konst.  Chr.,  Reinsdorf,  Anhalt- 
Kothen,  1628 — ca.     1697  comp. 

Dedler  Wat'-ler),  Rochus,  Oberam- 
mergau,  Jan.  15,  1779 — Vienna,  Oct. 
15,  1822  ;  c.  music  still  used  in  the 
Passion-Play. 

De(e)r  ing,  Richard,  b.  Kent,  d.  Lon- 


violinist.  \ 

'.,  b.    Toulouse,  1 

of  Halevy  and  | 
is.,  took  Grand fj 
ntata  "  L'Angem. 
om.-op.  "  I'An-lif' 


don  (?),  1630  ;  studied  in  Italy  ;  court- 
organist  ;  pub.  the  oldest  extant 
comp.  with  basso  continue,  etc. 

Defesch  (da-fesh),  Wm.,  d.  ca.  1758 
Flemish  organist  and  violinist 

Defies  (duf-fes),   L.  P.,  b.    Toulouse 
July  25,  1S19  ;  pupil 
Barbereau,  Paris  Con 
pri.x  de    Rome  for  cantata 
et  Tobie" ;  his  i-act  com 
neau     d' argent"    was    prod.     Paris,|i 
1S55  ;   14  others  since,  the  last  veryl  / 
succ. ,    ''Jessica"  (Toulouse,    i"  -"^  • 
now  dir.  of  the  Toulouse  branch  ol 
the  Cons.  ;  c.  also  masses,  etc. 

Degele  (da'-ge-le),  Eugen,  Munich. 
1S34 — Dresden,  1866;  barytone  ant 
composer. 

De  Ciosa  (da  j6'-sa),  Nicola,  Barij 
1820 — 1885  :  cond.  and  composer.     ; 

De  Haan,  (i)  Willem,  b.  Rotterdam! 
Sept.  24,  1849;  pupil  of  Nicolai,  dj 
Lange,  and  Bargiel,  also  at  Leipzig 
Cons.  ;  1873  dir.  at  Bingen  ;  condj 
"  Mozartverein "  at  Darmstadlj 
1876  ;  1895  court-conductor  therej 
c.  2  operas  ' '  Die  Kaiserstochter  "  an! 
the  succ.  "Die  Inkasohne"  (Darnj 
stadt,  1895)  ;  3  cantatas.  (2)  Man|; 
farges,  A.  Pauline,  b.  Rotterdam 
April  4,  1872  ;  concert  and  orator 
alto,  pupil  of  Julius  Stockhausen. 

Dehn  (dan),  Siegfried  Wm.,  Altoni 
Feb.  25,  1796 — Berlin,  April  12,  185' 
noteworthy  theorist  and  teache 
among  his  pupils  Rubinstein,  Ki 
lak.  Glinka,  Kiel,  Hofmann,  etc. 

Deiters  (di'-tSrs),  Hermann,  b.  Bon 
June  27,  1S33;  1858,  Dr.  jur.,  ai 
Dr.  phil.,at  Bonn;  dir.  of  gymnas 
at  Bonn,  1858,  and  other  cities  ;  18. 
of  the  "Provincial  Schulrath " 
Coblentz  ;  writer  and  translator. 

De  Ko'ven  (Henry  Louis)  Reginai 
b.  Middletown,  Conn.,  April  3,  18; 
educated  in  Europe,  took  degree  , 
O.xford,  Engl.,  1879;  pupil  of 
Speidel  (pf.)  at  Stuttgart,  Leb: 
(pf.),  and  Pruckner  (harm.),  1 
Hauff  (comp.),  Vanuccini  (singin, 
Genee  (operatic  comp.)  ;  1902  org.- 
ised  and  cond.  Philharmonic  Orch  t 


iil 


DICTIONARY  OF  MUSICIANS   479 


com 


Washington,  D.  C,  where  he  has 
lived  since  1900  ;  c.  many  succ. 
comic  operas,  incl.  "  Robin  Hood''' 
(Chicago,  1890)  ;  "  The  Fencing 
Master  "  (Boston,  1892) ;  "  The  High- 
wayman "      (New     Haven,      1897) ; 

'    "  Alaid  Marian"  (1901)  ;  also  many 

:  songs  ;  an  orch.  suite,  and  a  pf.- 
sonata  in  MS. 

Delaborde  (dii-la-bord),  (i)  J.  Benj., 
Paris,  1734 — guillotined,  1794;  dram, 
composer  and  writer.  (2)  6lie  Mi- 
riam, b.  Chaillot,  France,  Feb.  8, 
1839  ;  pupil  of  Alkan,  Liszt,  and  Mo- 
scheles  ;  pf.-prof.  at  Paris  Cons,  and 
dram,  composer. 

Delacour  (dii-la-koor'),  Vincent  Con- 
rad F61ix,  Paris,  1808 — 1840:  harp- 
ist and  composer. 

Delatre  (du-lat'r),  (i)  Olivier,  Belgian 
music-pub.  Antwerp,  (1539-55).     (2) 
Claude  Petit  Jan.,   conductor  and 
composer  at  Liege,  1555. 
^     De   Lattre   (du-iatr),  Roland.     Vide 

LASSO,   DI. 

De  I'Aulnaye  (du-l6l-na),  Fran. 
Stanislas,  Madrid,  July  7,  1739 — 
Chaillot,  1830 ;  writer  and  theor- 
ist. 

Deldevez   (diil-du-v^s),    Ed.  Ernest, 

Paris,  1817 — 1897  ;   1859,  asst.-cond. 

-,  :    Gr.  Opera  and  Paris  Cons.  ,    dram. 

®ll    composer  and  writer. 

,**beledicque    (d^l-dek),     Ld.,    b.    La 

Haye,  Feb.    7,    1821  ;    violinist   and 

teacher  ;  pupil   Paris  Cons.  ;  founder 

and  cond.  "  Soc.  des  Symphonistes," 

1861-83  ;  c.  vln.  pieces,  etc. 

De  Leva  (da-la'-va),  Enrico,  b. 
Naples,  Jan.  19,  1867  ;  pupil  of  Pan- 
nani  and  Rossomandi  (pf.)  ;  Puzzoni 
and  d'Arienzo  (harm.)  ;  his  Canzo- 
netta  Napoletana  "  E  Spingole  Fran- 
gese,"  was  very  succ,  as  are  many  of 
his  songs  ;  c.  opera  "  La  Carmargo  " 
(not  prod.). 

Delezenne  (dii-lu-zen),  Chas.  Ed. 
Jos.,  Lille,  1776— 1866;  writer. 

Delhasse  (del-as),  F^lix,  b.  Spaa, 
Jan.  8,  1809 ;  lives  in  Brussels  ; 
writer. 

Delibes  (du-leb),  Clement  Philibert 


L60,  St.  Germain-du-Val,  Sarthe, 
Feb.  21,  1836 — Paris,  Jan.  16,  1891  ; 
a  composer  of  fascinating  grace  and 
polish ;  entered  the  Paris  Cons,  in 
1848,  Le  Couppey,  Bazin,  Adam,  and 
Benoist  being  his  chief  teachers  ;  1853 
organist  at  the  Ch.  of  St. -Jean  et  St.- 
Francois  ;  his  first  operetta  "'Deux 
Sacs  de  Char/'on,"  was  followed  by  12 
more  ;  1865,  2nd  chorus-master  Gr. 
Opera  ;  his  first  ballet  "  Za  Source" 
was  prod,  here  1866,  later  in  Vienna 
as  "  A^ai/a"  y  the  second,  '^  Coppe- 
lia"  (Gr.  Opera,  1870),  is  still  popu- 
lar, as  is  "  Sylvia  "  (1876) ;  1881, 
prof,  of  comp.  at  the  Cons.  ;  c. 
also  the  succ.  opera  "■'  Lakmf  (v. 
STORIES  OF  operas),  and  others. 

Delicati  (da-ll-ka-te),  Margherita, 
Italian  soprano  in  London  with  her 
husband,  1789. 

Delioux  (De  Savignac)  (diil-yoo  du 
s&v-en-ySk),  Chas.,  b.  Lorient,  Mor- 
bihan,  April,  1830 ;  self-taught  as 
pianist;  studied  harmony  with  Barbe- 
reau,  and  comp.  with  Halevy ;  1846 
took  Grand  Prix  for  cpt.;  prod,  i-act 
comic  opera  "  Yvonne  et  Loie"  {Gym- 
nase,  1854);  c.  pf. -pes  and  wrote  tech- 
nical works. 

Delia  Maria  (del'-la  ma-re'-a),  Do- 
minique, Marseilles,  1768— Paris, 
March  9,  1800 ;  son  of  an  Italian 
mandolinist ;  played  mandolin  and 
'cello  ;  at  18  prod,  a  grand  opera ; 
studied  comp.  in  Italy,  and  c.  7  operas, 
incl.  the  very  succ.  "  Le  Prisonnier'^ 
(1798). 

Delle  Sedie  (del-le  sad  -ye),  Enrico, 
b.  Leghorn,  June  17,  1826  ;  pupil  of 
Galeffi,  Persanola,  and  Domeniconi ; 
1848,  imprisoned  as  a  Revolutionist  ; 
then  studied  singing ;  debut,  Flor- 
ence, 185 1  ;  later  prof,  of  singing 
Paris  Cons.  ;  has  lived  in  Paris  since 
as  singing  teacher. 

Dellinger  (del'-llng-er),  Rudolf,  b. 
Graslitz,  Bohemia,  July  8,  1857; 
1883,  conductor  at  Hamburg  ;  1893, 
Dresden  Ct.  Opera  ;  c.  operettas,  incl. 
succ.  " Capita n  Fracasse"  (Hamburg, 
1889),  and  "  Die  Chansanette  "  (Dres- 


480 


THE  MUSICAL  GUIDE 


den,  1894);  Prague,  1895,  ''Die  Sang- 
er in." 
Deir  Orefice    (del  5-ra-fe'-che),  Giu., 
Fara,    Abruzzio,     Chietino,     1S4S — 
Naples,  18S9  ;  cond.  and  dram,  com- 
poser. 
Del  Mela  (del  ma -la),  Don  Domeni- 
co,  an  Italian  priest;   1730,  inv.  the 
"  upright  "  piano. 
Delmotte  (del-mot),  Henri  Florent, 
Mons,  Belgium,    1799 — 1S36  ;  writer. 
Delprat  (dul-prii' ),  Chas.,  1803— Pau, 
Pyrenees,  1888  ;  singing-teacher  and 
writer  there. 
Delsarte      (dul-sart),     Fran.     Alex. 
Nicholas    Ch^ri,     Solesme,    Nord, 
1811 — Paris,  1871;  tenor;  teacher  of 
a  well-known  physical  culture;    1S55 
inv.  the  Guide-Accord,  or  Sonotype, 
to  facilitate  piano-tuning. 
Del  Valle  de  Paz  (del  val-la  da  pitz), 
Edgardo,     b.    Alexandria,     Egypt, 
Oct.   18,   i86r  ;  pf.-pupil   at    Naples 
Cons.,    of    Cesi    (pf.),    and    Serrao 
(comp.)  ;  at    16   toured  in  Italy  and 
Eg)'pt,  now  prof,  in  Florence  Cons.  ; 
pub.  pf. -method,    etc.;  c.   orchestral 
suites,  etc. 
Demantius     (da-man'-tst-oos),    CHr., 
Reichenberg,    1567 — Freiburg,    Sax- 
ony,    1643  ;      prolific    composer    of 
church-music     and   songs ;    wrote  a 
vocal  method. 
Demelius  (da-mi'-U-oos),  Chr.,Schlet- 
tau.     Saxony,      1643  —  Nordhausen. 
171 1  ;  composer. 
Demeur  (du-milr),  (i)  Anne  Arsfene 
(nee    Charton),    Sanjon,    Charente, 
1827 — Paris  (?),    1892  ;  soprano  ;    m. 
(2)  J.  A.  Demeur,  flutist  and  com- 
poser. 
Demol  (dCi-mol),  (i)  Pierre,  Brussels, 
1825 — Alost,     Belgium,     1899  ;     dir. 
and  composer.     (2)  Fran.  M.,  Brus- 
sels, 1844 — Ostend, 1S83  ;  nephew  of 
above  ;  cond.,  prof.,  and  dram,  com- 
poser. 
Demunck',    (i)    Francois,    Brussels, 
1815 — 1854  ;    'cellist    and   prof.      (2) 
Ernest,  b.  Brussels,  Dec.  21,  1840; 
son  and   pupil   of   above  ;    pupil   of 
Servais :  lived  in  London,  then  Paris  ; 


IBI 


1870,  'cellist  Weimar  Court  orch.; 
1879  m.  Carlotta  Patti ;  1893,  prof. 
R.A.M.,  London. 
Demuth  (da-moot),  Ld.,  b.  Brunn, 
Nov.  2,  1861  ;  barytone ;  studied 
Vienna  Cons.,  with  Gansbachers, 
sang  at  Halle,  etc.,  later  Hamburg 
and  Vienna. 
Denefve   (du-nuf),  Jules,  b.  Chimay, 

1S14  ;  'cellist  and  dram,  composer. 
Denn^e   (den-na),  Chas.,  b.  Oswego,  j 
N.  v.,   Sept.    I,  1863  ;    studied  with 
Emery,  Boston  ;  lives  there  as  teacher 
and  composer  of  comic  operas,  etc. 
Dengremont  (dan-gru-moh),  Maurice, 
b.  of  French  parents,  Rio  de  Janeiro, 
1866 — Buenos  Ayres,  1S93  ;  violinist; 
at  II  played  with  succ.  in  Europe. 
Den'ner,   Jn.    Chp.,    Leipzig,  1655- 
Niirnberg,     1707  ;    maker    of    win 
insts. ;  inv.  1690  or  1700  the  clarinet,B*i* 
perhaps  also  the  Stockfagott  and  the 
Rackettenfagott. 
Denza  (den-tsa),  Luigi,  b.  Castellai 
mare  di  Stabbia,  Feb.  24,  1846 ;  pu- 
pil of   Naples  Cons.;  c.  opera  "  Wal 
lenstein  "  (Naples,  1876),  many  pop 
songs  (some  in   Neapolitan  dialect) 
inch  "  Funiculi-Funicula." 
Deppe  (dep'-pe),  Ludwig,  Alverdissen 
Lippe,     182S — Pyrmont,    Sept.     5-6 
1890;    notable  pf.-teacher   and   con 
ductor. 
Deprfes  (or  Despres)  (du-pre'  or  da 
pra),    Jesse    (known    as    Josquin) 
Conde  (?)  in  Hainault,  Burgundy,  ca 
1450 — Conde, Aug.  27,1521.  [Hisepi 
taph  reads  "  Joss6  Despres  ";  othe 
spellings     are     Despres,     De(s)pre2 
Depret,  De(s)pret(s),  Dupre,  and  b 
the  Italians,  Del  Prato,  Latinized  a 
a    Prato,   a    Pratis,    Pratensis,    etc. 
Josquin   appears   as   Josse,  Jossier 
Jusquin,   Giosquin,  Josquinus,  Jacc 
bo,    Jodocus,  Jodoculus,    etc.]     On 
of  the  most  eminent  of  musicians  an. 
the  chief   contrapuntist  of  his  day 
pupil  of  Okeghem  ;   1471-84  a  sing< 
in    the    Sistine    Chapel,    and    aboi 
1488  in  Ferrara  ;  he  was  already  no 
accepted   as  "  princeps  musicorum 
and  had  international  vogue.  He 


HewJ     I 


DICTIONARY    OF   MUSICIANS    481 


1 


received  with  honour  by  various 
princes,  and  was  court-musician  to 
Louis  XII.,  many  amusing  anecdotes 
of  his  musical  humour  being  told.  He 
finally  returned  to  Conde  as  Frovost 
of  the  Cathedral  Chapter.  Burney 
called  him  "the  father  of  modern 
harmony."  The  florid  and  restless 
opt.  of  his  church-works  and  the  sec- 
ular canttis  firinns  (v.  D.D.)  that  was 
the  basis  of  most  of  them,  brought 
his  school  into  disfavour  and  disuse 
when  the  revolutionary  Palestrina  ap- 
peared. But  he  was  at  least  the  culmi- 
nation of  his  style,  and  his  erudition 
was  moulded  into  suave  and  emo- 
tional effects,  so  that  Ambros  says 
that  he  was  the  "  first  musician  who 
impresses  us  as  being  a  genius."  His 
period  coinciding  with  the  uge  of 
movable  types  for  music,  his  works 
are  preserved  in  large  quantities  in 
volumes  and  in  the  collections  of  Pe- 
trucci  and  Peutinger.  His  French 
chansons  were  pub.  by  T.  Susato, 
1545,  P.  Attaignant,  1549,  and  Du 
Chemin,  1553 ;  excerpts  in  modern 
notation  are  in  the  ''  Bibliothek  filr 
Kircheninusik"  1844  ;  in  Commer's 
"  Collectio"  Rochlitz'  "  Samnihivg 
vorziiglicher  Gesangstiicke"  1838, 
Choron's  "  Collection,''  and  in  the 
histories  of  Ambros,  Burney,  Haw- 
kins, etc. 

Deprosse  (de-pros' -se),  Anton,  Mu- 
nich, 1838 — Berlin,  1878  ;  dram,  com- 
poser. 

De  Reszke  (du  resh'-ka),  (i)  Jean,  b. 
Warsaw,  Jan.  14,  1852  ;  perhaps  the 
chief  tenor  of  his  generation,  great  in 
opera  of  all  schools  ;  pupil  of  Ciaf- 
fei,  Cotogni,  etc.  ;  1874,  debut  as 
barytone  at  Venice,  as  Alfonso  in 
"  La  Favorita"  under  the  name  "  De 
Reschi "  ;  after  singing  in  Italy  and 
Paris  and  studying  with  Sbriglia,  he 
made  his  debut  as  tenor  in  '^'  Robert 
le  Diable"  (Madrid,  1879)  i  1884,  Th. 
des  Nations  ;  1885  at  the  Gr.  Opera, 
Paris,  creating  Massenet's  "  Le  Cid" ; 
since  '87  has  sung  constantly  in  Lon- 
don, and  since  '95  in  New  York.     (2) 


Edouard,  b.  Warsaw,  Dec.  23,  1855, 
bro.  of  above  ;  pupil  of  his  broth- 
er, of  Ciaffei,  Steller,  and  Coletti ; 
debut,  Paris,  April  22,  1876,  as  the 
King  in"^/^rt"(Th.  des  Italiens), 
sang  there  two  seasons,  then  at  Tu- 
rin and  Milan  ;  1880-84  at  the  Italian 
Opera,  London ;  since  then,  Paris, 
London,  America  ;  a  magnificent 
basso  of  enormous  repertory  and 
astonishing  versatility  as  an  actor ; 
a  master  in  tragic,  comic,  or  buffa 
opera.  His  sister,  (3)  Josephine, 
was  a  soprano  of  greatest  promise, 
but  left  the  stage  on  her  marriage. 

Dering,  v.  deering. 

De  Sanctis  (da  sank'-tes),  Cesare,  b. 
Allbano,  Rome,  1S30 ;  1876,  prof,  of 
harm,  in  the  Liceo ;  c.  overture. 
Requiem  Mass,  "  100  fugues,"  a  cap- 
pella  in  strict  style  ;   pub.  treatises. 

D^saugiers  (da-s6-zha),  Marc  Ant., 
Frejus,  1742 — Paris.  1793;  prod,  nu- 
merous succ.  short  operas. 

Deshayes  (duz-ez).  Prosper  Didier, 
prod.,  1780,  oratorio  "  Les  Rtacha- 
bt'es  "  ;  c.  operettas  and  ballets,  etc. 

Desmarets  (da-ma-ra),  H.,  Paris,  1662 
— Luneville,  1741  ;  dram,  composer. 

Desormes  (da-z6rm),  L.  C,  Algiers, 
1845 — Paris,  1898  ;  composer  and 
conductor. 

Dessau  (des'-sow),  Bd.,  b.  Hamburg, 
March  i,  1861  ;  violinist;  pupil  of 
Schradieck,  Joachim,  and  Wieni- 
awski  ;  leader  at  various  theatres  ; 
1898  Konzertmeister  at  the  court- 
opera,  BerUn,  and  teacher  Stern  cons. 

Dessauer  (des'-sow-er),  Jos.,  Prague, 
May  28,  1798 — Modling,  near  Vien- 
na, July  8,  1876  ;  c.  5  operas  and 
many  pop.  songs. 

Dessoff  (des'-sof),  Felix  Otto,  Leip- 
zig, 1835 — Frankfort,  1892  ;  court- 
cond.  at  Carlsruhe. 

Destinn  (da'-shtin),  Eminy,  b.  Prague, 
Feb.  26,  1878  ;  soprano ;  studied 
with  Loewe-Destinn ;  1898  court 
opera,  Berlin. 

Destouches  (da-toosh),  (i)  Andr6 
Cardinal,  Paris,  1672 — 1749;  dram, 
composer.    (2)  Franz  Seraph  von, 


31 


482 


THE    MUSICAL    GUIDE 


b.  Munich,  1772 — 1844;  dram,  com- 
poser. 

Desvignes  (da-ven-yu),  Frai.,  Trier, 
1S05 — ^Metz,  1853  ;  violinist ;  founded 
conservatory  at  Metz  ;  dram,  com- 
poser. 

Deswert  (da-var),  (i)  Gaspard  Isi- 
dore, Louvain,  1S30 — .Schaerbeck, 
near  Brussels,  1896  ;  'cellist ;  prof. 
Brussels  Cons.  (2)  Jules,  Louvain, 
1843 — Ostend,  1891,  brotherof  above; 
conductor  and  dram,  composer. 

Deszczynski  (dfish-chen -shkl),  Jos., 
b.  Wilno,  1781  ;   Polish  composer. 

Dett  mer,  Wrn.,  b.  Breinum,  near 
Hildesheim,  1808 ;  operatic  bass  ; 
son  of  a  peasant  ;  joined  a  troupe  of 
players  ;  sang  minor  roles  at  Han- 
over ;  1842  engaged  for  leading  roles 
Dresden  ;  retired  1874. 

Deutz  (doits).     Vide  magnus. 

Devienne  (duv-yen),  Fran.,  Joinville, 
Haute  -  Marne,  Jan.  31,  1759  — 
(insane),  Charenton,  Sept.  5,  1803 ; 
flutist  and  bassoonist  ;  important  in 
improving  wind  instr.  ;  prof.,  com- 
poser and  writer. 

Dewey,  Ferdinand,  Montpelier,  Vt. , 
U.  S.  A.,  1S5 1— Beverley,  U.  S.  A., 
1900  ;  pianist,  composer,  and  teacher. 

Dez^de  (or  Dezaides)  (dii-zed) , 
Lyons  (?)  1740 — Paris,  1792  ;  prod. 
15  pop.  operas  and  operettas. 

Diabelli  (de-a-bel'-le),  Antonio, 
Mattsee,  near  Salzburg,  Sept.  6, 
1781 — Vienna,  April  8,  1858  ;  pf.-and 
guitar-teacher  ;  partner  of  Cappi,  the 
music-publisher  ;  c.  opera  and  pop. 
sonatinas,  etc. 

Diamandy.     Vide  xrovixv. 

Diaz  (de  la  Pena)  (de'-ath  du-la-pan- 
ya),  Eugene  6mile,  Paris,  Feb.  27, 
1S37 — Oct.,  1901  ;  son  of  the  painter; 
pupil  of  Paris  Cons.  (Halevy,  Reber); 
prod,  the  com.  opera  '"  Le  Roi  Can- 
daule"  (1865,  Th.  Lyrique)  ;  1867 
won  the  prize  for  opera,  "  Za  Coupe 
dii  Roi  de  Thule "  (Grand  Opera)  ; 
1890  prod,  lyric  drama  "  Benvenuto  " 
(Op. -Com.)  ,  pub.  many  songs. 

Dib  din,  (i)  Chas.,  Dibdin,  near 
Southampton,    1745 — London,  1814  ; 


composer,  smger,  accompanist,  actor, 
manager  and  writer.  (2)  Henry  Ed- 
ward, Sadlers  Wells,  1813— 1866; 
harpist,  organist,  violinist  and  com- 
poser ;  youngest  son  of  above. 

Dick,  Chas.  Geo.  Cotsford,  b. 
London,  Sept.  i,  1S46 ;  law-student 
at  Worcester  Coll.,  O.xford ;  later 
musician  ;  produced  succ.  operettas, 
and  2  comic  operas,  a  "children's 
opera,"  etc. 

Dickons,  Mrs.  (nee  Poole),  London,' 
ca.  1770 — May  4,  1833  ;  soprano. 

Didymus,  b.  Alexandria,  Egypt,  63 
B.C.  ;  wrote  4,000  works  in  all,  incl.; 
a  treatise  on  harmony.  Vide  tetrA' 
CHORDS  and  comma  (d.  d.). 

Diehl  (del),  Louis,  b.  Mannheim,  1838^  F 
1863,  m.   Alice  Mangold  ;  composer!  J 

Diem  (dem),  Jos.,  Kellmunz,  nea)| 
Memmingen,  1836 — Constance,  i894ifl 
'cellist.  11 

Dimmer  (d'ya-ma),  Louis,  b.  Parisil 
Feb.  14,  1843;  pianist;  pupil  at  Cons'  'i 
of  Marmontel  ;  took  ist  pf. -prize  a;  jj 
13,  later  ist  harm.,  2nd  org.  and  is!  \ 
cpt. -prizes  ;  pupil  Ambr.  Thoma'  ,( 
and  Bazin ;  1887  pf.-prof.  at  tl:'  ^ 
Cons,  (vice  Marmontel)  ;  besidt'  ■: 
brilliant  concerts  of  modern  musl 
he  has  organised  most  delightful  co: 
certs  of  ancient  music  played  on  a: 
cient  instrs.  ;  c.  pf. -concerto,  char 
ber-music,  etc.,  ed.   collections.        I 

Dienel  (de'-nel).  Otto,  b.  Tiefenfurtj 
Silesia,  Jan.  11,  1839;  pupil  Gorlil 
Gym.,  Bunzlau  Seminary,  R.  In- 
for  church  music,  Berlin,  and 
Academy ,  organist  Marienkircl 
Berlin  ;'i88i  "Royal  Musikdin 
tor." 

Diener  (de'-ner),  Fz.,  Dessau,  1849 
1879  ;  tenor. 

Dierich  (de'-rlkh),  Carl,  b.  Heinrii- 
au,  March  31,  1852;  tenor  in  cc 
cert,  opera  and  oratorio  ;  studied  wi 
Graben- Hoffman. 

Dies  (de-es),  Albert  K.,  Hanov, 
1755 — Vienna,  1832  ,  writer. 

Diet  (de-a),  Edmond  M.,  b.  Pa, 
Sept.  25,  1854  ;  pupil  of  Cesar  Fran  , 
and  Guiraud  ;  officier  of  the  Acader  ; 


i 


DICTIONARY  OF  MUSICIANS    483 


elEil 


prod.  3  operas,  incl.  ''  Stratonice" 
(1887),  many  ballets  and  pantomimes, 
etc. 

Diet(t)er  (de'-ter),  Chr.  L.,  Ludwigs- 
burg,  1757 — Stuttgart,  1822  ;  dram- 
composer. 

Dietrich  (de'-trlkh)  (or  Dieterich),  (i) 
Sixtus,  Augsburg  (?)  1490  (95)— St. 
(fallen,  Switzerland,  1548  ;  composer. 
(2)  Albert  Hn„  b.  Golk,  near  Meis- 
sen, Aug.  28,  1829  ;  important  com- 
poser ;  pupil  of  J.  Otto,  Moscheles, 
Reitz  and  Schumann  ;  1855-61,  con- 
cert-cond.,  1859,  principal  mus.- 
dir.  at  Bonn  ;  1861,  court-cond.  at 
Oldenburg;  1894  Leipzig;  c.  succ. 
opera  ''Robin  Hood"  (Frankfort, 
1879)  ;  ^  notable  symphony  ;  over- 
ture, ''  Norniannenfahrt'' ;  cantatas 
with  orch.,  'cello-  and  vln. -concertos, 
etc.  (3)  Marie,  b.  Weinsberg ; 
studied  Stuttgart  and  with  Viardot- 
Garcia  ;  colorature  soprano  at  Stutt- 
gart court-opera  ;  then  at  Berlin. 

Dietsch  (detsh),   Pierre   L.  Ph.,  Di- 
i      jon,   1808 — 1865  ;  composer  and  con- 
ductor. 

Dietz  (dets),  (i)  Jn.  Chr.,  Darmstadt, 
1788 — in  Holland,  1845  ;  instr.-mak- 
er;  inv.  melodeon  (1805),  etc.;  his 
son  and  assistant  (2)  Chr.,  a  famous 
pf.-maker.  inv.  the  Polyplectron. 

Dieupart  (d'yii-par),  Chas.,  iSthcent., 
violinist  and  harpsichordist. 

Diez  (dets),  Sophie  (nee  Hartmann), 
Munich,  1820 — 1887  ;  soprano. 

Dig'num,  Chas.,  Rotherhithe,  1765— 
1837  ;   Engl,  singer  and  composer. 

Dil'liger,  Jn.,  Eisfeld,  1590— Coburg, 
1647  ,  cantor  and  composer. 
jDin^elstedt  (ding'-el-shtet),  Jenny 
(nee  Lutzer),  Prague,  1816 — Vienna, 
1877  ;  a  colorature  singer  ;  m.  the  poet 
Fz.  D. 

Dippel  (dip'-pel),  Andreas,  b.  Cassel, 
Nov.  30,  1866;  notable  tenor;  stud- 
ied with  Hey,  Leoni  and  Rau  ;  1887- 
92,  Bremen  opera,  then  in  New  York 
for  several  seasons,  also  in  Breslau, 
Vienna;  1889  at  Bayreuth,  from  1897, 
at  Covent  Garden. 

Diruta  (de-roo'-ta),  (i)  Gin,  b.  Perugia, 


ca.  1560;  organist;  pub.  technical 
books  on  org.,  cpt.,  etc.  (2)  Ag.,  b. 
Perugia,  1622 ;  Augustine  monk ; 
composer. 

Distin,  (i)  John,  1793— 1863  ;  Engl, 
trumpeter,  inv.  key-bugle.  (2)  Theo- 
dore, Brighton,  FIngland,  1823 — Lon- 
don, 1893  ;  son  of  above  ;  barytone  ; 
later  bass  singer  and  composer. 

Difson,  (i)  Oliver,  1811— 1888  ; 
founder  of  the  music-pub.  firm  O. 
Ditson  Co.,  at  Boston,  Mass.;  1867, 
his  eldest  son,  (2)  Chas.,  took  charge 
of  N.  Y.  branch  (C.  H.  Ditson  & 
Co.).  Since  1875  (3)  J.  Edward 
Ditson  has  cond.  Philadelphia  branch 
(J.  E.  D.  &  Co.).  A  branch  for  the 
importation  of  instrs.,  etc.,  was  est.  at 
Boston  in  i860  as  John  C.  Haynes  & 
Co.  ;  and  since  1864  a  Chicago 
branch,  Lyon  cS:  Healv. 

Ditters  (dlt'-ters)  (vori  Dittersdorf), 
Karl,  Vienna,  Nov.  2,  1739 — Neu- 
haus,  Bohemia,  Oct.  24,  1799;  note- 
worthy as  forerunner  of  Mozart,  and 
early  writer  of  programme-music  (v. 
D.  13.) ;  pupil  of  Konig  and  Ziegler, 
of  IVani  (vln.),  and  Bono  (comp.);  he 
played  in  the  orch.  of  his  patron 
Prince  Joseph  of  Hildburghausen, 
1759,  and  then  in  the  ct.-Th.  at  Vienna 
(1761)  ;  toured  Italy  with  Gluck,  and 
made  great  succ.  as  violinist ;  1764- 
69  conductor  to  the  Bishop  of  Gross- 
Wardein,  Hungary.  Prod,  his  first 
opera,  '"Amove  in  Musica,"  ijbj  ; 
followed  by  various  oratorios,  and 
much  orchestral  and  chamber-music. 
Later  conductor  to  the  Prince-Bishop 
of  Breslau  ;  built  a  small  theatre  and 
prod,  several  pieces.  1770  the  Pope 
bestowed  on  him  the  Order  of  the 
Golden  Spur  ;  1773  the  Emperor  en- 
nobled him  as  "von  Dittersdorf." 
Prod.  28  operas;  ''  Doctor  unci  Apo- 
tlieker"  (Vienna,  1786),  still  pop.; 
several  oratorios  and  cantatas ,  12 
symphonies  on  Ovid's  ''Metamor- 
phoses'" (Vienna,  1785)  (noteworthy 
as  early  attempts  at  programme-mu- 
sic) ;  41  other  symphonies  ;  a  "  Con- 
certo grosso"  for  n  concerted  instrs. 


4% 


THE   MUSICAL   GUIDE 


with  orch. ;  12  vln. -concertos,  etc. 
Autobiography  (Leipzig,  1801). 

Divitis  (de'-vl-tes),  Antonius  (rightly 
Antoine  Le  Riche),  French  contra- 
puntist and  singer,  i6th  century. 

Dizi(de-ze),  Fran.  J.,  Namur,  France, 
Jan.  14,  1780 — Paris,  Nov.,  1847 ; 
composer  and  harpist. 

DIabacz  (dla'-bach),  Gottf.  J.,  Boh- 
niisch-Brod,  Bohemia,  1758— Prague, 
1820;  pub.  a  biog.  diet.,  etc. 

Djemil,  Bey  (jem'-el  ba),  b.  Constan- 
tinople ca.  1S58  ;  court-'cellist  to  the 
Sultan. 

Dobrzynski  (do-brti-tsen'-shklf),  Igna- 
cy  F61ix,  Romanoff,  Volhynia,  Feb. 
25,  1807 — Oct.  9,  1867  ;  pupil  of 
Eisner  ;  pianist  and  dram,  composer. 

Doebber  (dep'-ber),  Js.,  b.  Berlin, 
March  28,  1866  ;  pupil  of  Radecke, 
Bussler  and  Agghazy,  Stern  Cons.; 
taught  the  ist  pf.-class  in  Kullak's 
Cons.  ;  then  conductor  at  Kroll's 
Th.;  at  Darmstadt  ct.-Th.;  since  1895 
cond.  at  the  ct.-Th.  in  Coburg-Gotha, 
and  tutor  to  Princess  Beatrice ;  c. 
succ.  operas,  "  Die  Strasseiisdnge- 
rjM"(Gotha,  1890);  '' Der  Schmied 
von  Gretna-Green"  (Berlin,  1893); 
burlesque-opera  "  Doketta"  (Bran- 
denburg, 1894) ;  "  Die  Rose  von  Gen- 
zand"  (Gotha,  1895) ;  "■  Die  Grille" 
(Leipzig,  1897),  etc. 

Dohler  (da'-ler),  Th.,  Naples,  1814— 
Florence,  1856  ;  pianist  and  dram, 
composer. 

Dohnanyi  (do-nan'-ye),  Ernst  von,  b. 
Pressburg,  Hungary,  July  27,  1877  ; 
notable  pianist  and  promising  com- 
poser ;  first  lessons  from  his  father, 
an  amateur 'cellist ;  later  studied  with 
Foerstner,  Kessler,  Thoman,  and 
Eugen  D'Albert ;  debut,  Vienna  ; 
1898,  won  prize  there  with  his  pf.- 
concerto.  1900  and  1901  toured  in 
America  with  great  succ. ;  began  com- 
posing early  and  was  favorably  no- 
ticed by  Brahms  ;  c.  also  symphony, 
pf.-quintet,  pf.-pcs.,  etc. 

Doles  (do'-les),  J.  Fr.,  Steinbach, 
Saxe-Meiningen,  1 7 15 — Leipzig,  1 797 ; 
director  and  composer. 


Dominiceti  (do-me-ne-cha'-te),  Ce- 
sare,  Desenzano,  Lago  di  Garda, 
1821— Sesto  di  Monza,  1888  ;  prof, 
of  comp.  at  Milan  Cons.,  and  dram, 
composer. 

Dom'mer,  Arrey  von,b.  Danzig,  Feb. 
9,  1828  ;  pupil  of  Richter  and  Lobe 
(comp.),  and  Schallenburg  (org.) ; 
1863  Hamburg  as  a  lecturer,  critic, 
and  (1873-79)  sec.  to  the  Town  Li- 
brary ;  1892,  Dr.  phil.  hon.  causa 
(Marburg  Univ.)  ;  writer  and  com- 
poser. 

Donati  (do-nji'-te),  (i)  Ignazio,  Casal- 
maggiore,  near  Cremona,  i6th  cent., 
composer  and  conductor.  (2)  Bal- 
dassaro,  d.  Venice,  1603  ;  cond.  and 
composer. 

Done  (dOn),  Wm.,  Worcester,  1815^ 
1895  ;  Engl,  organist  and  conductor. 

Doni  (do'-ne),  (i)  A,  Fran.,  Florence, 
1519 — Monselice,  near  Padua,  1574; 
pub.  a  "■Dialogue  on  Music"  (2) 
Giov.  Bat.,  1593 — 1647  ;  Florentine 
nobleman  of  great  learning  and  re- 
search in  ancient  music ;  inv.  the 
Lyra  Barberina  or  Amphichord. 

Donizetti  (do-ne-tset'-te),  (i)  Gaeta- 
no,  Bergamo,  Nov.  25,  1797 — April  8, 
1848  ;  son  of  a  weaver;  pupil  of  Sa- 
lari  (voice),  Gonzales  (pf.  and  ac- 
comp.),  and  Mayr  (harm.) ;  Pilotti 
and  Padre  Mattel  (cpt.)  ;  his  father 
opposing  his  making  mus.  a  profes- 
sion, he  entered  the  army,  was  posted 
at  Venice,  where  he  c.  and  prod,  with 
succ.  "  Eyirico  di  Borgogna  "  (1819) ; 
"  //  Falegname  di  Livonia  "  (Venice, ! 
1820),  first  given  as  "  Pietro  il 
Grande"  also  succeeded  ;  "  Le  Nozze- 
in  Villa"  (Mantua,  1820)  failed;' 
"  Zoraide  di  Granata"  (1822)  suc- 
ceeded and  he  left  the  army  ;  1823  he 
m.  Virginie  Vasselli  (d.  1837) ;  1822- 
29  he  c.  23  operas,  none  of  them  of 
great  originality  or  importance.  With 
"Anna  Bolena"  (Milan,  1830),  he 
began  a  better  period,  incl.  the 
great  successes  "  L-' Eli  sir  d'Amore", 
(Milan,  1832),  " Lucrezia  Borgia" 
(La  Scala,  Milan,  1833),  "  Lucia  di\ 
Lammermoor  "  (Naples,  1835).    1835: 


DICTIONARY  OF  MUSICIANS   485 


at  Paris  he  prod.  "  Marino  Faliero." 
1837  dir.  Naples  Cons.  The  censor 
forbade  his  "  Poliiito  "  (it  was  prod. 
at  Naples  after  his  death,  1848),  and 
in  wrath  he  left  for  Paris,  where  he 
prod,  with  much  succ.  "  La  Fille  dti 
Regiment'"  (Op.-Com.,  1840),  "  Z^j 
Mat-tyrs  "  (a  new  version  of  Poliutd) 
(Opera,  1840)?  and  "  Za  Favorita" 
(Opera,  1840).  Returned  to  Italy, 
and  succ.  prod.  "  Adelasia"  {^oxa^, 
1841),  and  "  Maria  Padilla  "  (Milan, 
1841).  At  Vienna,  1842,  c.  and  prod, 
with  great  succ.  "Linda  di  Chamou- 
nix."  The  Emperor  made  him  Court 
Composer  and  Master  of  the  Imperial 
Chapel  ;  c.  a  Miserere  and  an  Ave 
Maria  in  strict  style.  "Don  Pas- 
quale"  was  prod,  in  Paris,  1843. 
Violent  headaches  and  mental  depres- 
sion now  assailed  him,  but  he  contin- 
ued to  write  and  prod.  "  Cater ino 
Cornaro"  (Naples,  1844),  his  last 
work ;  he  was  found  stricken  with 
paralysis,  never  recovered,  and  died 
in  1848  at  Bergamo.  Besides  67 
operas,  all  of  them  produced,  he  c.  6 
masses,  a  requiem;  cantatas;  12 
string-quartets  ;  pf.-pcs.  and  songs. 
Biog.  by  Cicconetti  (Rome,  1864). 
(2)  Alfredo,  b.  Smyrna,  Sept.  2, 
1867  ;  pupil  of  Ponchielli  and  Domi- 
niceti,  Milan  Cons.,  graduating  with 
a  noteworthy  "  Stabat  Mater"  with 
orch.  ;  lives  at  Milan  as  cond.  and 
teacher  of  cpt.  ;  c.  i-act  operas 
"N'ana"  {W\\a.x\,  1889),  and.  "  Dopo 
VAve  Maria"  (Milan,  1897),  very 
succ,  "La  Locandiera"  (comedy  in 
3  acts),  a  symphony,  etc. 

Dont  (dont),  (i)  Jos.  Val.,  Georgen- 
thal,  Bohemia,  1776 — Vienna,  1833; 
'cellist.  (2)  Jakob,  Vienna,  1815 — 
1888;  son  of  above;  violinist  and  com- 
poser. 

Dongelli  (don-jel'-le),  Dom.,  Berga- 
mo, 1790 — Bologna,  1873  ;  tenor. 

Door  (dor),  Anton,  b.  Vienna,  June 
20,  1833  ;  pupil  of  Czerny  and  Sech- 
ter ;  court  pianist  at  Stockholm  ;  1859 
teacher  at  the  Imp.  Inst.,  Moscow; 
1864  prof,  at   the   Cons.  ;  1869   ist 


prof.  Vienna  Cons.,  resigned  1901  ; 
has  edited  classical  and  instructive 
works. 

Dopp'ler,  (i)  Albert  Fr.,  Lemberg, 
182 1 — Baden,  near  Vienna,  1883  ; 
flutist,  conductor,  professor,  and 
dram,  composer.  (2)  Karl,  b.  Lem- 
berg, 1S26  ;  bro.  of  above  ;  flutist, 
and  conductor;  c.  operas,  inch  "  Er- 
zebeth "  in  collab.  with  his  bro.  and 
Erkel.  (3)  Arpad,  b.  Pesth,  June 
5,  1857  ;  son  and  pupil  of  (2)  ;  pupil 
of  Stuttgart  Cons.,  later  pf. -teacher  ; 
1S80-83  New  York  ;  returned  to 
Stuttgart  Cons.,  also  since  1889 
chorusm.  at  the  ct.-Th.  ;  c.  opera 
"  Viel  Lcirin  tim  Nichts"  (Leipzig, 
1896)  ;  suite,  Festonvertiire,  etc. 

Dorffel  (derf'-fel),  Alfred,  b.  Walden- 
burg,  Saxony,  Jan.  24,  1821  ;  pupil 
at  Leipzig  of  Fink,  Muller,  Mendels- 
sohn, etc.  ;  mus.-libr.  Leipzig  City 
Library  ;  critic  and  editor  ;  1885  Dr. 
phil.  h.  c,  Leipzig  U. 

Do'ria,    Clara,    (i)    v.    mrs.    c.    k. 

ROGERS.       (2)  V.  KLOUS,  A. 

Doring  (da'-ring),  (i)  G.,  Pomeren- 
dorf,  near  Elbing,  1801 — 1869  ;  can- 
tor ;  pub.  choral  books  and  historical 
essays.  (2)  Karl,  b.  Dresden,  July 
4,  1834 ;  pupil  Leipzig  Cons.  ;  1858, 
Dresden  Cons.  ;  1S75,  prof.  ;  c.  suites 
for  string-orch..  Grand  Mass,  etc. 

Dorn,  (i)  H.  (L.  Edm.),  Konigsberg, 
Nov.  14,  1S04 — Berlin,  Jan.  ID,  1892; 
pupil  of  Berger,  Zelter,  and  Klein, 
Berlin;  ct.-cond.  at  Konigsberg; 
cond.  Cologne  ;  founded  the  "  Rhein- 
ische  Musikschule,"  which,  1850,  be- 
came the  Cologne  Cons.;  cond.  Royal 
Opera,  Berlin  ;  teacher  and  critic  ; 
notable  composer  of  12  operas,  sym- 
phonies, etc.  (2)  Julius  Paul,  b. 
Riga,  June  8,  1833  ;  son  and  pupil  of 
above  ;  pianist ;  teacher  in  Poland, 
Cairo,  and  Alexandria ;  1865-68 
cond.  the  Crefeld  "  I>iedertafel  "  ; 
since  pf. -teacher  at  the  R.  Hoch- 
schnle,  Berlin,  with  title  "Royal 
Prof."  ;  c.  over  400  works,  incl.  3 
masses  with  orch.  (3)  Otto,  b.  Co- 
logne, Sept.  7,  1848  ;    son  and  pupil 


486 


THE  MUSICAL  GUIDE 


of  (i) ;  studied  at  Stern  Cons.,  took 
the  Meyerbeer  scholarship  (ist  prize), 
1873  ;  lives  in  Wiesbaden  ;  c.  succ. 
opera  ''  Afraja"  (Gotha,  1891); 
symphony,  ' '  Prometheus  "  /  over- 
tures, '''  Herinannsschlacht,"  and 
"  Sappho,"  etc.  (4;  Edward, 
Pen-name  of  J.  L.  Rockel. 

Dorner  (der-ner),  Armin  W.,  b. 
Marietta,  Ohio,  June  22,  1852 ; 
studied  in  Berlin,  Stuttgart  and  Paris  ; 
pf.-prof.  Cincinnati  Coll.  of  Music  ; 
pub.  "  Technical  Exercises." 

Dornheckter  (dorn'-hek-ter),  Robert, 
Franzburg,  Pomerania,  1839— Stral- 
sund,  1890  ;  conductcr.  organist  and 
composer. 

Dorus  -  Gras  (do-rU-gras),  Julie 
Aim^e  Jos^phe  (rightly)  Van 
Steenkiste  (Dorus,  stage-name)  ; 
Valenciennes,  1805  —  Paris,  i8g6  ; 
operatic  soprano  ;  created  important 
roles. 

Doss  (dos),  Adolf  von,  Pfarrkirchen, 
Lower  Bavaria,  1825 — Rome,  1886  ; 
Jesuit  priest  and  dram,  composer. 

Dbtssch  (detsh),  Aug.,  1858— Wies- 
baden, 1882  ;  'cellist. 

Dotzauer  (d6t'-tsow-6r),  (i)  Justus  J. 
Fr.,  Hasselrieth,  near  Hildburghau- 
sen,  1783 — Dresden,  i860  ;  'cellist, 
and  dram,  composer.  (2)  Justus  B. 
Fr.,  Leipzig,  1808 — Hamburg,  1874; 
son  of  above  ;  teacher.  (3)  K.  L. 
("Louis"),  b.  Dresden,  Dec.  7, 
1811  ;  son  and  pupil  of  (i) ;  'cel- 
list. 

Douay  (doo-e'),  Georges,  Paris,  Jan. 
7,  1840  ;  pupil  of  Duprato  ;  amateur 
composer  of  operettas,  etc. 

Dourlen  (door-iah),  Victor  Chas. 
Paul,  Dunkirk,  1780 — Batignolles, 
near  Paris,  1864  ;  prof,  and  dram, 
composer. 

Dow'land,  (i)  John,  Westminster, 
London,  1562 — London,  April,  1626  ; 
lutenist  and  composer  to  Christian 
IV.  of  Denmark.  (2)  Robert,  1641  ; 
son  of  above  ;  lutenist  and  editor. 

Draeseke  (dra'-ze-ke),  Felix  Aug. 
Bhd,,  b.  Coburg,  Oct.  7,  1835  ;  im- 
portant   composer ;    pupi!    of    Rietz, 


Leipzig  Cons.,  and  of  Liszt  at  Wei- 
mar;  1864-74  Lausanne  Cons.,  ex- 
cept 1868-69,  in  the  R.  M.  S.  at  Mu- 
nich ;  1875  Geneva,  then  Dresden  as 
teacher  ;  1884  prof,  of  comp.  at  the 
Cons.;  c.  4  operas;  '"Sigurd" 
"  Gudrun"  (Hanover,  1884),  ''  Ber- 
trand  de  Born  "  (book  and  music), 
and  the  succ.  ''  Her  rat"  (Dresden, 
1892)  ;  3  symphonies  (op.  40"  Trag- 
ica"  in  C) ;  Grand  Mass  with  orch.  ; 
"  Akademtsche  Festouverture  " ;  sym- 
phonic preludes  to  Calderon's  "  Ztyif 
a  Dream"  Kleist's  ''  Penthesilea" 
(both  MS.),  etc.;  wrote  treatises  and 
a  "  Harmony  "  in  verse. 

Draghi  (dra'-ge),  (i)  Antonio,  Ferrara, 
1635 — Vienna,    1700  ;    c.   87    operas, , 
87  festival  plays,  etc.     (2)  Gio.  Bat.,  j 
1667  — 1706,   harpsichordist,   organist' 
and  composer,  London.  I 

Dragonnet'ti,  Dom.,  Venice,  April! 
7.  17&3 — London,  April  16,  1846;! 
called  "  the  Paganini  of  the  contra- j 
basso "  ;  composed,  played  and 
taught. 

Drath  (drat),  Th.,  b.  Winzig,  Silesia, 
June  13,  1828  ;  pupil  of  Marx  ;  can-, 
tor  at  Bunzlau  Seminary ;  Royal 
"  Musikdirector"  ;  composer  and  the-; 
orist. 

Draud  (drowt)  (Drau'dius),  Georg' 
Davernheim,  Hesse,  1573 — Butzbach; 
1635  ;  pub.  "  Bibliotheca  Classica': 
and  other  musical  works  of  great  in 
formational  value. 

Drechsler  (drgkhs'-ler),  (i)  Jos.,  Wall; 
isch-Birken  (Vlachovo  Brezi),  Bohe 
mia,  1782 — Vienna,  1852  ;  organist' 
conductor  and  dram,  composer.  (2 
Karl,  Kamenz,  1800  —  Dresder 
1873  ;  'cellist  teacher. 

Dregert  (dra'-gert),  Alfred,  Fran! 
fort-on-Oder,  1836— Elberfeld,  1893 
conductor,  dir.  and  composer. 

Dresel  (dra-z^l).  Otto,  Andernacl 
1826 — Beverly,  Mass.,  1890  ;  con 
poser. 

Dressier,  (i)  Louis  Raphael,  b.  Ne 
Vork,  1861  ;  son  and  pupil  of  ( 
Wm.  (a  conductor  at  N.  Y .)  ;  liv 
there  as  pianist  and  composer. 


i 


DICTIONARY  OF  MUSICIANS  487 


ifgatiS 


Silesii 
r,m 
Roil 
and  tin 

Geoij 

utzbaii , 


Dreszer  (dresh-gr),  Anastasius  W., 

b.  Kalisch,  Poland,  April  28,  1845  ;  a 
brilliant  pianist  at  12  ;  studied  with 
Doring,  Krebs,  and  Friih,  Dresden 
Cons.;  lived  in  Leipzig  ;  1868,  Halle  ; 
founded  a  music-school  of  which  he  is 
still  dir.  ;  c.  2  symphonies,  opera 
"  I'^almodn,"  etc. 

Dreyschock  (dri'-shok),  (i)  Alex., 
Zack,  Bohemia,  Oct.  15,  181S— Ven- 
ice, April  I,  1869  ;  one  of  the  most 
dextrous  of  pf. -virtuosi ;  c.  an  opera, 
etc.  (2)  Raimund,  Zack.  1824 — 
Leipzig,  1S69,  br.  of  above  ;  leader. 
His  wife  (3)  Elisabeth  (nee  Nose), 
Cologne,  1832,  a  contralto.  (4)  Felix, 
Leipzig.  Dec.  27,  i860;  son  of  (i)  ; 
pianist ;  student  under  Grabau,  Ehr- 
lich,  Taubert,  and  Kiel  at  the  Ber- 
lin Royal  Hochsohule  ;  prof.  Stern 
Cons.,  Berlin;  c.  a  vln. -sonata  (op. 
16),  etc. 

Drieberg  (dre'-berkh),  Fr.  J.  von, 
Charlottenburg,  1780— 1856;  writer 
on  Greek  music  ;  dram,  composer. 

Drobisch  (dro'-blsh),  (i)  Moritz  W., 
b.  Leipzig,  Aug.  16,  1802;  from  1842 
prof,  of  phil.,  Leipzig  Univ.  ;  pub. 
important  treatises  on  the  mathemat- 
ical determination  of  relative  pitches. 
(2)  Karl  L.,  Leipzig,  1803— Augs- 
burg, 1854  ;  bro.  of  above  ;  c.  3  ora- 
torios. 

Drobs  (dreps),  J.  And,,  near  Erfurt, 
1784 — Leipzig,  1825  ;  organist. 

Drouet  (droo-a),  L.  Frang.  Ph.,  Am- 
sterdam, 1792-— Bern,  Sept.  30,  1873; 
flutist  and  composer. 

Dubois  (dii-bwa)  (i)  (Clement  Fran.) 
Th.,  b.  Rosnay,  Marne,  Aug.  24, 
1837  ;  studied  at  Rheims,  then  under 
Marmontel,  Benoist,  Bazin,  and 
Thomas  (fugue  and  cpt.)  at  Paris 
Cons.  ;  took  Grand  pri.x  de  Rome 
with  the  cantata  "  A  fa/a";  also  first 
prizes  in  all  departments  ;  sent  from 
Rome  a  Solemn  Mass  (perf.  at  the 
Madeleine  in  1S70),  a  dram,  work, 
"  La  Prova  d'un  Opera  Seria"  and 
2  overtures  ;  returned  to  Paris  as  a 
teacher ;  cond.  at  Saint-Clotilde  ; 
since    organist    at    the    Madeleine  ; 


1871  prof,  of  harm,  at  the  Cons.  ; 
1891  prof,  of  comp. ;  [894,  elected  to 
Acad.  ;  1896,  dir.  of  the  Cons.,  and 
officier  of  the  Legion  of  Honour  ;  c. 
4  operas  ;  oratorios  :  "  Les  Se/ts  Pa- 
roles dii  Christ"  (1867),  "  Z^  Para- 
dis  Perdu"  (1878)  (city  of  Paris 
prize),  and  "  iVotre  Datne  de  la  Aler" 
(1897)  ;  cantatas  ;  masses,  etc.  ;  3 
overtures,  incl.  '^  Frit  hi  off."  (2) 
L^on,  b.  Brussels,  Jan.  9,  1849  I  pupil 
of  the  Cons.,  took  Grand  pri.x  de 
Rome.  Since  1890  second  cond., 
Th.  de  la  Monnaie,  Brussels  ;  c.  3 
operas,  ballet,  symphonic  poem, 
"  Atala"  etc. 

Duburg,  Matthew,  London,  1703 — 
1767  ;   violinist  and  conductor. 

Ducange.     Vide  cange,  du. 

Ducis  (dii-se),  Benoit  (Benedictus 
Ducis),  b.  Bruges,  1480 ;  important 
composer  ;  not  to  be  confused  with 
Benedictus  of  Appenzell.  ' 

Dufay  (du-fe'),  Guill.,  ca.  1400— Cam- 
brai,  Nov.  27,  1474  ;  a  canon  ;  said 
to  have  inv.  white  (open)  notes. 

Dugazon  (dii-ga-z6ri),  Louise-Rosa- 
lie (nee  Lef^vre),  Beriin,  1753 — 
Paris,  1821  ;  untrained  singer  in  light 
opera,  so  charming  in  both  young 
and  old  roles  as  to  give  rise  to  the  j 

descriptive     terms    "  Jeunes    Duga-  1 

zon,"  and  "  Meres  Dugazon."  I 

Dug'gan,  Jos.  Francis,  b.  Dublin, 
July  ID,  1S17  ;  opera-conductor  and 
teacher  in  various  cities  in  America, 
also  Paris  and  London ;  c.  succ. 
operas,  ''Pierre"  and  '' Ltfonie" 
and  3  not  produced  ;  2  symphonies, 
etc. 

Duiffopruggar  (rightly  Tieffenbriick- 
er)    (dwef'-fo-proog -gar   or  tef'-fen- 
briik-dr),  (i)    Caspar,   P^eising,   Ba- 
varia, 1514 — Lyons,  1572;  long  con- 
sidered the  first  vln. -maker  ;  went  to 
Lyons  in    1553,  naturalised   in    1559, 
and  made  violas  da  gamba  and  lutes. 
Other  instr. -makers  of  the   same  sur- 
name were  (2)  Wendelin,  (3)  Leon-  1 
hard,  (4)   Leopold,  (5)   Ulrich,  and  1 
(6)  Magnus.     The  latest  made  lutes             ; 
at  Venice,  1607. 


488 


THE    MUSICAL    GUIDE 


Dulcken  (dool'-k^n),  (i)  Louise  (nee 
David),  Hamburg,  1811 — London, 
1850,  a  sister  of  Fd.  David  ;  pianist. 
(2)  Fd.  Quentin,  London,  June  i, 
1837 — Astoria,  N.  Y.,  1902  ;  son  of 
above  ;  pupil  of  Mendelssohn,  Mo- 
scheles,  Gade,  Hauptmann,  Becker 
and  F.  Hiller  ;  prof.  Warsaw 
Cons.  ;  toured  in  Europe  ;  lived  for 
years  in  New  York  ;  c.  an  opera, 
"  IVieslav"  ;  a  mass,  etc. 

Dulon  (doo'-lon),  Fr.  L.,  Oranienburg, 
near  Potsdam,  1769  — ■■  Wiirzburg, 
1826  ;  a  blind  flutist  and  composer. 

Dulong  (doo'-longk),  (i)  Fz,  Henri 
von,  b.  Hamm,  Westphalia,  Feb.  26, 
1861  ;  tenor,  studied  with  Vannucini 
in  Florence  ;  toured  as  concert-singer. 
(2)  Magda  von  (nee  John),  b.  Ilalle, 
Feb.  29,  1872  ;  wife  of  above  ;  con- 
cert-alto;  studied  with  Ilromada, 
Frau  Joachim,  and  Gerster ;  first 
sang  as  Magda  Lossen. 

Dun,  Finlay,  Aberdeen,  1795 — 1853  ; 
viola-player,  singing-teacher,  editor 
and  composer. 

Dunham,  H.  Morton,  b.  Brockton, 
Mass.,  July  27,  1853  ;  pupil  N.  E. 
Cons.,  and  Boston  Univ.  Coll.  of 
Mus.  ;  has  taught  in  both  places 
since;  pub.  ''Organ  Sc/iool";  2  or- 
gan-sonatas, etc. 

Duni  (doo'-ne),  Egidio  Romualdo, 
Matera,  near  Otranto,  Feb.  9,  1709 
— Paris,  June  11,  1775  ;  pupil  of  Du- 
rante ;  his  first  opera,  "  jVcrotte," 
prod.  Rome,  1735,  with  great  succ, 
triumphing  over  Pergolesi's  last  ope- 
ra "  Olimpiado"  which  the  generous 
Duni  said  was  too  good  for  the  pub- 
lic, declaring  himself  "  frenetico 
centre  il  pubblico  Romano  "  ;  he  c. 
French  operettas  with  such  succ.  that 
he  settled  in  Paris,  where  he  is  con- 
sidered the  founder  of  French  opera- 
bouffe  ;  c.  13  Italian  operas  and  20 
French. 

Dunk'ley,  Fd.  (Louis),  b.  London, 
England,  July  16,  1869  ;  pupil  of  G. 
A.  Higgs,  Bainbridge,  J.  Higgs  (cpt.), 
and  E.  H.  Turpin  (comp.)  ;  and  at 
R.  A.  M.  (Scholarship),  under  Parry, 


Bridge,  Martin,  Gladstone,  Sharpe 
and  Barnet ;  1893,  dir.  at  St.  Agnes' 
School,  Albany,  N.  Y.  ;  also  organ- 
ist since  1897  at  Trinity  M.  E.  Ch.  ; 
pub.  "  The  IVreck  of  the  Hesperus  " 
ballade  for  soli,  chor.,  and  orch., 
etc.  ;  1889  took  prize  of  50  guineas 
with  orch.  suite. 
Dunoyer    (dun-wa-ya').     Vide    gauc- 

QUIF.R. 

Dunstable  (Dunstaple),  John,  Dun- 

stable,  Bedfordshire,  England,  1400 
(?) — Walbrook,  Dec.  24,  1453  ;  called 
by  Tinctor  one  of  the  "fathers "of 
counterpoint. 

Dupont  (dii-poh),  (i)  Pierre,  Roche- 
taillee,^near  Lyons,  April  23,  1821 — 
Saint-Etienne,  July  25,  1870;  c.  the 
words  and  tunes  of  popular  and 
political  songs  which  Reyer  wrote 
out ;  provoked  such  riots  that  Napo- 
leon banished  him,  1851.  (2)  Jo- 
seph (aine),  Liege,  1821 — 1861  ;  vio- 
linist ;  prof,  and  dram,  composer. 
(3)  J-  Fran.,  Rotterdam,  1822 — 
Niirnberg,  1S75  ;  violinist  and  dram, 
composer.  (4)  Aug.,  Ensival,  near 
Liege,  1828 — Brussels,  1890;  com- 
poser. (5)  Alex.,  Liege,  1833 — 1888; 
bro.  of  above;  pub.  a  ''Repertoire 
dra/natique  Beige."  (6)  Jos.  (le 
jeune),  b.  Ensival,  near  Liege,  Jan, 
3,  1838  ;  bro.  of  (3),  pupil  at  Liege 
and  Brussels  Cons.,  took  Grand  prix 
de  Rome  at  Brussels  ;  1867  cond.  at 
Warsaw;  1871,  in  Moscow;  1872, 
prof,  of  harm.,  Brussels  Cons. ;  cond. 
Th.  de  la  Monnaie,  the  Society  of 
Musicians,  and  the  Popular  Concerts. 
(7)  Jos.  D.,  d.  The  Hague,  June  26, 
1867;  bro.  of  above;  dir.  German 
Op.  at  Amsterdam. 

Duport  (dii-por),  (i)  J.  P.,  Paris,  1741 
—Berlin,  1S18  ;  'cellist.  (2)  J.  L., 
Paris,  1749 — 1819;  more  famous 
bro.  of  above  ;  also  'cellist ;  composei 
and  writer. 

Duprato  (dii-pra'-to),  Jules  Laurent. 
Nimes,  1827 — Paris,  1892  ;  prof,  c 
harm,  and  dram,  composer. 

Duprez  (dii-pra'),  L.  Gilbert,  Paris 
1806 — 1896  ;  tenor  and  composer. 


J 


DICTIONARY  OF  MUSICIANS    489 


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Dupuis  (dii-pwe),  (i)  Jos6  (Joseph 
Lambert),  Liege,  1833 — Nogent- 
sur-Marne,  1900;  opera-bouffe  singer. 
(2)  Sylvain,  Liege,  Nov.  g,  1856  ; 
pupil  Liege  Cons.,  18S1  Prix  de  Rome; 
now  teacher  of  cpt.  and  cond.  of  a 
singing-society  ;  c.  3  operas,  incl. 
the  succ.  com.  opera  "  Uidylle"  3 
cantatas,  symphonic  poem,  '"Mac- 
beth" etc. 

Dupuy  (dii-pwe).     Vide  puteanus. 

Durand  (rightly  Duranowski)  (dQ- 
ran  or  doo-ran-of'-shkl),  (i)  Auguste 
Frederic,  b.  Warsaw,  1770  ;  violin- 
ist and  cond.,  son  of  a  court-mus.  (2) 
£mile,  b.  St.-Brieue,  Cotes  du  Nord, 
Feb.  16,  1830  ;  while  still  a  pupil  at 
the  Paris  Cons,  he  was  appointed 
teacher  of  an  elementary  singing- 
class  ;  1871  prof,  of  harm ;  dram, 
composer  and  writer.  (3)  Marie 
Auguste,  Paris,  July  18,  1830;  pu- 
pil of  Benoist,  1849-74  organist  at 
various  churches  ;  1870  est.  mus.-pub. 
business  of  "  Durand  et  Schone- 
werk,"  later  "Durand  et  Fils "  ;  a 
critic  and  composer. 

Durante  (doo-ran'-te),  Fran.,  Fratta 
Maggiore,  Naples,  March  15,  1684 — 
Naples,  Aug.  13,  1755  ;  director  and 
conductor,  with  salary  of  less  than 
$100  per  annum  ;  he  is  an  important 
teacher  and  composer  of  the  "  Nea- 
politan School  "  ;    c.  13  masses,  etc. 

Durastanti  (doo-ra-stan'-te),  Mar- 
garita, ca.  1695  Italian  prima  don- 
na, of  wonderful  popularity  in  Lon- 
don. 

D'Ur'fey,  Thos.,  Exeter,  ca.  1649 — 
Feb.  26,  1723 ;  operatic  composer 
and  editor. 

Durrner  (dTr'-ner),  Ruprecht  Jns. 
Julius,  Ansbach,  Bavaria,  1810 — Ed- 
inburgh, 1859  ;  composer,  writer,  ed- 
itor. 

Durutte  (du-riit),  Fran.  Camilla 
Ant.,  Ypres,  East  Flanders,  1803 — 
Paris,  188 1  ;  wrote  a  new  but  errone- 
ous system  of  harm.;  c.  operas,  etc. 

Du(s)sek  (Dusek,  Duschek)  (doos'- 
sek  or  better  doo'-shek),  (i)  Fz.,Chot- 
iborz,  Bohemia,  1736 — Prague,  1799  J 


composer,  pianist  and  teacher.  (2) 
Josephine,  b.  Prague,  1756  ;  pianist, 
composer,  singer.  (3)  J.  Ladislaus, 
Caslav  (Tschaslau),  Bohemia,  Feb. 
9,  1761 — Saint  -  Germain  -  en  Laye, 
March  20,  1812  ;  a  boy-soprano  at 
Iglau,  pupil  of  Father  Spenar  at  the 
Jesuit  College ;  organist  Jesuit 
Church,  Kuttenburg,  for  2  years ; 
studied  theology  at  Prague  Univ., 
also  music  ;  became  organist  of  Saint- 
Rimbaut's,  Mechlin  ;  lived  Bergen- 
op-Zoom  ;  Amsterdam  ;  The  Hague, 
1783  ;  studied  with  C.  P.  E.  Bach, 
Hamburg ;  became  famous  pianist 
and  performer  on  Hessel's  "  Har- 
monica," Berlin  and  St.  Petersburg; 
lived  in  Lithuania  a  year  at  Prince 
Radziwill's  Court  ;  lived  Italy, 
Paris,  London ;  1792  m.  (4)  Sofia 
Corri  (b.  Edinburgh,  1775  ;  a  singer, 
harpist  and  composer).  He  entered 
a  mus. -business  with  his  father-in- 
law,  1800,  failed  and  fled  to  Ham- 
burg to  escape  creditors.  He  was  in 
the  service  of  various  Princes,  and 
(1808)  of  Prince  Talleyrand  in  Paris. 
A  pioneer  among  Bohemian  and  Po- 
lish virtuosi  and  composers  he  dis- 
puted with  Clementi  the  invention  of 
the  "  singing-touch."  Prod.  2  English 
operas  in  London  with  success,  and 
pub.  a  Mass  (comp.  at  the  age  of  13), 
oratorios  and  church  -  music  ;  pub. 
nearly  100  works  for  pf. ,  incl.  12  con- 
certos, 80  sonatas  with  vln.  ;  53  so- 
natas for  pf.-solo,  etc.  ;  pub.  a 
■''Method:'' 

Dustmann  (doost'-man),  Marie  Luise 
(ne'e  Meyer),  Aix-la-Chapelle,  1831 
— 1899  ;  soprano. 

Dutch  (dlitsh),  b.  Denmark — d.  Frank- 
furt-on-Main,  1863  ;  prominent  Rus- 
sian composer. 

Duval  (du-vil'),  Edmond,  b.  Enghien, 
Hainault,  Aug.  22,  1809  ;  pupil  Paris 
Cons.,  1828-32,  when  he  was  dis- 
missed for  irregular  attendance  ;  at 
Mechlin  became  interested  in  Jans- 
sen's  studies  of  Gregorian  music ; 
was  commissioned  by  the  Bishop  to 
revise  the  church-ritual,   and  visited 


490 


THE    MUSICAL    GUIDE 


Rome;  he  pub.  "revised  version," 
etc.,  of  ecclesiastical  song,  which  Fe- 
tis  declares  altogether  wrong. 

Duvernoy  (or  Duvernois)  (dli-vern- 
wii),  (i)  Fr.,  Montbeliard,  1765 — 
Paris,  1838  ;  prof,  at  the  Cons.;  com- 
poser. (2)  Charles,  Montbeliard, 
1766 — Paris,  1845  ;  bro.  of  above  ; 
clarinettist ;  prof,  and  composer.  (3) 
Chas.  Fran.,  Paris,  1796 — 1872; 
singer.  (4)  H.  L.  Chas.,  b.  Paris, 
Nov.  16,  1S20  ;  son  of  (3) ;  pupil 
of  Halevy  and  Zimmermann,  Paris 
Cons.;  1839,  assist. -prof.;  1848, prof, 
there  of  solfeggio ;  composer.  (5) 
Victor  Alphonse,  Paris,  Aug.  31, 
1842  ;  pupil  of  Bazin  and  Marmontel 
Paris  Cons.;  took  first  pf.  prize  ;  now 
teacher  of  piano  at  the  Cons.  ;  a 
Chev.  of  the  Legion  of  Honour,  and 
ofhcier  of  public  instruction  ;  1892 
prod,  the  succ.  opera  "  Sardanapale" 
(Lyons),  also  opera  '' Helle"  (Gr. 
Opera,  1896)  ;  his  symph.  poem,  "  La 
Tempete"  won  the  City  of  Paris  prize. 
(6)  J.  Bapt.,  composer  and  pf.- 
teacher,  Paris,  1825. 

Duysen  (doi'-sen),  Jes  Lewe,  b.  Flens- 
burg,  Aug.  I,  1820;  i860  founded  a 
pf.  factory  at  Berlin. 

Dvorak  (dvor'-shak),  Antonin.b.  Miihl- 
hausen,  Bohemia,  Sept.  8,  1841  ; 
chief  of  Bohemian  composers  ;  son  of 
an  inn-keeper,  who  wished  him  to  be 
a  butcher,  but  he  learned  the  vln. 
from  the  schoolmaster,  and  at  16  en- 
tered the  Prague  Org.-Sch.  under 
Pitzsch,  earning  a  livelihood  as  vio- 
linist in  a  small  orchestra  ;  graduated 
in  1862,  became  via. -player  at  the 
Nat.  Theatre.  He  was  33  before  an 
important  comp.  was  prod., a  hymn  for 
male  chorus  and  orch.,  which  attract- 
ed such  attention  that  1875  he  re- 
ceived a  government  stipend  and  de- 
voted himself  to  composition.  i8gi 
Mus.  Doc.  Cambridge  Univ.;  1892- 
95  dir.  Nat.  Cons.,  New  York  ;  since 
has  lived  at  Prague  ;  1901,  director 
of  the  Prague  Cons  ;  1902,  prod,  opera 
''  Armida"  Pilsen  Nat.  fh.  He  is  a 
strong  believer  in  nationalism  in  mu- 


sic, and  provoked  much  controversy  by 
advising  American  composers  to  found 
their  school  on  the  harmonic  and  mel- 
odic   elements    of    plantation-music. 
In  his  5th  symphony,  op.  95,  "  From 
the  New  World"  he  made  some  use 
of  such  a  manner.     His  other  comp. 
are  :    Bohemian  operas   "  The  King 
and  the  Charcoal-Btirner  "  (Prague, 
1874);    "fFaWa"    (1876);    '' Selma 
Sedldk"    (1878);     ''  Turde   Paliee" 
(1881);   '' Dimitrije''   (1882);    'T/i^f! 
Jacobins"    (1889);      '' Rusalka,    the 
U-'atcr   Nixie"    (Nat.    Th.    Prague,) 
1901) ;      oratorio      ''St.    Ludmila"' 
(Leeds   Mus.  Fest.,  1886);  Requiem 
Mass,   op.   89,  with   orch.    (Birming-j 
ham    Fest.,    1891) ;    cantatas    ''The] 
Spectre's   Bride,"  op.  69,  with   orch. | 
(Birmingham  Fest.,  1885),  and  "  TAel 
American    Flag"     (N.    Y.,     1895); 
Hymti  of   the  Bohemian    PeasantsX 
for  mixed  ch.  ;   hymn  for  mixed  ch.i 
and    orch.;    "■  Stahat    Mater"    withj 
orch.    (London,    1883) ;      Psalm    149I 
with   orch.;     5    symphonies;     3    or-; 
chestral     ballades,      ''  Der     Wasser-^. 
77iann,"     ''Die    Mittagshexe,"     and; 
"  Das  goldene  Spinnrad";    2   sets  o) 
symphonic  variations  for  orch.  ;  over- 
tures, "  JA'zw   Heim,"    "  ffusitska,' 
"In  der  Natur,"   "Othello"   "Car. 
neval" ;  concertos  for  'cello,  pf. ,  vln.  1 
"  Slavische    Tdnze,"  and  "  Slavischr 
Rhapsodien " ;    scherzo    cappriccios( 
for   orch.  ;     string-sextet ;    2    string 
quintets  ;  pf. -quintet ;    6  string-quar: 
tets  ;  2  pf. -quartets  ;  a  string-trio  ;  :, 
pf. -trios;      mazurek     for    vln.    wit); 
orch.  ;  serenade  for  wind  with  'celli; 
and      double-bass ;       notturno       foi 
string-orch.  ;  pf.  music,    " Legenden, 
"  Dutnka"      (Elegy),      "  Fiiriatite 
(Boh.   natl.    dances);     "  Kldnge    au 
Mahren,"  and  "  Silhonetten"  for  pf 
4-hands ;      violin-sonata,      op.     57, 
songs,  etc. 
Dwight,  J,  Sullivan,  Boston,  Mass. 
1813 — 1893  ;    editor  and  critic  ;   on 
of  the  founders  of  the  Harvard  Mus: 
cal  Association ;    was   a    member  c 
the   Brook  Farm  Community  ;   1852 


M 


I 


DICTIONARY  OF  MUSICIANS  491 


Si,  edited  ''  D2vighi's  Journal  of 
J/usic-r 

Dykes  (Rev.),  J.  Bacchus,  Kingston- 
upon-Hull,  Eng. ,  1823 — St.  Leon- 
ard's, 1876  ;   conductor. 

Dyne,  John,  suicide,  Oct.  30,  1788; 
English  alto  singer  and  composer. 


Eager,  John,  b.  Norwich,  1782  ;  violin- 
ist and  teacher. 

Eames  (amz),  Emma,  b.  (of  American 
parents)  at  Shanghai,  Aug.  13,  1867  ; 
at  5  went  with  her  mother,  her  first 
teacher,  to  Bath,  Maine ;  pupil  of 
Miss  Munger  at  Boston  ;  1 886-88  at 
Paris,  of  Madame  Marchesi  (voice), 
and  Pluque  (acting,  etc.) ;  1888,  en- 
gaged at  the  Op. -Com. ,  but  made  de- 
but with  succ.  at  the  Gr.  Opera, 
March  13,  1S89,  as  Juliette  in  Gou- 
nod's "  Romt'o  et  Juliette"  a  role  pre- 
viously sacred  to  Patti ;  sang  at  the 
Opera  for  2  years,  creating  "  Co- 
lombe  "  in  St.-Saens'  ''  A  scaur  a"  and 
as  "Zaire"  in  De  La  Nux's  opera; 
1891,  Covent Garden  in  ''Faust  "  m. 
the  painter  Julian  Story  the  same  year, 
and  in  Oct.  appeared  in  New  York  ; 
since  then  she  has  sung  regularly  in 
N.  Y.  and  London,  except  1892-93, 
at  Madrid,  and  1895-96,  during  ill- 
health  ;  her  "  Sieglinde  "  is  perhaps 
her  best  role. 

East'cott,  Richard,  Exeter,  1740 — 
Livery  Dale,  Devonshire,  1828  ;  writ- 
er and  composer. 

Eb'den,  Thos.,  Durham,  1738— 1811  ; 
organist  and  composer. 

Ebeling  (a'-be-ling),  (i)  J.  G.,  Lime- 
burg,  ca.  1620— Stettin,  1676  ;  prof, 
and  composer.  (2)  Chp.  Daniel, 
Garmissen,  near  Hildesheim,  1741 
— Hamburg,  1817  ;  prof,  and   writer. 

Ebell  (a-bel),  H.  K.,  Neuruppin, 
1775 — Oppeln,  1S24  ;  conductor  and 
dram,  composer. 

Eberhard  (i)  von  Freisingen  (a'-ber- 
hart  fon  frT'-z!ng-6n),  Eberhar  dus 
Frisengen'sis,  Benedictine  monk, 
lith    cent.  ;    wrote   on    the   scale   of 


pipes  and  bell-founding.  (2)  J. 
Aug.,  Halberstadt,  1739  —  Halle, 
1809  ;  professor. 

Eberl  (a'-berl),  Anton,  Vienna,  June 
13,  1766 — March  11,  1807;  famous 
pianist,  conductor  and  dram,  com- 
poser. 

Eberlin  (a'-b6r-len),  (i)  Daniel,  Niirn- 
berg,  ca.  1630 — Cassel,  1691  ;  con- 
trapuntist and  violinist  ;  famous  as  a 
composer  in  his  day.  (2)  (or  Eber- 
le)  J.  Ernst,  Jettenbacht,  Swabia, 
1702 — Salzburg,  1762;  conductor  and 
composer. 

Ebers  (a'-bers),  K.  Fr.,  Cassel.  1770 
—  Berlin,  1836  ;  conductor  and  dram. 
composer. 

Eberwein  (a'-ber-vin),  (i)  Traugott 
Maximilian,  Weimar,  1775 — Rudol- 
stadt,  1831  ;  dram,  composer.  (2) 
Karl,  Weimar,  1786— 1868,  bro.  of 
above  ;  dram,  composer. 

Eccard  (ek-kart),  J.,  Mtihlhausen, 
Thuringia,  1553 — Berlin,  1611  ;  im- 
portant composer  of  church-music. 

Eccles  (gk'-kels),  (i)John,  London  (?), 
1668 — Kingston,  Surrey,  1735  ;  son 
and  pupil  of  the  violinist,  (2)  Solo- 
mon E.  C.  His  brother  (3)  Henry, 
was  violinist  and  composer.  (4) 
Solomon  Thomas,  bro.  of  above, 
also  violinist. 

Eck  (6k),  ( I)  J.  Fr.,  Mannheim,  1766— 
Bamberg  (?),  1809  (1810?);  violinist 
and  composer.  (2)  Fz.,  Mannheim, 
1774 — insane,  Strassburg,  1804  ;  bro. 
and  pupil  of  above  ;  violinist. 

Eckelt  (ek'-elt),  J.  Val.,  Wernings- 
hausen,  near  Erfurt,  i63o — Sonders- 
hausen,  1734  ;  writer. 

Ecker  (ek'-Sr),  (r)  K.,  Freiburg,  Bad- 
en, 1813 — 1879;  composer.  (2) 
Wenzel,  pen-name  of  W.  Gericke. 

Eckert  (ek'-6rt),  K.  Ant.  Florian, 
Potsdam,  1820 — Berlin.  1S79;  ^^  10 
c.  an  opera,  at  13  an  oratorio  ;  court- 
conductor  and  dram,  composer. 

Eddy,  Clarence  H.,  b.  Greenfield, 
Mass.,  June  23,  1851  ;  pupil  of  J.  G. 
Wilson  and  Dudley  Buck  ;  1871  of 
Haupt  and  Loschhorn  (pf.)  ;  toured 
in    Germany,    Austria,     Switzerland, 


492 


THE    MUSICAL    GUIDE 


and  Holland  ;  1S74,  organist,  Chica- 
go ;  1876,  dir.  Hershey  School  of 
Musical  Art ;  later  m.  its  founder 
Mrs.  S.  B.  H.  ;  toured  America  and 
Europe,  1879  gave  100  recitals  at 
Chicago  without  repeating  a  number; 
for  some  years  cond.  Chicago  Philh. 
Vocal  Soc.  ;  c.  organ  and  church 
music,  etc.;  pub.  "  The  Church  and 
Conce7-t  Organist,'''  "  The  Organ  in 
Church  "  (18S7),  and  transl.  Haupt's 
"  C/>(.  and  Fugue'"  (1876). 

Ed'son,  Lewis,  Bridgewater,  Mass., 
1748 — Woodstock,  N.  Y,,  1820 ;  pub. 
a  coll.  of  hymns,  etc. 

Ed'wards,  Julian,  b.  Manchester, 
England,  1S55  ;  pupil  Sir  H.  Oakley, 
Edinburg,  then  of  Alacfarren,  Lon- 
don ;  1875,  pianist  to  Carl  Rosa  Opera 
Co.;  1877,  cond.  Royal  Eng.  Opera 
Co.  and  prod.  "  Victorian"  Covent 
Garden.  1880,  prod.  "  Corinne"  at 
St.  James's  Hall,  London  ;  cond. 
Engl.  Opera  at  Covent  Garden,  and 
prod.  2  operas,  '''Corinne"  and 
''Victorian"  at  Sheffield,  1883; 
came  to  the  U.  S.,  1889,  and  prod, 
with  success  various  comic  operas, 
incl.  "Madeleine  or  the  Magic  Kiss  " 
(Boston,  1894),  and  "  Brian  Boru  " 
(N.  Y.,  1896);  "The  Wedding 
Day"  "  The  Jolly  Musketeer  " 
" Princess  Chic"  {i^qq),  "Dolly  Var- 
den"  (N.  Y.,  1902),  and  "When 
Johntiy  Comes  Marching  Home"; 
prod,  also  romantic  opera  "King 
Rt^nhs Daughter" ;  c.  gr.  opera  "j5'//f- 
nella"  (MS.),  symphonies,  overtures, 
etc. 

Eeden  (a'-den),  Jean  Baptiste  van 
den,  b.  Ghent,  Dec.  26,  1842  ;  pupil  of 
Ghent  and  Brussels  Cons.;  ist  prize 
for  comp.  (1869)  with  the  canta- 
ta "Faust's  Laaste  A^acht" ;  187S 
dir.  of  Cons,  at  Mons.;  c.  opera,  "TVm- 
mance"  (Antwerp,  1897),  4  orato- 
rios and  the  trilogy  "Judith"  2  can- 
tatas with  orch.,a  symph.  poem,  "La 
Lutte  au  XVI.  Siecle"  etc. 

E'gan,  Eugene,  Irishman,  less  than 
four  feet  tall  ;  1740  built  organ  in 
Lisbon  Cathedral. 


Egenolff  (or  Egenolph)  (a'-gen-61f), 
Chr.,  ca.  1485  ;  a  slovenly  and  pirat 
ical  German  mus. -printer. 

Eggeling  (gg'.ge-ling),  (Eduard 
Brunswick,  1813— Harzburg,  1885 
pf. -teacher,  writer  and  composer. 

Egghard  (eg -hart),  Julius  (pen-name 
of  Count  liardegen),  Vienna,  1834— 
1867  ;   composer. 

Egli  (al'-ye  or  a'-gle),  Johann  Hein- 
rich,  Seegraben,  canton  Zurich,  1742, 
— 1810  ;  c.  "  Odcn"  etc. 

Ehlert  (a'-lert),  Louis,  Konigsberg, 
1825 — Wiesbaden,  1884;  teacher  and 
critic  ;  conductor  and  composer. 

Ehmant  (a'-mant),  Anselm,  1832— i 
Paris,  1895  ;  conductor,  teacher  and 
writer. 

Ehnn-Sand  (an'-zant),  Bertha,  § 
Pesth,  i84S('45  ?)  ;  dramatic  sopran® 
pupil  of  Frau  Andriessen. 

Ehrlich  (ar'-likh),  (i)  Chr.  Fr.,  Mag  V 
deburg,  iSio — 1887  ;  conductor,  sing 
ing-teacher,  and  dram,  composer.  (2 
Alfred  H.,  b.  Vienna,  Oct.  5,  1822 
pupil  of  Henselt,  Bocklet,  Thalberj 
(pf.),  and  Sechter  (comp.)  ;  court 
pianist  to  King  George  V.;  1864-7 
pf.-teacher  Stern  Cons.,  and  1866-9^ 
critic  in  Berlin  ;  composer  and  editoij 

Eibenschiitz  (I'-ben-shtits),  (i)  Albertj 
b.  Berlin,  April  15,  1857  ;  pianist ;  pu; 
pil   of    Reinecke   and    Paul,   Leipzij 
Cons.,  won  the  Diploma  of  Honoui* 
1876-80,  prof,  in   Charkoff  (Russia)- 
iSSo-84  at   Leipzig  Cons.,  then  C( 
logne  Cons.;   1893,  dir.  Cologne  Li( 
derkranz  ;     1896,   ist    pf.-prof.  Ster 
Cons.,    Berlin  ;    c.    pf. -sonatas,    et' 
(2)    Ilona,    Pesth,    May    18,     1S7: 
cousin  of  above  ;    pianist ;    at  5  si 
played  in  a  concert  with  Liszt ;  1S75 
85;'pupil  of  Hans  Schmitt ;   1885-81 
studied    with    Frau  Schumann ;  livi 
in  Vienna  and  makes  tours  thence. 

Eichberg  (Ikh'-berkh  or  ich'-biirg),  ( 
Julius,  b.  Dusseldorf,  June  13,  1824-, 
Boston,  Mass.,  Jan.  18,  1S93  ;  violi 
ist  and  notable  teacher  ;  c.  4  opere 
tas,  etc.  (2)  Oskar,  Berlin,  1845- 
1898  ;  singing-teacher,  conductc 
critic,  editor,  and  composer. 


1 


^ 


DICTIONARY  OF  MUSICIANS   493 


Eichborn  (ikh'-bom),  H.  L.,  b.  Bres- 
lau,  Oct.  30,  1847  ;  studied  pf.,  flute, 
trumpet,  horn,  etc.,  at  an  early  age  ; 
at  14  pupil  of  the  trumpeter  Ad. 
Scholz  ;  studied  theory  with  Dr.  E. 
Bohn  ;  became  a  Waldhorn  virtuoso; 
1882  inv.  the  Oktav  (or  soprano) 
Waldhorn  ;  wrote  musical  essays, 
etc.  ;  cond.  at  Gries,  near  Bozen  ; 
editor,  writer  and  composer. 

Eichhorn  (Ikh'-horn),  (i)  J.  Paul  E., 
1787 — 1833  ;  court-musician,  Coburg; 
his  sons  (2),  J.  G.  Ernst,  1822-44, 
and  (3)  J.  K.  Ed.,  1823-97,  per- 
formed on  the  vln.  respectively  at  6 
F     and  7. 

Eilers   (I'-lers),  Albert,  1831— Darm- 
■-        stadt,  1896  ;  basso  cantante. 
;:     Eisfeld    (Ts'-felt),    Th.,   Wolfenbiittel, 
»  I    April    II,    1816 — Wiesbaden,     Sept. 
r,|)ll     16  (?),  1882  ;  important  figure  in  New 
.lb  I   York  music  ;   184S-66  previously  con- 
ductor at  Wiesbaden  ;  then  of  "  Con- 
certs Viviennes,"  Paris. 

iissler  (Is'-ler),  (i)  Marianne,  b. 
Briinn,  Nov.  18,  1865  ;  violinist,  pu- 
pil of  Hessler  ;  her  sister,  (2)  Emma, 
is  a  pianist. 

iitner  (it'-ner),  Rob.,  b.  Breslau,  Oct. 
22,  1832  ;  pupil  of  Brosig  ;  1853, 
teacher  at  Berlin  ;  est.  a  pf.-sch., 
1863  ;  important  for  work  in  musical 
literature,  and  research  in  i6th  and 
17th  centuries,  Dutch  music,  etc.  ;  c. 
"Biblical  opera,"    ''Judith";   over- 

^ture  to  "■  Der  Cid"  y'etc. 

ilandi  (a-lan'-de),  Rita,  b.  Cincinnati, 
0.  ;  soprano ;  pupil  of  Marchesi, 
Paris  ;  sang  in  Italy,  Spain,  and  Ger- 
many ;  created  "  Santuzza  "  in  "/ 
Pagliacci"  in  English  with  Carl  Rosa 
Opera  Co.;  1900,  in  N.  Y.  with  Amer- 
ican Opera  Co. 
U'dering,  Bram,  b.  Groningen, 
Holland,  July  8,'  1865  ;  violinist ; 
studied  with  Poortmann,  Hubay,  and 
Joachim  ;  Konzertmeister  Berlin 
Philh.  ;  then  do.  in  Meiningen  ct.- 
chapel. 

^lers  (a-lers)  (called  El'erus),  Fz., 
Uelzen,  ca.  1500— 1590,  Hamburg  ; 
teacher,  director,  and  composer. 


Elewyck  (van  a -lii-vek),  Xavier  Vic- 
tor (Chevalier)  van,  Lxelles  les  Brux. 
elles,  Belgium,  1825 — in  an  insane 
asylum,  Zickemont,  1888  ;  writer. 

El'gar,  Edw.  Wm.,  b.  Broadheath, 
Worcester,  Engl.,  June  2,  1857;  im- 
portant English  composer,  violinist, 
and  organist  ;  cond.  Worcester  In- 
strumental Soc,  1882-S9  ;  1885-89, 
organist  at  St.  George's  ;  1S91,  lived 
in  Malvern  ;  c.  oratorio,  "  The  Light 
of  Life"  (1S96)  ;  "  7'he  Dream  of 
Geroiitius"  (1900);  2  cantatas;  a 
choral  suite  ;  concert  -  overtures, 
^'Froissart"  anA  "'Cockaigne"  (igoi); 
6  Scenes  from  the  Bavarian  High- 
lands, for  chorus  and  orch.  (1896)  ; 
Spanish  serenade  for  ch.  and  orch.  ; 
romance  for  vln.  and  orch.  ;  church- 
music  ;  pes.  for  vln.  and  pf.  ;  organ- 
sonata  ;  songs,  etc. 

Elias  (a-ll-as),  Salomonis,  monk  at 
Saint-Astere,  Perigord,  wrote  in  1274 
the  oldest  extant  book  of  rules  for  im- 
provised counterpoint. 

Elisi  (a-le'-ze),  Filippo,  Italian  tenor 
in  London,  1765. 

El'Ia,  John,  Thirsk,  Yorkshire,  1802— 
London,  1888  ;  violinist,  lecturer  and 
writer. 

El'ler,  Louis,  Graz,  i8ig— Pau,  1862; 
vln. -virtuoso;  c.  "  Valse  Diabolique" 
a  "Rhapsodic  Hongroise"  etc.,  for 
vln. 

El'lerton,  J.  Lodge,  Chester,  1807 — 
London,  1873  ;  dram,  composer. 

Elliott,  Jas.  Wm.,  Warwick,  Engl., 
Feb.  13,  1833  ;  pupil  of  Macfarren  ; 
organist  various  churches;  since  1874 
at  St.  Mark's,  London  ;  c.  2  operet- 
tas, etc. 

Ellis,  Alex.  J.,  London,  1814 — Ken- 
sington, 1890 ;  writer  on  musical 
science. 

Elmblad  (glm'-blat),  Jns.,  b.  Stock- 
holm, Aug.  22,  1853  ;  bass  ;  studied 
with  Stockhausen  and  Garcia  ;  1876, 
Wagner  chose  him  for  "  Donner " 
(Rheingold),  but  his  father,  a  prof,  of 
theology,  objected;  1880,  he  went  into 
opera  and  sang  in  various  cities,  as 
well   as   in    London    and    America  ; 


494 


THE    MUSICAL    GUIDE 


1896,  sang  "Fafner"  at  Bayreuth  ; 
since  1897  at  ct.-Th.,  Stockholm. 

Elmenreich  (el'-men-rlkh),  Albert, 
1856,  actor  in  the  Court  Th.  at 
Schwerin. 

Elsenheimer  (el'-zen-hl-mer),  Nicho- 
las J.,  b.  Wiesbaden,  1S66  ;  pupil  of 
his  father  and  of  Jakobsthal,  Strass- 
burg,  LL.D.,  Heidelberg;  1890, 
America  ;  1891,  prof,  at  Coll.  of  Mu- 
sic, Cincinnati ;  c.  cantata  "  Vale- 
rian" with  orch.  ''  Bels/iazzar,"  etc. 

Eisner  (els'-ner),  Jos.  Xaver,  Grott- 
kau,  Silesia,  1769 — Warsaw,  1854; 
writer  and  coniposer  of  19  operas. 

El'son,  Louis  Chas.,  b.  Boston,  April 
17,  1848  ;  writer  and  teacher  ;  pupil  of 
Kreissmann  (singing),  Boston,  and 
Gloggner-Castelli  (theory),  Leipzig  ; 
edited  the  Vox  Humana ;  then  on 
the  Music  Herald ;  for  years  critic 
of  the  Boston  Courier,  now  of  the 
Advertiser  ;  since  1881  prof,  of  theo- 
ry and  lecturer  on  the  orch.  and  musi- 
cal history  at  N.  E.  Cons.  ;  has  lect- 
ured on  music  with  much  success  ; 
pub.  "  Curiosities  of  Music  "  "  The 
History  of  German  Song"  "  The 
Theory  of  Music"  "  llie  Realm  of 
Musicy"  "  German  Songs  and  Song- 
7vriters,'^  "  European  Reminis- 
cences" "  Syllabus  of  Musical  His- 
tory" and  "  Great  Composers  and 
Their  IVor k  "  (iSgg),  '' The  National 
Music  of  America  (1900),  ''Home 
and  School  Songs  "y  c.  operettas, 
songs,  and  instr. -works  ;  transl.  and 
arranged  over  2,000  songs,  operas, 
etc. 

El'terlein,  Ernst   von.     Vide   gott- 

SCHALD. 

El'vey,  (i)  Stephen,  Canterbury,  1805 
— O.xford,  i860  ;  organist.  (2)  Sir 
George  (Job),  Canterbury,  1816 — 
Windlesham,  Surrey,  1893  ;  bro.  of 
above  ;  c.  oratorios. 

Elwart  (gl'-vart),  Antoine  Aimable 
Elie,  Paris,  1808 — 1877  ;  vioHnist 
and  dram,  composer. 

Emerson,  Luther  Orlando,  b.  Par- 
sonsfield,  Mass.,  Aug.  3,  1820  ;  cond. 
and  composer. 


Emery,  Stephen  Albert,  Paris, 
Maine,  Oct.  4,  1841 — Boston,  April 
15,  1891  ;  prof,  of  harm,  and  opt.; 
asst.-ed.  Musical  Herald ;  graceful 
composer  and  pop.  theorist. 

Emmerich  (em'-mer-lkh),  Robt., 
Ilanau,  1836 — Stuttgart,  1891  ;  com- 
poser. ; 

Encke  (enk'-e),  H.,  Neustadt,  Bava- i 
ria,  1811 — Leipzig,  1859;  pianist) 
and  composer.  . 

Enckhausen  (enk'-how-zen),  H.  Fr.,  i 
Celle,  1799 — Hanover,  1885;  court-l 
organist,  pianist  and  director. 

Engel  (,eng'-el),  (i)  Jn.  Jakob,  Par-i 
chim,  Mecklenburg,  1741— 1802  ;  dir. 
and  composer.  (2)  David  Hn.,; 
Neuruppin,  1816 — Merseburg,  1877;: 
organist,  writer  and  dram,  composer. 
(3)  K.,  Thiedenweise,  near  Hanover,; 
18 18 — suicide,  London,  1882  ;  organ-( 
ist  and  writer.  (4)  Gv.  Ed.,  K6-! 
nigsberg,  1823 — Berlin,  1895  ;  sing-l 
ing-teacher,  composer  and  theorist, j 
(5)  Pierre  Emile,  b.  Paris,  Feb.  15,; 
1847;  tenor;  studied  with  Duprez  j 
debut,  Th.  Italien,  1869;  then  sanj 
in  New  'Orleans,  Brussels,  and  sinc<' 
1889  at  Paris. 

En'na,   Aug.,  b.  Nakskov,   Denmark 
May  13,  i860;  grandson  of  an  Italia! 
soldier  in  Napoleon's  army  ;  son  of  1 
shoemaker  ;  self-taught  in  pf.  and  ini 
strumentation,    and    had    almost   n^' 
teaching  in  vln.  or  theory  ;  went  wit 
a    small    orch.    to    Plnland    (1880) 
played  various  insts.,  even  a  drum  hi- 
fore  a  circus-tent;  returned  to  Coper, 
hagen  ;  prod,   the  operetta  "^   Vi 
lage  Tale"  (18S0)  in    provincial    th( 
atres  ;  played  at  dancing-lessons,  an 
gave  pf. -lessons  at  12  cents  an  hour 
1883,    cond.    for   a    small    provinci; 
troupe,  for  which  he  wrote  act-tune 
and   10  overtures  ;  pub.    songs,   pf 
pes.,  an  orchl.  suite,  and  a  symphon;, 
this  gained  him,  through  Gade's  ii 
terest,  the   Ancker  scholarship,  enal 
ling  him  to  study  in  Germany  (i88f 
89).       After   producing   an    operet 
'' Areta"  be   prod,  with    unequalk 
succ.   for  a   Dane,  the  opera  "  T, 


t 


i 


DICTIONARY   OF  MUSICIANS  495 


I 


JVitch,"  1892,  at  the  R.  Opera  House, 
Copenhagen.  The  opera  "  C/tv/a- 
//■(Z "  (Copenhagen,  1894)  failed,  but 
1895,  with  new  cast,  was  succ.  as 
also  "  Aucassin  and  jVicoktte"  (Co- 
penhagen, i8g6 ;  Hamburg,  1897). 
Opera  ''  Ai^laia,"  in  MS.  Pub.  a 
vln. -concerto,  etc. 

E  noch    &    Co.,    London    music-pub. 
,  firm,  est.  1869. 

Epine  (de-la-pe'-ne),  Francesca  Mar- 
garita de  1'.,  extremely  popular 
Italian  singer  and  harpsichordist  in 
London,  from  ca.  169S — 1718,  when 
she  m.  Dr.  Pepusch  ;  her  sister  sang 
in  London  from  1 703-1 74S  as  Maria 
Gallia. 

Epstein  (ep'-shtin),  (i)  Julius,  b. 
Agram,  Aug,  14,  1832 ;  pupil  of 
Lichtenegger,  Halm  (pf.),  and  Ruti- 
natscha  (comp.)  ;  from  1867  prof,  of 
pf.  Vienna  Cons.  His  two  daugh- 
ters, (2)  Rudolfine  ('cellist),  and  (3) 
Eugenie   (violinist),    toured  Austria 

,  and  Germany,  1876-77. 

Erard  (a'-rir),  (i)  S^bastien,  Strass- 
burg,  April  5,  1752 — near  Paris,  Aug. 
5,  1831  ;  notable  piano-maker  and  in- 
ventor; inv.  a  "Clavecin  Mecan- 
ique  "  ;  the  "Piano  organise,"  fin- 
ally the  double-action  mechanism, 
which  made  a  new  instr.  of  the  harp 
(v.  D.  D.)  ;  perfected  in  1811  his 
greatest  achievement,  the  repetition 
action  of  the  piano  (v.  D.  d.).  His 
successor  as  a  piano-maker  was 
his  nephew,  (2)  Pierre  (1796 — 1S55), 
succeeded  by  Pierre  Schaffer(d.  1S7S); 
the  present  head  is  the  Count  de 
Franqueville. 

Eratosthenes,  Cyrene,  276 — Alex- 
andria, Egypt,  195  B.C.  ;  writer. 

Erb  (erp),  M.  Jos.,  b.  Strassburg, 
Oct.  23,  i860  ;  pupil  of  St.-Saens, 
Gigout,  and  Loret,  Paris  ;  now  lives 
in  Strassburg  as  teacher  and  or- 
ganist at  the  Johanniskirche  and 
the  Synagogue  ;  c.  a  symphony  ; 
a  symphonic  suite ;  sonatas  and 
"dram,  episode"  "  Der  letzte  Ruf" 
(Strassburg,  1895),  with  some  succ. 
etc. 


Er'ba,  Don  Dionigi,  nobleman  and 
composer  at  Milan,  1694 ;  Handel 
appropriated  some  of  his  best  works. 

Erbach  (er -bakh),  Chr.,  Algesheim, 
Palatinate,  ca.  1560 — Augsburg, 
1628  ;  composer  and  organist. 

Er'ben,  Robert  ;  1894,  conductor  at 
Frankfort-on-^L;  1896,  at  Mann- 
heim ;  prod,  the  succ.  i-act  opera 
'"Enoch  A)-den"  (Frankfort-on-^L, 
1895),  and  a  "fairy  comedy,"  ''Die 
Heinzelmiinuchen''  (Mayence,  1896). 

Erdmannsdorffer  (ert'-mans-derf-fer), 
(i)  Max,  b.  Nurnberg.  June  14, 
1848  ;  pupil  Leipzig  Cons.,  and  in 
Dresden  of  Rietz  ;  1871-80,  ct.-cond., 
Sondershausen  ;  1882,  dir.  Imp. 
Mus.  Soc.  at  Moscow,  and  prof,  at 
the  Cons.  ;  1885,  founded  a  students' 
orch.  society  ;  returned  to  Germany, 
cond.  the  Bremen  Philh.  Concerts  till 
1895  ;  1896,  cond.  Symphony  Con- 
certs St.  Petersburg  ;  i8q6,  cond.  at 
the  ct.-Th.,  Munich  ;  c.  "  Prinzessin 
Use"  "a  forest-legend";  and  other 
works  for  soli,  chor.  and  orch.;  over- 
ture to  Brachvogel's  " Narciss"  etc.; 
1874  he  m.  (2)  Pauline  Fichtner 
Oprawik,  b.  Vienna,  June  28,  1847 
(1851  ?) ;  pupil  of  Pirkhert  and  Liszt ; 
court-pianist. 

Erhard  (gr'-hart)  (called  Erhar'di), 
Laurentius,  b.  at  Hagenau,  Alsatia, 
1598  ;  cantor  at  Frankfort-on-Main, 
1640,  etc. 

Erk  (erk),  (i)  Adam  Wm.,  Herpf, 
Saxe-Meiningen,  1 779 — Darmstadt, 
1820 ;  organist  and  composer.  (2) 
Ludwig  (Chr.),  Wetzlar,  1807— Ber- 
lin, 1883  ;  son  of  above  ;  conductor. 
(3)  Fr.  Albrecht,  Wetzlar,  1809— 
Dusseldorf,  1879 ;  bro.  of  above  ; 
pub.  the  "  Lehrer  Comniersbiich" 
etc. 

Erkel  (er'-kel),  (i)  Franz  (or  Ferencz), 
Gyula,  Hungary,  Nov.  7,  18 10 — 
Pesth,  June  15,  1893  ;  the  father  of 
Hungarian  opera ,  conductor  and 
prof.,  composer  of  operas  incl. 
"  Hunyddy  Ldzld"  and  "Bank 
Ban."  (2)  Alexander  (or  Alexius), 
Pesth,    1846 — rgCK),   son    of    above ; 


496 


THE  MUSICAL  GUIDE 


dir.  of  Philh.  Cone,  Pesth,  1S75-93  ; 
1896,  dir.  Royal  Opera,  Pesth  ;  prod. 
opera  "  Tempefoi"  (Pesth,  1883). 
(3)  Gyula,  son  of  (i),  prof,  at  Acad, 
of  Mus.,  Pesth;  conductor  for  many 
years  at  R.  Opera. 

Erlanger  (er-lafi-zha),  (i)  Camille,  b. 
Paris,  May  25,  1863  ;  pupil  of  Delibes, 
Paris  Cons.  ;  1SS8  took  Grand  pri.v 
de  Rome  with  cantata  "  Velleda'';  c. 
symphonic  piece,  "Za  Chasse  Fan- 
tastiqtie" ;  dram,  legend,  "  Saini 
Julien  r Hospitaller""  {Vslxis,  1896); 
the  succ.  lyric  drama  ''  Kfnna)-ia" 
(Paris,  Op. -Com.,  1897),  etc.  (2) 
Baron  Fr6d6ric  d'  (pen-names  Fr. 
Regnal  or  Federico  Ringel),  son 
of  a  banker;  prod.  succ.  opera  "_/if- 
han  de  Saintrif  "  Hamburg  (1894), 
and  mod.  succ.  opera  "Inez  Alendo" 
(London,  1897). 

Er'ler,  (i)  Hermann,  b.  Radeberg, 
near  Dresden,  June  3,  1844;  1873 
est.  a  mus. -pub.  business  (now  Ries 
and  Erler) ;  editor  and  critic.  (2) 
Ernst  II.,  Duke  of  Saxe-Coburg- 
Gotha,  Coburg,  1818 — Keinhards- 
brunn,  1893  ;  dram,  composer.  (3) 
Fz.  Anton,  Georgenthal,  Bohe- 
mia, 1745 — Gotha,  1805  ;  violinist 
and  orch. -leader.  (4)  H.  Wm., 
Brunn,  18 14 — Nice,  1865  ;  vln. -vir- 
tuoso ;  toured,  then  lived  in  London  ; 
composer.  (5)  Heinrich,  b.  Dresden, 
Sept.  19,  1846;  nephew  of  above; 
pupil  of  Pesth  Cons.,  1872  ;  bar>'tone 
Leipzig  Th.,  then  studied  with  Reb- 
ling  and  became  tenor ;  1875.  Royal 
Opera,  Berlin.  (6)  Alfred,  ca.  1855 
— Paris,  1898  ;  writer. 

Errani  (er-ra-ne),  Achille,  Italy,  1823 
— New  York,  1897  ;  operatic  tenor 
and  notable  singing-teacher  in  N.  Y. 

Errera  (er-ra'-ra),  Ugo,  b.  Venice,  Oct. 
25,  1843  ;  composer. 

Ert'mann,  Baroness,  ca.  1778 — Vien- 
na, 1848  ;  pianist ;  intimate  friend  of 
Beethoven. 

Eschmann  (esh'-man),  Jn.  K.,  Win- 
terthur,  Switzerland,  1826 — Zurich, 
1882  ;  pianist,  teacher  and  composer 
at  Leipzig. 


Escudier  (es-kiid-ya),  two  brothers, 
of  Castelnaudary,  Aude,  (i)  Marie, 
1819 — 1880,  arid  (2)  L6on,  1821— 
Paris,  1881  ;  journalists. 

Eslava  (es-la-va),  Don  Miguel  Hi- 
lario,  Banlada,  Navarra,  1S07 — Ma- 
drid, 1878  ;  court-conductor,  editor 
and  theorist. 

Espagne  (es-pakh'-ne),  Fz.,  Munster, 
Westphalia,  1S28 — Berlin,  1878  ;  di-. 
rector  and  editor. 

Es'ser,  H.,  Mannheim,  1818 — Salz-t 
burg,  1872  ;  court-conductor.  ' 

Es'sipoff  (or  Essipova)  (es-sl-pof'-a),! 
Annette,  b.  St.  Petersburg,  Feb.  i,; 
1851  ;  pianist;  pupil  of  Wielhorski; 
and  Leschetizky,  whom  she  m.  1880  j 
debut,  1874,  St.  Petersburg;  tourec 
Europe  with  great  succ.  ;  tourec 
America  (1876) ;  18S5,  pianist  to  th( 
Russian  Court ;  1893,  pf.-prof.  St 
Petersburg  Cons. 

Este  (or  Est,  East,  Easte),  (i 
Thomas,  London  music-printer 
ca.  1550— 1625.  (2)  Michael,  soi 
of  above  ;  17th  cent,  composer. 

Esterhazy  (esh'-ter-ha-ze),  Coun 
Nicholas,  1839— Castle  Totis,  Hun' 
gary,  1897  ;  generous  patron  of  mi; 
sic. 

Estwick,  Rev.  Sampson,  D.D. 
1657 — 1739;  English  composer. 

Ett  (et),  Kaspar,  Erringen,  Bavarij 
1788 — Munich,  1S47  ;  court-organi; 
and  composer. 

Eulenburg  (tsoo  oi'-len-boorkh),  Ph 
Graf  zu,  b.  Konigsberg,  Feb.  i; 
1847  ;  Royal  Prussian  Ambassado 
Stuttgart;  c.  songs  (words  and  music 

Eulenstein  (oi'-len-shtin),  Chas 
b.  Heilbronn,  Wiirtemberg,  1802 
virtuoso  on  the  Jew's  harp  and  guita 

Euler  (oi'-ler),  Leonhardt,  Base 
1707 — St.  Petersburg,  1783  ;  acoust 
cian. 

Euter'pe,  patroness  of  flute-playei  , 
the  Muse  of  Music.  .    | 

Evans,  Chas.  S.,  1778—1849;  En  | 
lish  alto  and  composer. 

Everard  (ev-u-rar),  Camille  Frai 
b.  Dinant,  Belgium,  Nov.  15,  182. 
basso  ;  pupil  of  Liege  Cons.,  Pa 


DICTIONARY  OF  MUSICIANS    497 


OH,  B 

iiposei. 
:n,Baf 

jlllt-OIJ 

wtkll 
..  FA 


Cons.  (Ponchard),  and  of  Rossi  and 
Manzini,  Naples  ;  sang  Naples,  1847- 
50  ;  studied  with  I,amperti ;  sang  in 
various  cities  ;  1S70-90,  prof,  of  sing- 
ing St.  P.  Cons. ;  1890,  Kiev  Conser- 
vatoire. 

Evers  (a'-vers),  K.,  Hamburg,  18 19 — 
Vienna,  1875  ;    pianist  and  composer. 

Evesham   (evz'-am).    Monk  of.     Vide 

ODIN'GTON. 

Ew'  er  &  Co.,  London  mus. -publish- 
ers;  founded  1820  by  J.  J.  Ewer, 
succeeded  by  E.  Buxton  ;  i860,  W. 
Witt ;  1S67,  became  Novello,  Ewer 
&Co. 

iweyck  (a'-vik),  Arthur  van,  b.  Mil- 
waukee, U.  S.  A.,  May  27,  1866; 
studied  with  Felix  Schmidt,  Berlin, 
where  he  lives  as  concert  and  oratorio 
barytone. 

iximenio  (ex-!-ma'-n!-6).  Ant,,  Bal- 
bastro,  Aragon,  1732 — Rome,  1798  ; 
Jesuit  priest  ;  had  historical  contro- 
versy with  Padre  Martini. 
ybler  (i'-bler),  Jos.  (later,  in  1834, 
Edler  von  Eybler),  Schwechat,  near 
Vienna,  1765 — Schonbrunn,  1846  ; 
conductor  and  composer. 

iyken  (T'-ken),  (i)  Simon  van  (or 
Eycken ;  du  Chesne).  Vide  quer- 
cu.  (2)  (Eijken),  Jan  Albert  van, 
Amersfoort,  Holland,  1822 — Elber- 
feld,  1868  ;  organist  and  composer ; 
c.  valuable  chorals,  etc.  (3)  Gerard 
Isaac  van,  bro.  of  above  ;  organist 
and  teacher  at  Utrecht  from  1855. 
;ymieu  (em'-yii),  Henri,  b.  Saillans 
Drome,  France,  May  7,  i860  ;  a  law- 
yer, but  studied  with  E.  Gazier 
(theory)  and  Widor  (comp.)  ;  now 
lives  in  Paris  as  writer  and  critic  for 
"Z^  Mhtestrel"  etc.  ;  c.  a  stage- 
piece,  "  Un  Mariage  sous  Ne'ron" 
(Paris,  1898),  and  an  oratorio,  "  Alar- 
theet  Marie '\A.smh.xes,  1898),  etc. 


aber  (fa'-bgr),  (i)  Nikolaus  (Nicol), 
priest  at  Halberstadt,  1359-61,  built 
there    what    is    considered   the   first 


organ  made  in  Germany.  (2)  Niko- 
laus (II.),  a  native  of  Botzen,  Tyrol ; 
pub.  ''  Rudimenta  miisicae,"  Augs- 
burg, 1516.  (3)  Heinrich,  "  Magis- 
ter,"  d.  Lichtenfels,  Oelsnitz,  Saxony, 
1552  ;  rector  of  a  school,  whence  he 
was  expelled  for  satirical  songs 
against  the  Pope  ;  then  rector  of 
Brunswick  ;  pub.  a  pop.  book  of  ru- 
diments. (4)  Benedikt,  Hildburg- 
hausen,  1602 — Coburg,  1631  ;  com- 
poser. 

Fabozzi  (fa-bod'-ze),  Genaro,  b. 
Italy ;  blind  pianist ;  court-pt.  to 
Dowager  Queen,  prof,  at  Inst,  for 
Blind,  Naples. 

Fabio.     Vide  ursillo. 

Fabri  (fa'-bre),  (i)  Stefano  {il  mag- 
gioi-e),  b.  Rome,  ca.  1550;  1599 — 
1601,  conductor.  (2)  Stefano  (il 
minore),  Rome,  1606— 1658  ;  conduc- 
tor and  composer.  (3)  Annibale  Pio 
(called  Balino),  Bologna,  1697 — Lis- 
bon, 1760  ;  tenor,  etc. 

Fabricius  (fa-bre'-tst-oos),  ( i)  Werner, 
Itzehoe,  1633 — Leipzig,  1679  ;  com- 
poser. (2)  J.  Albert,  Leipzig,  1668 — 
Hamburg,  1736,  son  of  above  ;  pro- 
fessor. 

Faccio  (fat'-cho).  Franco,  Verona, 
March  8,  1841— Monza,  July  23, 
1891  ;  an  important  composer;  criti- 
cised as  Wagnerite  ;  -notable  cond.  ; 
prof,  at  Milan  Cons,  (harmony,  later 
cpt.)     Vide  BOITO. 

Faelten  (fel'-ten),  K.,  b.  Ilmenau, 
Thuringia,  Dec.  21,  1846;  studied  as 
a  school-boy  with  Montag ;  for  6 
years  orchestra-violinist  ;  1867  studied 
with  J.  Schoch,  Frankfort,  and  was 
for  10  years  friend  of  Raff  ;  1868-82 
Frankfort ;  1878  Hoch  Cons.  ;  1882- 
85  Peabody  Institute,  Baltimore, 
U.  S.  A.  ;  1885-97  N.  E.  Cons., 
Boston  ;  dir.  1890-97  ;  1897  founded 
the  Faelten  Pf. -School  (Teachers' 
Seminary),  at  Boston ;  pub.  text- 
books. 

Fago  (fa -go),  Nicola  (called  "  II  Ta- 
rentino"),  Tarento,  1674 — 1730  (?)  ; 
c.  oratorio,  masses ;  prod,  several 
very  succ,  operas. 


498 


THE    MUSICAL    GUIDE 


Fahrbach  (far'-bakh),  (i)  Jos.,  Vienna, 
1804 — 1883  ;  flutist,  conductor,  and 
composer.  (2)  Ph.  (Sr.),  Vienna, 
1815 — 1885  ;  conductor  and  dram, 
composer.  (3)  Wm.,  Vienna,  183S 
— 1806  ;  conductor  and  composer. 
(4)  Ph.  (Jr.),  Vienna.  1843— 1894  ; 
son  of  (2);  conductor. 

Faignient  (fln-yan),  Noe,  b.  Antwerp, 
ca.  1570,  Flemish  contrapuntist. 

Fair  lamb,  J.  Remington,  b.  Phil- 
adelphia, Jan.  23,  1837  ;  studied  in 
Paris  and  Florence  ;  4  years  in  Zurich 
as  consul  ;  organist  Phila.,  etc.,  and 
from  1884  New  York,  St.  Ignatius  ; 
c.  grand  opera  "  VaUrie"  (MS.), 
etc. 

Faiszt  (fist),  Immanuel  G.  Fr.,  Es- 
sligen,  Wiirtemberg,  1823 — Stutt- 
gart, 1894  ;   organist. 

Falcke  (falk),  Henri,  Paris,  1866— 
May,  1901;  pupil  of  Saint-Saens, 
Massenet,  Dubois,  and  Mathias,  Paris 
Cons.  ;  won  ist  prizes  in  pf.  and 
harm.  ;  studied  in  Germany  ;  pub.  a 
useful  text-book  on  arpeggios. 

Falcon  (fal-koh),  M.  Corn61ie,  Paris, 
18 12 — 1897  ;  soprano  singer. 

Faliero  (fal-T-a'-ro),  Nina,  b.  Naples, 
April  10,  1878  ;  studied  with  Mme. 
Kraus ;  toured  widely  in  concert ; 
lives  at  Geneva. 

Falk  Mehlig(falk  ma'-ltkh),  Anna,  b. 
Stuttgart,  June  11,  1846;  studied  at 
the  Cons.,  also  with  Liszt ;  toured  as 
concert  pianist  throughout  Germany, 
England,  and  America  ;  court-pianist 
to  the  king  of  Wiirtemberg. 

Faltin  (fal'-ten),  R.  Fr.,  b.  Danzig, 
Jan.  5,  1835  ;  pupil  of  Markell, 
Schneider,  and  Leipzig  Cons.  Since 
1869  lives  at  Helsingfors,  Finland,  as 
cond.;  pub.  ''Finnish  Folk-Songs" 
and  a   "  Finnish  Song-Book." 

Faminzin  (fa-men'-tsen),  Alex.  Ser- 
gievitch,     Kaluga,     Russia,    1841 — 
Ligovo,  near   St.   Petersburg,   1896 
critic  and  dram,  composer. 

Fan'ing,  Eaton,  b.  Helston,  Cornwall 
May  20,  1850  ;  pupil  of  the  R.  A.  M. 
took  Mendelssohn  Scholarship  it 
1873  and  the  Lucas  Medal  in  1876 


1894  Mus.  Bac,  Cantab.;  since  1885 
dir.  music  at  Harrow  School  ;  c.  3 
operettas,  cantata  for  female  voices, 
symphony  in  C  minor,  overture,  "  The 
Holiday"  etc. 

Farabi.     Vide  alfarabi. 

Fargas  y  Soler  (far -gas  e  s6-lar'), 
Antonio,  Spanish  writer,  pub.  ''  Bi- 
ograjias  de  los  liliisicos"  etc.  (issued 
since  1866,  in  parts),  etc. 

Farinel'li,  (i)  Carlo  Broschi  (bros'- 
ke),  Naples,  June  24,  1705 — Bologna, 
July  15,  1782  ;  famous  male  soprano; 
debut  1722  at  Rome  ;  he  sang  with 
the  utmost  brilliancy  and  success,  be- 
ing only  once  overcome  by  a  rival 
(Bernacchi)  from  whom  he  immedi- 
ately took  lessons  ;  he  joined  the  op- 
position to  Handel  in  London,  and 
Handel  went  into  bankruptcy  and 
took  to  oratorio.  He  amassed  great 
wealth  and  became  the  chief  adviser 
of  Philip  V.  of  Spain ;  biog  by 
Sacchi  (Venice,  1784).  (2)  Giu., 
Este,  1769 — Trieste,  1836  ;  org.  ;  c. 
60  operas. 

Farkas  (far'-kash),  Edmund  (Hung., 
Odon),  b.  Puszta-Monostor  (Heves), 
Hungary,  1852  ;  important  figure  in 
national  Hungarian  music  ;  of  noble 
family,  intended  to  be  a  civil  engi- 
neer ;  but  studied  3  years  at  the  R. 
Mus.  Acad.,  Pesth  ;  next  year  be- 
came dir.  at  the  Cons,  at  Klausen- 
burg,  Transylvania ;  was  for  a  time 
op.  cond.  and  wrote  mus.  articles; 
1876,  while  still  studying  engineering, 
he  prod,  a  i-act  opera  '  Bayad^r" 
(Pesth)  ;  won  the  Haynald  prize  of 
300  florins  with  a  mass  ;  c.  also 
mixed  choruses,  and  the  orch.  works  : 
'' Daivn"  {Virradat),  ''Evensong" 
{Estidal),  "  Tivilight"  {Alkony),' 
and  "  Dies  irce"  ;  a  pop.  symphony 
and  5  string-quartets  ;  a  prize  "  Fest-' 
onverttire"  ;  and  the  operas  "  Fairy ^ 
fountain"  {Tilnderhorrds),  i-act, 
(Klausenburg,  1892);  "The  Peni- 
ient"{Vesekldk)  (Pesth,  1893);  " Ba- 
lassa  Balint"  comic  (Pesth,  1896); 
and  "  The  Blood-ordeal"  {Tetemre 
Hit'ds)  (not  prod.). 


■n 


rn 


DICTIONARY  OF  MUSICIANS 


499 


Far'mer,  (i)  H.,  Nottingham,  England, 
1819 — 1891  ;  violinist  and  organist. 
(2)  J.,  Nottingham,  Aug.  16,  1836— 
July,  igoi;  nephew  of  above;  pupil  of 
Leipzig  Cons,  and  of  Spath;  teach- 
er in  Zurich  for  some  years  ;  1862-85 
mus. -master  at  Harrow  School,  then 
organist  at  Balliol  Coll.,  O.xford, 
where  he  founded  a  mus.  society ; 
edited  song-books,  etc.;  c.  an  orato- 
rio ;  a  fairy  opera  ;  comic  cantata  ;  a 
requiem,  etc. 

Far'naby,  Giles,  English  composer, 
1580-98. 

Far'rant,  (i)  John,  English  organist, 

ca.  1600.  (2)  John,  English  organist, 

'^^'   [    Salisbury  cath.,  ca.  1600.     (3)  Rich- 

^  Jj   ard,  d.  Nov.  30,   1580;  English   or- 

.  J-  i    ganist     and     notable    composer    of 

church-music. 

Farrenc  (far-rank),  Jacq.  Hipp, 
Aristide,  Marseilles,  i  794 — Paris, 
P  1865  ;  teacher  and  composer.  (2) 
Jeanne  Louise  (nee  Dumont), 
Paris,  1804 — 1875  ;  wife  of  above, 
pf. -professor. 

Harwell,  Arthur,  American  composer; 
pupil  of  H.  A.  Norris,  Boston,  and  of 
Humperdinck ;  founded  at  Newton 
Center,  Mass.,  1901,  the  "  Wawan 
Press  "  for  the  artistic  pub.  of  supe- 
rior comps.  by  Americans  ;  c.  ballade 
for  vln.  and  pf.,  and  songs,  etc. 

'asch  (fash),  (I)  Jn.  Fr.,  Buttlestadt, 
near  Weimar,  1688— Zerbst,  1758  (?); 
court-conductor,  composer.  (2)  K. 
Fr,  Chr.,  Zerbst,  1736  —  Berlin, 
1800  ;  cembalist ;  son  of  above  ;  con- 
ductor. 

'auchey  (fo-she),  Paul,  former  "chef 
du  chant,"  Op.  Com.  Paris  ;  prod, 
comic  opera,  1897. 

'augues,  Vincent  (or  Fauques,  Fa'- 
gus,  La  Fage)  (fog;,  fok,  la  fazh), 
15th  cent,  contrapuntist. 

•aure  (foi),  J.  Bapt,,  b.  Moulins, 
Alher,  Jan.  15,  1830  ;  1841,  Paris 
Cons.;  choir-boy  at  the  Madeleine, 
and  studied  with  Trevau.x  ;  took  ist 
prize  for  comic  opera  ;  1852-76,  at 
the  Op  Com.  as  leading  barytone 
with  great  succ;  1857,  teacher  in  the 


Cons.;  since  1876  sang  in   concert  ; 
pub.  "  L'Ari  du  Chant." 
Faure  (fo-ra),  Gabriel  Urbain,  b.  Pa- 

miers,  Ariege,  May  13,  1845  ;  pupil 
of  Niedermayer,  Dietsch,  and  Saint- 
Saens ;  1866,  organist  at  Rennes, 
then  at  St.-Sulpice  and  St.-Honore  ; 
1885  took  Pri.\  Chartier  for  chamber- 
music  ;  1896  organist  at  the  Made- 
leine, and  prof,  of  comp.,  cpt.,  and 
fugue  at  the  Cons,  (vice  Massenet) ; 
c.  i-act  opera  ''  L Organiste"  (1S87); 
"  La  Naissance  de  VeJius"  for  soli, 
chorus,  and  orch.;  '' Chaur  de 
Djinns  "  /  requiem;  symphony  ;  vln.- 
concerto  ;  ^orchestral  suite  ;  2  pf.- 
quartets  ;  Ele'gie,  for  'cello  ;  Berceuse 
and  Romance,  for  vln.  and  rch.,  a 
vln. -sonata  (1878),  etc. 

Faust  (fowst),  K.,  Neisse,  Silesia, 
1825 — Bad  Cudowa,  1892  ;  bandm. 
and  composer. 

Faustina.     Vide  hasse,  Faustina. 

Favarger  (fa-var-zha),  Rene,  Paris, 
1815 — Etretat,   1868;  composer. 

Favre  (favr),  Jules.     Vide  v.  m.  wat- 

SON. 

Faw'cett,(i)  J., Kendal,  England,  1789 
— Bolton,  Lancashire,  1867  ;  teacher 
and  composer.  (2)  J.  (jr.),  Bolton, 
1824 — Manchester,  1887, son  of  above; 
organist  and  composer. 

Fay,  Amy,  b.  Bayou  Goula,  Miss.,  May 
21,  1844  ;  pianist  and  teacher,  Chica- 
go ;  pupil  of  Tausig,  Kullak,  Liszt  ; 
wrote  the  popular  "  Music-Study  in 
Germany"  (Chicago,  188 1). 

Fayolle  (fl-yol),  Fran.  Jos.  M.,  Paris, 
1774 — 1852  ;  mus.  biographer  and 
lexicographer. 

Fayr'fax,  Robt,,  Mus.  Doc,  Cantab 
and  Oxon,  1 504-11  ;  organist  and 
composer. 

Fechner  (fekh'-ner),  Gv.  Th.,  Gross- 
Sarchen,  Niederlausitz,  1801 — Leip- 
zig, 1S87  ;  writer. 

Fedele  (fa-da'-le).     Vide  treu. 

Federici  (fa-da-re'-che),  V.,  Pesara, 
1764 — Milan,  1827;  went  to  London, 
where  he  became  cembalist  ;  returned 
to  Italy  in  1S03  and  prod,  many  succ. 
operas. 


500 


THE  MUSICAL  GUIDE 


Federlein  (fa -d^r-lln),  G.  (H.),  b. 
Neustadt-an-der-Aisch,  near  Nlirn- 
berg,  Nov.  5,  1835  ;  pupil  of  Munich 
Cons.;  lives  in  New  York;  singing- 
teacher,  composer  and  writer. 

Felstein  (fel'-shtin)  (called  Felsti- 
nen'sis),  Sebastian  von,  ca.  1530; 
church-conductor  and  composer,  Cra- 
cow. 

Feltre  (du  fel'tr),  Alphonse  Clarke, 
Comte  de,  Paris,  1806 — 1850  ;  dram, 
composer,  etc. 

Fenaroli  (fa-na-ro'-le),  Fedele,  Lan- 
ciano,  Abruzzi,  1730 — -Naples,  1818; 
teacher  and  composer. 

Fen'ton,  Lavinia,  d.  Greenwich,  1760 ; 
singer  and  actress  at  London. 

Feo  (fa -6),  Francesco,  b.  Naples,  ca. 
1685  ;    composer  and  teacher. 

Ferlen  dis ,  b.  Rome,  ca.  1778  ; 

operatic  contralto. 

Fer(r)abosco  (fer-ra-bos'-ko),  (i)  Al- 
fonso, Italy,  1515;  c.  madrigals.  (2) 
Dom.  M.,  Rome,  i6th  cent.,  mem- 
ber Papal  Choir ;  composer.  (3) 
Costantino,  court-musician  and 
composer  at  Vienna,  159 1.  (4)  Al- 
fonso, Greenwich,  England,  ca.  1580 
— 1652  ;  probably  son  of  (i)  ;  com- 
poser. (5)  John,  d.  1682,  son  of 
(4) ;  organist  Ely  Cathedral. 

Ferrari,  (i)  Benedetto  (called  del- 
la  Tiorba  "the  theorbist ")  (fer- 
ra'-re  del-la  te-6r'-ba),  Reggio  d'Emi- 
lia,  1597 — Modena,  168 1  ;  court-con- 
ductor and  dram,  composer.  (2) 
Domenico,  Piacenza,  (?) — Paris, 
1780 ;  violinist,  conductor  and  com- 
poser. (3)  Carlo,  Piacenza,  ca. 
1730 — Parma,  17S9,  bro.  of  atjove  ; 
'cellist.  (4)  Giacomo  Gotifredo, 
Roveredo,  Tyrol,  1759 — Eondon, 
1842  ;  cembalist,  writer,  teacher,  and 
composer.  (5)  Francisca,  Chris- 
tiania,  ca.  1800 — Gross-Salzbrunn, 
Silesia,  1S2S ;  harpist.  (6)  Sera- 
fino  Amadeo  de',  Genoa,  1824 — 
1885  ;  pianist  and  dram,  composer. 
(7)  Carlotta,  b.  Lodi,  Italy,  Jan.  27, 
1837  ;  pupil  of  Strepponi  and  Panzi- 
ni  (1844-50)  of  Mazzucato  at  Milan 
Cons.;  wrote  text  and  music  of  succ. 


operas  "  Ugo"  (Milan,  1857);  "  iim 
Jia"  (Lodi,  1866);  ''Eleanora  d'- 
Arborea"  (Cagliari,  1871)  ;  also 
masses  ;  a  Requiem  for  Turin,  1868, 
etc. 

Ferreira  (fer-ra'-e-ra),  Da  Costa,  Rod- 
rigo,  d.  1834(37?);  Portuguese  writer. 

Fer(r)et  ti,  Giov.,  b.  Venice,  ca.  1540; 
composer. 

Ferri  (fer'-re),  (i)  Baldassare,  Peru- 
gia, 1610 — Sept.  8,  16S0;  one  of  the 
most  gifted  and  successful  of  singers ; 
through  a  boyhood  accident  became 
a  male  soprano  ;  possessed  extraor- 
dinary endurance  of  breath,  flexibil- 
ity of  voice,  and  depth  of  emotion 
at  65  returned  to  Perugia  ;  on  hi: 
death  left  600,000  crowns  for  a  pioui 
foundation.  (2)  Nicola,  Mola  d 
Bari,  Italy,  1831 — London,  18S6 
Naples,  singing  teacher  and  dram 
composer. 

Ferrier  (fer-rl-a),  Paul  Raoul  Mi 
chel  M.,  b.  Montpelier,  March  28 
1843  ;  c.  light  operas  for  Paris. 

Ferron  (fer'-ron),  Ad.,  1892,  conduc 
tor  Th.  Unter  den  Linden,  Berlin' 
1897  at  Carl  Th.,  Vienna;  prod.  £ 
Berlin  the  burlesque  '^  Adam  tin 
Eva"  (1891),  and  other  operettas. 

Ferro'ni,  V,  Emidio  Carmine,  1 
Tramutola,  Italy,  Feb.  17,  1858  ;  pup 
Paris  Cons.;  ist  prize  in  harm,  an 
comp.,  1880-83  ;  1881,  asst.-prof.  < 
harm,  at  the  Cons.  ;  since  1888  pro 
of  comp.  at  Milan  Cons.,  and  mu 
dir.  of  the  "  Famiglia  Artistica 
1897,  Chevalier  of  the  Ital.  Crowr, 
c.  operas  ''  Hudello"  (Milan,  1892 
and  (text  and  mus.  of)  ''  Etlore  Ft 
ramosca"  (Como,  1896). 

Fes'ca,  (i)  Fr.  Ernst,  Magdebur 
1789 — Carlsruhe,  1826;  violinist  ai 
composer.  (2)  Alex.  Ernst,  Car 
ruhe,  May  22,  1S20 — Brunswick,  Fe 
22,  1859  ;  son  of  above  ;  brilliant  ], 
anist  and  dram,  composer. 

Fes'ta,  (i)  Costanzo,  Rome,  ca.  14 
— April  10,  1545  ;  singer  and  cont; 
puntist.  (2)  Giu.  M.,  Trani,  1771 
Naples,  1839 ;  violinist,  conduc ' 
and     composer.       (3)    Frances* 


I 


DICTIONARY  OF  MUSICIANS    50] 


Naples,  1778 — St.  Petersburg,  1836  ; 
operatic  singer  ;  m.  Maffei. 
est  ing,  Michael  Christian,  Lon- 
don (?)  16S0 — 1752  ;  son  of  a  flutist, 
of  same  name  ;  conductor,  violinist, 
and  composer. 

eszler  (fesh'-ler),  Eduard,  b.  Neu- 
berg,  Bavaria,  Oct.  5,  1841  ;  oper- 
atic bary-tone  ;  studied  with  Fz. 
Hauser,  Munich. 

6tis  (fa-tes),  (i)  Fran9ois  Joseph, 
Mons,  Belgium,  March  25,  1784 — 
Brussels,  March  26,  187 1  ;  indefatig- 
able scholar  and  historian  ;  he  worked 
16-18  hours  a  day  ;  his  father,  organ- 
ist and  conductor  at  the  Cathedral, 
was  his  first  teacher  ;  he  learned  the 
vln.,  and  c.  at  9  a  concerto  for  vln. 
and  orch. ;  the  same  year  became  or- 
ffanist  to  the  Noble  Chapter  of  Saint 
Waudra  ;  1800-03  in  the  Paris  Cons.; 
1803,  Vienna,  for  study  of  fugue,  and 
master-work  of  German  music  ;  here 
began  an  investigation  of  Guido 
d'Arezzo's  system  and  the  history  of 
notation.  1804  he  started  a  short-lived 
mus.  periodical.  1806  he  began  the 
30  years'  task  (still  unpub.)  of  revis- 
ing the  plain-song  and  entire  ritual  of 
the  Roman  Church.  He  m.  a  wealthy 
woman,  and  was  enabled  to  pursue 
his  studies  comfortably  till  1811, 
when  her  fortune  was  lost.  He  re- 
turned to  the  Ardennes  and  made  re- 
searches into  harmony,  which  led  to 
his  formulating  the  modern  theor}-  of 
tonality.  18 1 3,  organist  and  teacher 
at  Douai ;  wrote  "  La  Science  de 
r  Organist"  and  "  Me'tkode  (/le'men- 
taire  d'harmonie  et  d'accompagne- 
inent."  1818,  Paris,  where  he  prod, 
various  operas  with  succ.  182 1, 
prof,  of  comp.  at  the  Cons.,  later  li- 
brarian. 1827-35  founded  and  edit- 
ed "  Za  Revue  Musicale."  In  1832 
began  historical  lectures  and  concerts. 
1833,  cond.  to  King  Leopold  L, 
Brussels,  and  for  39  years  dir.  of  the 
Cons.  Cond.,  and  1845  member  of, 
the  Belgian  Academy.  On  his  wed- 
ding-jubilee a  Mass  of  his  was  sung, 
and  his  bust  was  unveiled.     In  1806, 


he  began  collecting  and  preparing  for 
his  great  ^'  Biograp/iie  totiTerselle des 
musiciens  et  bibliographic  ge'ne'rale  de 
la  mttsique  "  in  8  volumes  (1837-1844). 
This  invaluable  monument  is,  hke 
everj'thing  else  of  its  kind,  bristling 
inevitably  with  error,  bias,  and  excess  ; 
yet  is  a  standard  of  highest  repute. 
Pub.  many  treatises  and  c.  6  operas 
(1820-32);  2  symphonies,  an  overture 
for  orch.;  masses,  a  requiem,  motets, 
etc.  Biog.  in  his  Dictionary  by  I-. 
Alvin  (Brussels,  1874) ;  and  Gollmick 
(Leipzig,  1852).  (2)  Ed.  L.  Fran., 
b.  Bouvignes,  near  Dinant,  May  16, 
1812 ;  son  of  above  ;  editor ;  for 
years  libr.,  Brussels  Library;  pub. 
''  Les  tiiKsicictis  Beiges"  (1848).  (3) 
Adolphe  L.  Eugene,  Paris,  1820 — 
1873  ;  son  and  pupil  of  (1) ;  pianist, 
teacher  and  dram,  composer. 
Feurich  (foi'-rlkh),  Julius,  Leipzig, 
1 82 1  —  I  goo;  founded  pf.  factory, 
1851. 
Fevin  (fu-vah).  Ant.  (Antonius)  de, 
ca.  1490  (?)— 1515  (?)  ;  Netherlandish 
(?)  contrapuntist  ;  contemporary  with 
Josqum  Despres,  and  rated  second 
only  to  him.  (2)  Robert  (Robertus), 
Cambrai,  15th  cent. ;  c.  masses. 
Fiala  (fe'-a-la),  Lobkowitz,  Bohemia, 
1749 — Donauschingen,  1816;  oboist, 
"cellist,  composer,  and  conductor. 
Fibich  (fe'btkh),  Zdenko,  Seborschitz, 
Bohemia,  Dec.  21,  1850 — Prague, 
Oct.  1900  ;  pupil  at  Prague,  Leipzig 
Cons.  (1865),  and  of  Lachner ;  1876 
asst.  cond.  at  the  National  Th., 
Prague ;  1878,  dir.  Russian  Church 
Choir ;  notable  Czech  dram,  com- 
poser. Prod,  at  Prague  6  operas  incl. 
'■' Sarka"  (1898);  c.  the  symphonic 
poems  ''Othello"  "  ZaboJ  and  Sla- 
voj"  "  Toman  and  the  N'ymph" 
and  ''Vesna";  "  I.ustspiel  Ouver- 
tiire"  etc.  "^  Alight  on  Kaarl- 
stein"  and  other  overtures. 
Fiby  (fe'-be),  Heinrich.b. Vienna,  May 
15,  1834;  pupil  of  the  Cons.;  from 
1857  city  mus.  dir.,  Znaim  ;  founded 
a  music-school  and  a  society ;  c.  3 
operettas  ;  pop.  male  choruses,  etc. 


502 


THE  MUSICAL  GUIDE 


Ficher  (fekh'-er),  Fd.,  Leipzig,  1821 
— New  York,  1865  ;  pianist  and  com- 
poser. 

Fiedler  (fef -ler),  August  Max,  b.  Zit- 
tau,  Dec.  3,  1859  '<  piano  pupil  of  his 
father,  and  studied  organ  and  theory 
with  G.  Albrecht ;  1877-80  Leipzig 
Cons. ;  won  the  Holstein  Scholarship  ; 
since  1882  teacher,  Hamburg  Cons.; 
c.  a  symphony,  etc. 

Field,  (i)  John,  Dublin,  July  16,  1782— 
Moscow,  Jan.  i  r,  1837  ;  a  great  though 
gentle  revolutionist  of  music,  to  whom 
much  of  Chopin's  glory  belongs,  for 
Field  developed  the  more  lyric  manner 
of  pf.-playing  and  carried  it  into  his 
ccmposition,  in  which  he  gave  the 
piano-song  or  poem  its  first  escape 
from  the  old  stiff  forms.  He  created 
the  Nocturne,  and  many  of  hiscomps. 
in  this  form  have  practically  every 
quality  and  mannerism  characteristic 
of  those  of  Chopin,  who  excelled  him 
in  passion,  resource,  and  harmonic 
breadth.  He  was  the  son  of  a  violinist, 
and  grandson  and  pupil  of  an  organ- 
ist, who  compelled  him  to  practise 
so  hard  that  he  ran  ^way,  but  was 
brought  back  and  later  was  appren- 
ticed to  Clementi  as  a  salesman.  He 
also  had  lessons  from  C,  and  went 
with  him  to  Paris  in  1802,  making  a 
great  stir  with  his  interpretation  of 
Bach's  and  Handel's  fugues  ;  he  was 
kept  at  his  salesman's  tasks  till  1804, 
when  he  settled  at  St.  Petersburg  as 
a  teacher  and  pianist  of  great  vogue. 
After  touring  Russia,  in  London,  1832, 
he  played  a  concerto  of  his  own  at 
the  Philh.;  then  to  Paris ;  1833  Bel- 
gium, Switzerland,  Italy,  where  he 
was  not  a  succ.  Intemperance  and 
fistula  kept  him  nine  months  in  a  Na- 
ples hospital;  whence  he  was  rescued 
by  a  Russian  family  Raemanow  and 
taken  to  Moscow,  playing  in  Vienna 
with  greatest  succ.  ;  but  his  health 
was  lost  and  he  died  a  few  years  later 
and  was  buried  in  Moscow.  Besides 
20  nocturnes  (of  which  only  12  were 
so  named  by  Field)  he  c.  7  concertos 
(No.  4  in  E  flat  the  most  popular)  ; 


4  sonatas ;      ''Air     russe" ;     "Air 
russe   vari/"   {^  hands)  ;   "  Chanson 
russe  varitf,"  in  D  min.  ;  polonaise  ; 
''  Reviens,     reviens,"    Romanza  and   ; 
Cavatina  in  E  ;  4   romances  ;  7  ron-  ' 
deaux  ;  rondeau   with  2  vlns.,  viola,   i 
and    bass  ;  variation    in  C  ;  2   diver-  / 
tissements    with     2  vlns.,    viola,   and  .| 
bass  ;  2    fantasias  ;  and    pf. -exercises  i 
in   all  keys.     (2)  Henry,  "Field    of  | 
Bath,"  Dec.  6,  1797 — May   19,  1848  ; 
pianist  and  teacher. 

Fielitz  (fon  fe'-llts),  Alexander  von, 
b.  Leipzig,  Dec.  28,  i860;  pupil  in 
Dresden  of  J.  Schulhoff(pf.)and  Kret- 
schmer  (comp.)  ;  he  became  opera- 
cond.  in  Zurich,  Liibeck,  and  I,eipzig 
(City  Th.) ;  a  nervous  disorder  com- 
pelled his  retirement  ;  lives  in  Italy 
as  a  composer  of  sacred  choruses, 
orch.  pes.,  songs,  etc.  His  song! 
have  attained  much  solid  popularity 

Filippi  (fe-Up'-pl)  (i)  Giu.  de,  Milan 
1825 — Neuilly,  near  Paris,  1887 
writer.  (2)  Filippo,  Vicenza,  i83( 
— Milan,  1887  ;  critic,  writer,  am 
composer. 

Fillmore,  J.  Comfort,  Franklin 
Conn.,  1843 — i8g8  ;  studied  at  Ober 
lin  (O.)  Coll.,  and  Leipzig  Cons. 
i884-<)5  founder  and  dir.  of  Sch.  o 
Mus.  in  Milwaukee  ;  then  mus.  dir; 
Pomona  Coll.,  Claremont,  Cal  ;  pub' 
"  A  Study  of  Omaha  Indian  Music 
(with  Miss  Fletcher  and  F.  L. 
Flesche  ;  Peabody  Museum,  1893),  < 
etc. 

Filtsch  (feltsh),  Karl,  Hermannstadt'  \ 
Transylvania,  1831 — Vienna,  1845 
pianist ;  pupil  of  Chopin  and  Liszt  ! 
died  at  15. 

Finck  (fink),  (i)  Heinrich,  14S2,  cor  , 
ductor  to  John  Albert  I.,  Cracow  ( 
eminent  contrapuntist.  (2)  Hermann  it 
Pirna,  Saxony,  1527 — Wittenburg  'a\ 
1558,  grand-nephew  of  above  ;  coir,  j 
poser  and  writer.  (3)  Henry  Th^  'I 
ophilus,  b.  Bethel,  Missouri,  Sep' 
22,  1S54  ;  prominent  American  criti  j 
and  essayist  ;  influential  advocate  c  j 
Wagner;  lived  in  Oregon,  then  (i87(:  J 
graduate  of  Harvard,  having  studie 


(i87(:,y 
tudie  A- 

J 


DICTIONARY  OF  MUSICIANS  503 


theory  and  hist,  of  mus.  with  J.  K. 
Paine  ;  1876,  attended  the  first  Bay- 
reuth  festival,  and  studied  at  Munich; 
pub.  the  valuable  "  IVagner  and  His 
IVor/cs"  (N.  Y.,  1893,  2  vols.,  Germ, 
transl.,  Breslau,  1S97)  ;  1877-78, 
studied  anthropology  at  Harvard  ;  re- 
ceived a  Fellowship  and  spent  3  years 
at  Berlin,  Heidelberg,  and  Vienna, 
studying  comparative  psychology  and 
sending  mus.  letters  to  N.  Y.  N'ation; 
has  since  been  mus.-ed.  of  the  N.  Y. 
Evening  Post ;  pub.  "  Chopin,  and 
other  Mus.  Essays"  ''  Paderewski 
and  his  Art"  "  Songs  and  Song- 
Writers  "  (1901)  ;  3  books  of  travel  : 
''''Pacific  Coast  Scenic  Tour"  "Lo- 
tos-time in  Japan"  "  Spain  and  Mo- 
rocco "  /  and  2  important  books  on 
the  psychology  of  love,  "Romantic 
Love  and  Personal  Beauty"  having 
reached  4  editions  ;  "  Primitive  Love 
and  Love  Stories  "  (1900). 

Fincke  (fink'-e),  Fritz,  b.  Wismar, 
May  I,  1846;  pupil  Leipzig  Cons.; 
theorist  and  violinist,  Frankfort,  then 
organist  at  Wismar  ;  1879,  teacher  of 
singing,  Peabody  Inst.,  Baltimore; 
writer  and  composer. 

Findeisen  (fint'-l-zen),  Otto,  1890, 
conductor  Wilhelm-Th.,  Magdeburg, 
prod.  succ.  operetta  "  Der  Alte  Des- 
sauer"  (Magdeburg,  1890);  and  the 
succ.  folk -opera  "  Heninsrs  von 
Treffenfeld"  (ib.  1891). 

Finger  (fing'-er),  Gf.,  b.  Olmiitz,  Ba- 
varia ;  in  England,  1685-1701  ;  then 
chamber-mus.  to  Queen  of  Prussia, 
till  1717. 

Fink,  Gf.  Wm.,  Suiza,  Thuringia, 
1783 — Halle,  1846  ;  editor,  writer, 
and  composer.  (2)  Chr.,  b.  Detting- 
en,  Wiirtemberg,  Aug.  9,  183 1;  pupil 
Esslingen  Seminary  ;  Leipzig  Cons., 
and  Schneider,  Dresden ;  till  i860 
lived  as  organist  and  teacher,  Leip- 
zig ;  then  teacher  and  organist,  Ess- 
lingen, and  prof,  in  1862  ;  composer. 

Fink'enstein  (shtin),  Jettka,  b.  Seni, 
Russia,  March  22,  1865  ;  alto;  stud- 
ied at  Berlin  Hochschule,  and  with 
Viardot  Garcia  ;  ist.   alto  at  Darm- 


stadt ct. -theatre  till  1891,  then 
toured  ;  lives  in  Breslau. 

Fioravanti  (fe-6r-a-van'-te),  (i)  Valen- 
tino, Rome,  1764 — Capua,  June  16, 
1837  ;  opera-cond.  and  composer. 
(2)  Vincenzo,  Rome,  1799 — Naples, 
1877,  son  of  above  ;  conductor  and 
dram,  composer. 

Fiorillo  (fe-o-rll'-Io),  (i)  Ignazio, 
Naples,  1715 — Fritzlar,  near  Cassel, 
1787  ;  court-conductor  and  composer. 
(2)  Federigo,  b.  Brunswick,  1753  (?); 
son  and  pupil  of  above  ;  viola  player 
and  composer. 

Fiqu6  (fe-ka),  Karl,  b.  Bremen,  1861 ; 
pupil  of  Leipzig  Cons. ;  lives  in  Brook- 
lyn, N.  Y.;  pianist  and  composer. 

Fischel  (flsh'-el),  Adolf,  b.  Konigs- 
berg,  1810;  pupil  of  Spohr ;  cigar- 
dealer  in  Berlin  ;  violinist  and  com- 
poser. 

Fischer  (flsh'-^r),  (i)  Chr.  Fr.,  Lii- 
beck,  1698 — Kiel,  1752  ;  cantor  and 
writer.  (2)  Jn.  Chr.,  Freiburg,Ba- 
den,  1733 — London,  1800  ;  oboist  and 
composer.  (3)  Chr.  Wm.,  Konrads- 
dorf,  near  Freiburg,  1789 — Dresden, 
1859  ;  basso  buffo.  (4)  Ludwig, 
Mayence,  1745 — Berlin,  1825  ;  oper- 
atic bass,  of  great  range  (D  -  a').  (5) 
Michael  Gotthard,  Alach,  near 
Erfurt,  1773 — Erfurt,  1829 ;  cond. 
and  composer.  (6)  Anton,  Ried, 
Swabia,  1777 — Vienna,  1808  ;  com- 
poser. (7)  Ernst  Gf.,  Hoheneiche, 
near  Saalfeld,  1754 — Berlin,  1831  ; 
prof,  and  acoustician.  (8)  Gf.  Emil, 
Berlin,  1791 — 1841,  son  of  above; 
singing-teacher  and  writer.  (9)  K. 
L.,  Kaiserslautern,  Bavaria,  1816 — 
Hanover,  1877  ;  court-conductor  and 
composer.  (10)  Ad.,  Uckermunde, 
Pomerania,  1827 — Breslau,  1893  ;  or- 
ganist and  composer.  (11)  K.  Aug., 
Ebersdorf,  Saxony,  1828 — Dresden, 
1892  ;  organist.  (12)  Fz.,  b.  Munich, 
July  29,  1849;  'cellist,  pupil  of  H. 
Muller ;  1S70  soloist  National  Th., 
Pesth,  under  Hans  Richter  ;  later  at 
Munich  and  Bayreuth  with  Wagner  ; 
1877-79,  court-conductor  at  Mann- 
heim,   then    Munich.      (13)      Paul, 


504 


THE  MUSICAL  GUIDE 


Zwickau,  1834 — Zittau.  1894  ;  cantor 
and  writer.  (14)  Ad.,  Brussels,  1847 
— insane  in  Brussels,  1S91  ;  'cellist. 
(15)  Ignaz,  1828— Vienna,  1877  ; 
conductor  ct. -opera,  Vienna.  (16) 
Josef,  1828— Stuttgart,  1885  ;  com- 
poser. (17)  Emil,  b.  Germany,  ca. 
1835;  notable  German  basso  in  Wag- 
nerian roles  ;  debut  1849  ;  sang  at 
Met.  Op.  N.  Y.  many  years  ;  1899  m. 
Camille  Seygard  ;  divorced  1902. 

Fischhof  (fTsh-6f),  Jos.,  Butschowitz, 
Moravia,  1804 — Vienna,  1857;  prof., 
composer  and  writer. 

Fish,  Wm.,  Norwich,  1775 — ca.  1863; 
violinist  and  oboist. 

Fisher,  (i)  John  A.,  b.  Dunstable, 
1774,  pf.-and  organ-virtuoso  ;  violin- 
ist and  composer.  (2)  Wm.  Arms, 
b.  San  Francisco,  April  27,  1861 ;  pu- 
pil of  J.  P.  Morgan  (org.  and  pf.), 
H.  W.  Parker,  and  Dvorak,  New 
York  ;  also  studied  singing  in  Lon- 
don ;  lives  in  Boston  as  teacher, 
composer  of  songs,  and  editor. 

Fissot  (fis-so)  Alexis  Henri,  Air- 
aines  (Somme),  1S43 — Paris,  1896  ; 
pf.  and  organ-virtuoso  and  com- 
poser. 

Fitzenhagen  (ftts'-en-hakh-en),  Wm. 
K.  Fr.,  Seesen,  Brunswick,  1848 — 
Moscow,  1890  ;  'cellist. 

Fitzwilliam,  Edward  F.,  1824 — Jan. 
30,  1857  ;   English  composer. 

Fladt  (flat),  Anton,  b.  Mannheim, 
1775  ;  oboist  and  composer. 

Flagler,  Isaac  van  Vleck,  b.  Albany, 
N.  Y.,  May  15,  1S44  ;  pupil  of  Beale 
at  Albany,  Batiste  in  Paris,  etc.  ; 
organist  various  churches,  then  (1899) 
a  publisher  and  concert-organist ; 
Chautauqua-lecturer  for  13  years ; 
teacher  at  Syracuse  and  Cornell  Uni- 
versities and  Utica  Cons.  ;  composer. 

Flaxland  (fla.x-lah),  Gve.  Alexandre, 
Strassburg,  1821 — Paris,  1895  ;  pub., 
Paris. 

Fl^gier  (fla-zha),  Ange,  b.  Marseilles, 
Feb.  25,  1846  ;  pupil  of  Marseilles 
Cons,  and  Paris  Cons.  1S70  ;  returned 
to  Marseilles  ;  c.  i-act  comic  opera, 
^*  fatima"  (Mars.  1875),  "  Ossian," 


and  "  Fran^oise  de  Rinmti,'"  cantata, 
with  orch.,  etc. 

Fleischer  (fli'-sher),  (i)  Reinhold,  b 
Dansau,    Silesia,    April     12,     1842 
pupil    of   the    R.    Inst,    for   Church-j 
music,  and   R.  Akademie,  at  Berlin  ; 
1870,    organist    at    Gorlitz   and   dir. 
Singakademie ;     1885,     Royal     Mus,- 
Dir.  ;  c.  a  cantata,  "//o/da,"  etc.    {2   ' 
Oskar,    b.  Zorbig,    Nov.    i,    1856 
studied   in    Italy   on   govt,    stipend  :  .s 
pupil  and,  since    1896,   successor  o:' f 
Spitta  as  Prof.  E.xtraordinary,  at  thii 
Berlin   Univ.,  also   custodian 
Royal    Coll.     of    Mus.    Instrs 
teacher  of  histor}'  at  the   Hochschulij 
fiir   Musik  ;  pub.  a   studv  of  neumes.  i 
1895,  etc.  (3)Fleischer-Edel(a-dgl)- .. 
Katharina,    b.    Miilheim,   Sept.  27  .! 
1873;  soprano;  studied  with  Iflert;6 
sings  at  court-opera,  Dresden 

Flem  ming,  Fr.  Fd.,  Neuhauser 
Saxony,  1778 — Berlin,  1813;  c.  pop 
"  Integer  vita,''  etc. 

Floersheim  (flars'-him).  Otto,  b.  Au 
la-Chapelle,  March  2,  1853  ;  pupil  < 
Fd.  Hiller,  Cologne;  1875,  Nel 
York;  1880,  edited  The  Mtisici  j$\ 
Courier,  since  1894  manager  of  r 
Berlin  Branch ;  c.  "  Prelude  an 
Fugue"  ''Scherzo"  for  orch.,  etc. 

Floridia  (flo-red'-ya),  (Napolino)  Pif 
tro,  b.  Modica,  Sicily,  March  5,  i86<i 
pianist,  pupil  of  S.  Pietro  a  MajelL 
Naples  ;  while  there  he  pub.  sue 
pf.-pcs.  ;  prod.  succ.  comic  ope 
"  Carlotta  Clepier  "  (Naples,  1882 
later  burned  the  score,  retired  f 
3  years  to  Sicily ;  toured  1885-81 
1888-90,  prof,  of  pf.  Palermo  Cons 
1889,  his  grand  symphony  won  i 
prize  of  the  Soc.  del  Quartette,  M 
an  ;  w.  text  and  music  of  succ.  ope 
"  .<l/ar?/2sa  "  (Venice,  1894);  lives 
Milan  ;  c.  (with  Luigi  Illica)  "  La  C 
Ionia  Libera" ;  also  "'Fesiouvertiir,, 
serenata,  etc. 

Florimo  (flo'-rT-mo),  Fran.,  San  Gi< 
gio  Morgeto,  Calabria,  1800 — Napli 
1888  ;  writer,  teacher,  and  composi 

Flo'rio,  Caryl,  pen-nameof  Wm.  J« 
Robjohn. 


5bur  o:'  K 
at  thii  j 
of  thii  I 
>.,  ancjl 
hschuli.;! 


i 


I 


DICTIONARY  OF  MUSICIANS    505 


Flor'izel.     Vide  reuter. 

Flotow  (fl5'-to),  Friedrich,  Freiherr 
von,  Teutendorf,  Mecklenburg,  April 
27,  1812 — Darmstadt,  Jan.  24,  1883; 
composer  of  2  extremely  popular  and 
melodious,  also  extremely  light,  op- 
eras ;  son  of  a  landed  nobleman ; 
studied  composition  with  Reicha, 
Paris  ;  he  fled  from  the  July  Revolu- 
tion to  Mecklenburg,  where  he  c.  2 
operettas  ;  returning  to  Paris,  he 
prod.  "■"  St'raphine"  1836,  ''Rob 
^<y,"  and  the  succ.  ''  Le  Naufrage 
de  la  Mi/duse"  1839,  (given  Ham- 
burg, 1845,  as  "  Die  Matrosen  "),  in 
which  he  collaborated  with  Paloti  and 
Grisar  ;  3  later  works  failed,  incl.  the 
ballet  '■'■Lady  Harriet"  (Opera, 
1843) ;  afterwards  rewritten  with 
great  succ.  2iS"  Martha"  (Vienna, 
1847).  "  Alessandro  Stradella  "(Ham- 
burg, 1844  ;  rewritten  from  a  "piece 
lyrique,  "Stradella"  Paris,  1837), 
made  his  name  in  Germany.  He  ffed 
from  the  March  Revolution  (1848), 
and  prod.  "  Die  Gross-fiirstiii  "  (Ber- 
lin, 1853),  and  "  Indra"  (Berlin  Op- 
era, 1850)  ;  3  later  works  failed. 
1856-63,  he  was  intendant  of  court- 
music,  Schwerin,  and  c.  a  "  Torch- 
Dance  "  and  excellent  music  to  Shake- 
speare's "  Winter's  Tale"  ;  1863-68, 
he  prod.  2  operettas,  2  operas,  and  2 
ballets,  without  succ.  ;  1868,  he  re- 
tired to  one  of  his  estates,  near  Vien- 
na, made  visits  to  Vienna,  Paris,  It- 
aly ;  1870,  'T Ombre"  (Paris,  Op. 
Com.,  1870  ;  prod,  in  London,  1878, 
as  the  "Phantom")  was  very  succ. ; 
"  Naida"  (Milan,  1873)  and  " // 
Fior  d" Harlem  "  (Turin,  1876)  were 
revisions,  and  he  rewrote  "  Indra  "  as 
"TEjichanteresse"  (Paris  and  London, 
1878);  Italy,  "AlmaVlncancatrice"; 
Germany  "Die  Hexe'';  after  his 
death  "  JRose  liana"  "  Der  Graf 
Saint-M^grin"  (Cologne,  1884),  and 
" Die  Musikanten"  (Hanover,  1887) 
were  produced. 

Flow'ers,  Geo.  French,  Boston,  Eng- 
land, 181 1— 1872,  organist,  teacher, 
composer,  and  writer. 


Fliigel  (flii'-gel),  (i)  Gustav,Nienburg. 
on-Saale,  July  2,  1812 — Stettin,  1900; 
cantor,  organist,  writer,  and  compos- 
er. (2)  Ernest  Paul,  b.  Stettin,  Aug. 
31,1844;  son  and  pupil  of  above; 
studied  at  the  R.  Inst,  for  Church- 
music,  and  the  Akademie,  Berlin ; 
private  pupil  of  von  Billow;  1867, 
organist  and  teacher  at  the  Prenzlau 
Gymnasium ;  in  1879,  cantor,  Bres- 
lau,  and  founded  the  "  Fliigel verein  "  ; 
writer  and  composer. 

Fo'dor,  (i)  Jos.,  Vanlos,  1752 — 1828  ; 
violinist  and  composer.  (2)  Jo- 
sephine, b.  Paris,  1793  ;  soprano  ; 
retired,  1833;  daughter  of  above; 
m.  the  actor  Mainvielle. 

Foerster  (fer'-shter).  Ad.  Martin,  b. 
Pittsburg,  Pa.,  Feb.  2,  1S54 ;  impor- 
tant American  composer  ;  pupil  of  his 
mother  and  of  Leipzig  Cons.;  1875- 
76,  teacher  at  Ft.  Wayne  (Ind.), 
Cons.,  then  Pittsburg,  Pa.,  where  he 
still  lives  as  a  teacher  of  singing  and 
pf.;  c.  "Faust"  overture;  march- 
fantasia  ;  festival  music,  2  suites  (No. 
I,  "  The  Falconer"),  festival  march 
(May  festival,  1891,  under  Seidl) ; 
"  Symphonic  Ode  to  Byron"  and 
"  Dedication  March  "  (Carnegie  Hall, 
Pittsburg)  ;   "  Thnsnclda"  etc. 

Foggia  (fod'-jii),  Fran.,  Rome,  1604— 
1688,  composer  and  conductor. 

Fogliani  (fol-ya'-ne),  Ludovici,  Mo- 
dena,  15th  cent.— ca.  1540;  theorist 
and  composer. 

Foignet  (fwcin'-ya),  (i)  Chas.  Gabriel, 
Lyons,  ca.  1750— Paris,  1823;  teach- 
er. (2)  Fran.,  Paris,  ca.  1780— 
Strassburg,  1845  ;  tenor,  later  bary- 
tone and  dram,  composer. 

Foldesy  (ftil'-de-she), ,  b.  Hun- 
gary ;  young  'cellist,  succ.  in  London, 
1902  ;  son  of  a  military  bandman  at 
Budapest  ;  pupil  of  Becker. 

Fo  ley  ("  Signor  Foli  "),  Allan  Jas., 
Cahir,  Tipperary,  Ireland,  1842 — 
Southport,  England,  Oct.  20,  1899 ; 
concert  and  operatic  bass. 

Folville  (fol-ve'-yii),  (Eugenie  Emi- 
lie)  Juliette,  b.  Liege,  Jan.  5,  1870; 
brilliant   pianist,    violinist,     teacher, 


I 


5o6 


THE    MUSICAL    GUIDE 


conductor  and  composer ;  pupil  of 
her  father,  a  distinguished  lawj^er ; 
studied  vln.  with  Malherbes,  Musin, 
and  Cesar  Thomson  ;  in  1879,  debut 
at  Liege  as  concert-violinist ;  fre- 
quently directs  her  own  orchestral 
works ;  annually  conducts  at  Liege 
Cons,  a  concert  of  ancient  music,  and 
gives  clavecin-recitals ;  prod.  1893, 
very  succ.  opera  "  A  la  la"  (Lille, 
1892  ;  Rouen,  1893)  ;  189S,  pf.  prof, 
at  Liege  Cons.;  c.  3  orchestral  suites  : 
"  Scenes  (a)  champetres,  (b)  de  la 
nier,  (c)  d  hiver"  etc. 

Fonda,  (Mrs.)  G.  A.,  1837 — Louis- 
ville, 1897  ;  wrote  "  Li/e  of  Cott- 
schalk,"  etc.,  under  pseud.,  "  Octavia 
Hensel." 

Fontaine  (fon'-ten),  (i)  Mortier  de, 
V.  MORTiF.R.  (2)  Hendrik,  b.  Ant- 
werp, April  5,  1S57  ;  concert-bass  ; 
pupil  of  the  Cons,  and  singing-teach- 
er, 1883. 

Fontana  (fon-ta'-na),  Giov.  Bat.,  d. 
Brescia,  1630  ;  composer. 

Foote,  Arthur  Wm.,  b.  Salem,  Mass., 
March  5,  1S53  ;  prominent  American 
composer;  pupil  of  B.  J.  Lang  (pf.), 
S.  A.  Emery,  and  J.  K.  Paine  (comp.) 
1875,  A.  M.  Harvard  (for  mus.)  ; 
since  1878,  organist  of  the  first  Uni- 
tarian Ch.,  Boston  ;  pub.  overture, 
"  In  the  Mountains  "  symphonic  pro- 
logue, ''  Francesca  da  Hhnini"  'cel- 
lo concerto  ;  orch.  suite  and  choral 
works,  "  Farewell  of  Hiawatha" 
"  The  Wreck  of  the  Hesperus"  and 
The  Skeleton  in  Armour" ;  pf.- 
quintet,  quartet  in  C  ;  pf.-trio  in  C 
min.;  sonata  for  pf.  and  vln.;  2 
string-quartets ;  pes.  for  vln.  and 
'cello,  and  pf.-pcs.;  2  suites,  and 
songs. 

Forberg  (for'-berkh),  Robt.,  Lutzen, 
1833 — Leipzig,  18S0 ;  mus.  pub.  at 
Leipzig. 

Forbes,  H.,  1804 — 1S59;  Engl,  organ- 
ist, pianist,  and  dram,  composer. 

Forchhammer  (forkh-ham-mer),  Th., 
b.  Schiers,  Gray  Cantons,  July  29, 
i8.j7  ;  pupil  of  Stuttgart  Cons.;  1S85, 
organist  at  Magdeburg  Cath.  ;  18S8 


Royal    Mus.   Dir.;  writer   and    com- 
poser. 

Ford,  (i)  Thos.,  England,  ca.  1580 — 
164S  ;  composer  and  writer.  (2) 
Ernest  A.  C,  b.  London,  Feb.  17, 
1858  ;  pupil  of  Sullivan  and  Lalo  ; 
cond.  Empire  Th.,  London  ;  prod.  2 
operas  ;  comic-opera,  'fane  Annie" ; 
a  cantata;  motet  ''  Domine  Deus" 
(for  250th  anniv.  of  Harvard  Univ.),.' 
etc. 

For  kel,  Jn.  Nikolaus,  Meeder,  near} 
Coburg,  1749  —  (;<)ttingen,  i8i8;j 
historian,  organist,  harpist,  andl 
teacher. 

For  mes,  K.  Jos.,  Miilheim-on-Rhine.j 
1 8 16 — San    Francisco,    1SS9  ;  opera-; 
bass.     His   wife  (2)  a    notable   con 
tralto  in  N.  Y.     (3)  Theodor,  Mill 
heim,    1S26 — Endenich,    near   Bonn, 
1S74  ;  tenor,  bro.  of  above. 

Formschneider  (form'-shnl'-der).  Vide 

GRArHAUS. 

Fornari  (for-na-re),  V.,  b.  Naples, 
May  II,  1848;  pupil  of  Sira  (pf.)j^. 
and  Battista  (comp.)  ;  c.  operas,jki 
''A/aria  di  y^rrt- "  (Naples,  1872)  Jdj: 
''  Salavimbo"  '' Zuiiia"  (Naples.fliji 
1881),  and  i-act  opera-seria  "  UrS» 
Dramma  in  Vendemniia  "  ( Florence,}*  j 
1896),  succ.  '    ' 

Fornasari     (for-na-sji'-re),     Luciano 
Italian  bass  ;   debut  ca.  1S28  ;  tourei      1 
widely  and  retired  1846. 

Forner  (fer-ner),  Chr.,  Wettin,  i6i( 
—  167S  :  organ-builder  ;  ca.  1675,  inv 
the  "  wind-gauge." 

Forqueray    (fork-re),  fits,    contempo,     j 
rarv  French  composer.  ' 

Fors'ter  (for'-shter),  G.,  (i)  Amberg(?'  I 
— Nurnberg,  1568  ;  editor  and  coll 
(2)  G.,  (11),  d.  Dresden,  1587 
double-bass ;  conductor.  (3)  Niko< 
laus  (called  Fortius),  1499 — 1535 
contrapuntist.  (4)  (or  Forster)  Kas 
par,  Danzig,  16 17 — 1673  ;  composer 
theorist  and  conductor.  (5)  Wm' 
(Sr.),  Brampton,  Cumberland,  1739- 
London,  iSoS  ;  vln. -maker  ;  his  so: 
and  successor  was  (6),  Wm.,  Lon 
don,  1764 — 1S24. 

For  ster   (fer'-shter),    (i)   v.  forste 


DICTIONARY  OF  MUSICIANS  507 


(4).  (2)  Chr.,  Bebra,  Thuringia, 
1693 — Rudolstadt,  1745  ;  organist, 
conductor  and  composer.  (3)  Eman- 
uel Aloys,  Neurath,  Austrian  Sile- 
sia, 1748 — Vienna,  1823  ;  theorist 
and  composer.  (4)  Jos.,  b.  Osojnitz, 
Bohemia,  Feb.  22,  1833  ;  Prague 
School  of  Organists;  organist  in  various 
churches;  since  1887,  Prague  Cath.  ; 
prof.of  theory, Prague  Cons.;  c. masses 
and  requiems,  org. -pes  ;  wrote  a  trea- 
tise on  harmony.  (5)  Vide  fokrster. 
(6)  Alban,  b.  Reichenbach,  Saxony, 
Oct.  23,  1849 ;  violinist ;  pupil  R. 
Blume,  later  of  Dresden  Cons.;  lead- 
er at  Carlsbad,  Breslau,  Stettin;  1871, 
court  mus.,  and  cond.  Neustrelitz, 
1881,  teacher  in  Dresden  Cons., 
cond.  of  the  Liedertafcl ;  since  1882, 
court-cond.  at  Neustrelitz,  1875  ;  c. 
comic  operas,  ballet  pantomime,  orch. 
and  chamber  music,  etc. 
orsyth',  Bros.,  mus.  publishers, 
London  and  Manchester. 
orti  (for'-te),  Anton,  Vienna,  1790 — 
1859  '•  barytone. 

ortlage  (fort'-la-ge),  K.,  Osnabruck, 
1806 — Jena,  1881;  writer. 
ortsch  (fertsh),  Jn.  Ph.,  Wertheim, 
Franconia,  1652 — Eutin,  1732  ;  con- 
ductor, singer,  and  dram,  composer. 
os'ter,  (i)  Stephen  Collins,  Law- 
renceville  (Pittsburg),  Pa.,  July  4, 
1826— New  York,  Jan.  13,  1864  ; 
chiefly  self-taught  as  flageolet-play- 
er and  composer  ;  a  writer  of  words 
and  music  of  genuine  American  folk- 
song ;  he  enjoyed  enormous  vogue, 
receiving  $500  for  the  privilege  of 
singing  "Old  Folks  at  Home"  (or 
"  Suwanee  River")  before  its  publi- 
cation ;  c.  160  songs,  incl.  "  My  Old 
Kentucky  Home,"  "  Nellie  was  a 
Lady,"  and  many  war-songs  ;  his 
melody,  though  simple,  was  rarelv 
banal  and  has  elements  of  immortal- 
ity. (2)  (Myles)  Birket,  b.  London, 
Nov.  29,  185 1  ;  organist  and  com- 
poser ;  pupil  of  Hamilton  Clarke,  and 
at  R.  A.  M.  of  Sullivan,  Prout,  and 
Westlake  ;  1873-74,  organist  at  Ha- 
weis'  Church  ;  1880-92,  at  the  Found- 


ling Hospital ;  then  mus.-ed.  for 
Boosey  &  Co.;  c.  2  Evening  Ser- 
vices ;  symphony,  "  Isle  of  Arran  "  y 
overtures,  etc. 
Fouque  (foo-ka),  P.  Octave,  Pau,  Bas- 
ses-Pyrenees, 1844— 1883;  libr.,  Paris 
Cons. ;  critic  and  writer. 
Fourneaux  (foor-no).  Napoleon, 
Leard,  1808 — Aubanton,  1846  ;  im- 
prover of  the  reed  instruments. 

Fournier  (foorn-ya),  (i)  P,  Simon, 
Paris,  1712 — 1768  ;  introduct;r  of 
round-headed  notes,  and  writer  on 
history  of  music-types.  (2)  l^mile 
Eugene  Alex.,  Paris,  1864— Join- 
ville-le-Pont,  1897  ;  pupil  of  Delibes 
and  Dubois  at  Cons.;  1891  took  2d 
Grand  prix  de  Rome,  and  1892  Prix 
Cressent,  for  i-act  opera  '' Str atonic e  " 
(Gr.  Opera,  Paris,  1892) ;  c.  opera 
"  Carlo7nan"  etc. 

Fox,  Geo.,  b.  1854,  Eng.  (?)  ;  bary- 
tone, with  various  opera  troupes  in 
London  and  the  provinces  and  c.  pop. 
operettas,  '"Robert  Macaire"  1887; 
"  The  Corsican  Brothers"  1888,  and 
"  Nydia"  1892 — all  prod,  at  the  Crys- 
tal Palace  ;  c.  cantatas,  songs,  etc. 

Fradel  (fra-del),  Chas.  (Karl),  b. 
Vienna,  1821  ;  music-teacher  New 
York,  then  London  ;  composer. 

Framery  (fram-re),  Nicolas  Et.,  1745 
— Paris,  1810;  writer. 

Francesco.     Vide  landing. 

Francesina  (la  fran-cha-se'-na).  La 
(rightly  Elizabeth  Duparc),  French 
singer  in  Italy,  and,  1738-45,  London, 
where  she  created  Handelian  roles. 

Franchetti  (fran-ket'-te),  (i)  Alberto 
(Baron)  ;  b.  Turin,  Sept.  18,  1850 ; 
pupil  of  N.  Coccon  and  F.  Magi ; 
then  of  Draeseke,  and  at  the  Munich 
Cons.;  prod.  "dram.  legend" 
'' Asraele"  (Brescia,  1888);  opera, 
"  Cristpforo  Colombo"  (Genoa,  1892), 
'' Fior  d'Alpe"  (Milan,  1894),"// 
Signor  di  Pourceaugtiac"  (Milan, 
1807),  allsucc;  c.  a  symphony,  etc, 
(2)  Valerio,  b.  Italy ;  violinist ; 
nephew  of  above  ;  opposed  by  his 
family  he  made  succ.  as  "  Oliveira  "  ; 
played  with  succ.  Berlin,  1S92. 


5o8 


THE    MUSICAL    GUIDE 


Franchinus      (fran-ke'-noos).        Vide 

GAFORI. 

Franchi  -  Verney  (fran'-ke-ver'-na), 
Giu.  Ip.jConte  della  Valetta  ;  b.  Tu- 
rin, Feb.  17,1848  ;  1 8 74  gave  up  law  for 
music  ;  1S75-77  under  the  pen-name 
"  Ippolito  Valetta "  contributed  to 
various  papers  ;  1893  (?),  m.  Teresina 
Tua  ;  c.  succ.  lyric  sketch  " //  Val- 
dese''  (Turin,  18S5),  and  succ.  ballet, 
"  //  Mu/ai/o"  (yiaples,  1896). 

Franchomme  (fran-shum),  Auguste, 
Lill«,  April  10,  1S08 — Paris,  Jan. 
21,  1884  ;  'cellist ;  teacher  at  the 
Cons,  and  composer. 

Franck  (frank),  (i)  Melchior,  Zittau, 
ca.  1580 — Coburg,  June  i,  1639  '> 
from  1603  court-cond.  at  Coburg  ;  a 
prolific  and  important  c.  of  secular 
and  church- music,  a  pioneer  in  im- 
proving instrumental  accompaniment; 
two  of  his  chorales  '''^Jernsalem,  das 
hochgebaute  Stadi"  and  "  Wenn  ich 
Todt'S7idthen  bin,"  are  still  sung  ;  he 
is  said  to  have  written  the  text  for 
many  hymns.  (2)  Jn.  W.,  Hamburg, 
1641 — Spain,  16S8  (or  later)  ;  opera- 
cond.;  c.  14  operas.  (3)  (frah),  C6- 
sar  Auguste,  Liege,  Dec.  10,  1822 
— Paris,  Nov.  8,  1890  ;  important 
and  influential  French  composer ; 
pupil  Liege  Cons.,  then  of  Paris 
Cons.,  where  he  took  ist  prize  for 
piano,  and  2d  for  comp.,  also  suc- 
ceeding his  organ-teacher,  Benoist,  as 
prof,  there  in  1872,  and  as  organist 
at  Ste.  Clothilde;  c.  a  notable  symph. 
poem  with  choms  "  Les  be'aiitudes," 
symph.  poem  "  Le  chasseur  maudit" 
a  symphony  in  D  minor,  a  succ.  com. 
opera  "  Hulda  "  (Monte  Carlo,  1894), 
2  oratorios,  an  unfinished  opera 
'"Ghisella"  a  sonata  for  pf.  and 
vln.;  pf.-pcs. ;  chamber-music,  songs, 
etc.  ;  biog.  by  Derepas  (Paris,  '97), 
and  by  Destranges.  (4)  Eduard, 
Breslau,  1817 — Berlin,  1893  ;  pro- 
fessor and  composer.  (5)  Jos.,  b. 
Liege,  ca.  1820  ;  bro.  of  (3)  ;  organ- 
ist and  teacher,  Paris  ;  pub.  Ode  to 
St.  Cecilia  (with  orch.) ;  cantatas, 
etc. 


Francke  (frank'-S),  Aug.  Hn.,  1865 
founded  Leipzig  pf.-factorj-. 

Fran  CO,  a  name  honoured  in  mensura 
music  and  probably  belonging  to  two 
perhaps  three,  men  :  (i)  F.  of  Paris 
(the  elder),  cond.  at  Notre-Dame 
Paris,  ca.  iioo  (?)  a.d.;  and  (2)  F 
of  Cologne,  Dortmund  and  prior  o] 
the  Benedictine  Abbey  at  Cologne  ii! 
1 190,  author  of  2  treatises.  j 

Francceur  (frah-ktir),  (i)  Frangois 
Paris,  1698 — 17S7 ;  violinist  amj 
dram,  composer.  (2)  Louis  Jos.i 
Paris,  1738 — 1804  ;  nephew  of  above: 
violinist,  conductor  and  dram,  ci 
poser. 

Frank  (i)  Melchior.  Vide  fran 
(2)  Ernst,  Munich,  1S47 — (insane ^ 
Oberdobling,  near  Vienna,  1889 
court-organist  and  dram,  composer. 

Franke  (friink'-e),    Fr.  W.,   b. 
men,   June  21,  1862  ;  studied   Berlii 
Hochschule  ;    organist  at  Stralsu 
later  at  Cologne,  also  teacher  in 
Cons. 

Frankenberger  (frank'-en-berkh-gr 
H,,  Wiimbach,  Schwarzburg-Sonderi 
hausen,  1824 — Sondershausen,  i88f 
conductor,  violinist,  and  dram,  con 
poser. 

Franklin,  Benj.,  Boston,  Mass 
1706 — Philadelphia,  1790  ;  the  en: 
nent  philosopher  ;  inv.  the  harmonic 
(v.  D.  D.),  and  wrote  wittily  c 
Scotch  and  contemporary  music,  et 

Franz  (frants),  (i)  K.,  Langenbiela 
Silesia,  173S — Munich,  1802  ;  virt 
oso  on  the  waldhorn,  and  the  bar 
ton.  (2)  J.  H.,  pen-name  of  Cou 
B.  von  Hochberg.  (3)  Robt.,  Hal! 
June  28,  1815 — Oct.  24,  1892  ;  184 
changed  his  family-name  Knaut 
by  royal  permission  ;  long  oppos 
by  his  parents,  he  finished  his  mu 
cal  studies  1S35-37,  under  Fr.  Schn 
der,  Dessau  ;  returned  to  Halle,  a 
spent  si.x  years  studying  Bach,  et' 
1843,  his  first  album  of  12  songs  3: 
peared,  and  was  cordially  rec'd 
Liszt  and  Mendelssohn,  and  by  Scl 
mann,  who  wrote  about  him  in 
periodical.     He  became  organist 


DICTIONARY  OF  MUSICIANS    509 


;  aensiin 

'.of  Pa 

'^re-Dai 

'i  prioi 
Cologne 

Franjoi 


oiiisji 


the  Ulrichskirche,  and  later  cond.  of 
the  Singakademie,  and  mus.  dir.  at 
Halle  Univ.,  which  made  him  Mus. 
Doc,  1861.  In  1868,  deafness  at- 
tacked him,  and  nervous  disorders 
prevented  his  writing  further.  His 
distress  was  relieved  by  the  receipt  of 
$25,000,  from  a  series  of  concerts  or- 
ganised 1872,  in  Germany,  byHelene 
Magnus,  Joachim,  Liszt,  and  in 
America,  by  Dresel,  Schlesinger,  and 
B.  J.  Lang.  His  wife  (4)  Marie  (nee 
Hinrichs,  1828-91),  pub.  many  ex- 
cellent songs.     His  supplementing  of 


the  old  musical  shorthand  of  Bach 
and  Handel,  by  full  scores  with  mod- 
ern instrumentation  has  been  of  in- 
valuable service.  He  also  pub.  es- 
says and  "open  letters"  to  Hanslick 
on  Bach  and  Handel.  He  pub.  257 
songs;  the  117th  Psalm,  for  double 
chorus  a  cappella  ;  Kyrie  for  soli  and 
4-part  chorus,  a  cappella,  a  liturgy  for 
6  chorals,  6  part-songs  for  mi.xed 
chorus,  and  6  do.  for  male  chorus. 
Biog.  sketches,  by  Ambros,  Liszt, 
Dr.  W.  Waldmann  (Leipzig,  1895), 
etc. 


Robert  Franz. 

By  Henry  T.  Finck. 

NEXT  to  Schubert,  Robert  Franz  is  undoubtedly  the  most  original  of 
German  song-writers.  Unlike  Schubert,  he  was  a  specialist,  con- 
fining himself  almost  entirely  to  the  field  of  art-songs,  of  which  he 
wrote  279.  These  short  songs  represent,  however,  multum  in  parvo.  As 
he  himself  once  remarked,  they  are  "  like  a  mirror  reflecting  the  development 
of  music  from  a  to  z."  By  their  simple  strophic  structure  they  remind  one 
of  the  early  folk-song.  Many  of  them  are  as  stately  and  majestic  as  the  Prot- 
estant chorals  of  the  time  from  Luther  to  Bach.  ^Like  Bach's  music,  the 
pianoforte  parts  of  Franz's  songs  are  polyphonic  ;  that  is,  the  melody  is  not 
confined  to  the  voice,  but  each  part  of  the  instrumental  accompaniment  is  a 
melody,  too,  and  these  diverse  melodies  are  interwoven  with  magic  art.  At 
the  same  time  his  harmonies  and  tone-colours  are  as  modern  as  Chopin's,  espe- 
cially in  the  use  of  chords  widely  extended  with  the  aid  of  the  pedal.  ^  Franz 
admitted  he  could  never  have  become  what  he  was,  had  it  not  been  for  Schu- 
mann and  Schubert  ;  yet  his  style  is  entirely  different  from  theirs.  He  was 
also  more  critical  than  any  of  his  predecessors,  retaining  in  his  desks  all  songs 
that  did  not  please  him  ;  hence  the  proportion  of  good  ones  is  greater  in  his 
case  than  in  any  other.  His  songs  are  a  happy  blending  of  the  romantic 
spirit  and  the  classical  style,  of  the  modern  declamatory  style  and  a  genuine 
bel  canto. 


Franzl  (fr^nts'l),  (i)  Ignaz,  Mann- 
heim, 1734 — 1803  ;  violinist,  conduc- 
tor and  composer.  (2)  Fd.,  Schwet- 
zingen.  Palatinate,  1770 — Mannheim, 
1833  ;  son  and  pupil  of  above  ;  con- 
ductor and  dram,  composer. 


Frauenlob    (frow'-en-lop).     Vide  von 

MEISSEN. 

Frauscher  (frow'-sher),  Moritz,  b. 
Mattighafen,  Austria,  i86r;  studied 
with  Jn.  Ress,  sang  Pogner  {"■  Meis- 


510 


THE    MUSICAL    GUIDE 


tersinger"),  Bayreuth,  1892;  since 
1899,  Vienna,  ct.-opera. 

Frasi  (fra-ze),  Giulia,  Italian  singer  in 
England,  1743-5S  in  Handel's  works. 

Frederick  II.  (the  Great),  of  Prussia  ; 
Berlin,  1712 — Potsdam,  17S6  ;  flute- 
player  and  composer  of  remarkable 
skill — for  a  king. 

Frederix  (fra-da-rex),  Gv.,  Liege, 
1S34 — Brussels,  1S94  ;  critic. 

Frege  (fra'-ge),  Livia  (nee  Gerhard), 
Gera,  b.  June  13,  1818  ;  singer;  pu- 
pil of  Pohlenz  ;  debut  at  15  with 
Clara  Wieck,  who  was  then  13,  at  the 
Gewandhaus,  Leipzig. 

Freiberg  (fri'-berkh),  Otto,  Naum- 
burg,  April  26,  1846  ;  studied,  Leip- 
zig Cons.;  from  1865,  violinist  in 
court-orch.,  Carlsruhe  ;  studied  with 
V.  Lachner  ;  became  mus.  dir.  Mar- 
burg Univ.;  18S7,  mus.  dir.  and  prof. 
Gottingen. 

Frene  (fren),  Eugene  H.,  Strassburg, 
1S60  (?) — Paris,  1896;  conductor. 

Frere  (frar).  Marguerite  Jeanne 
(called  Hatto),  b.  Lyons,  Jan.  30, 
1879;  soprano;  pupil  of  the  Cons., 
took  2  opera  prizes,  1899  ,  debut  Ope- 
ra, 1S99  ;  created  "  Floria  "  in  Saint- 
Saens'  "  Zt-j  Barbares" ;  sang  at 
Monte  Carlo,  etc. 

Freschi  (fres-ke),  Giov.  Dom.,  Vi- 
cenza,  1640 — 1690  ;  conductor  and 
dram,   composer. 

Frescobaldi  (fres-ko-bal'-de),  Girola- 
mo,  Ferrara,  1583 — (buried)  Rome, 
March  2,  1644  ;  the  greatest  organist 
of  his  time,  a  revolutionist  in  harmo- 
ny and  important  developer  of  fugue 
and  notation ;  he  was  so  famous 
that  30,000  people  attended  his  first 
performance  as  organist  of  St.  Peter's, 
Rome  (1610,  or  -14)  ;  pupil  of  Luz- 
zacchi  ;  organist  at  Mechlin  probably 
1607  ;  c.  org. -pes.,  fugues,  double- 
choir  church-music,  etc.;  biog.  by 
Haberl. 

Freudenberg  (froi'-den-berkh),  Wm., 
b.  Raubacher  Hiitte,  Prussia,  March 
II,  1838;  studied  in  Leipzig;  th.- 
cond.  in  various  places  ;  1865,  cond. 
of  the  Cecilia  Singing  Society,  and  the 


Synagogenverein,  Wiesbaden  ;  1870, 
founded  a  Cons  ,  and  till  1886,  cond. 
the  Singakademie  ;  later  opera-cond. 
at  Augsburg  and  (1889)  Ratisbon  ; 
c.  manyoperas,  chiefly  comic  ;  symph. 
poem,  etc. 

Freund  (froint),  Robt.,  b.  Buda-Pesth, 
April  7,  1S52  ;  pianist;  studied  with 
Moscheles,  Tausig,  and  Liszt  ;  lives 
in  Zurich. 

Frey  (fri),  M.,  d.  Aug.  10,  1832  ;  vio- 
linist, court-cond.  at  Mannheim,  and 
dram,  composer. 

Freystatter  (fri'-shtet-ter),  Wm., 
1836 — Munich,  1892,  critic. 

Frezzolini   (fred-z6-le'-ne),   Erminia, 

b.  Orvieto,  1818  ;  soprano;  debut, 
1838. 

Friberth  (fri-bert),  K.,  Wullersdorf, 
Lower  Austria,  1736 — Vienna,  1816; 
tenor  ;  conductor. 

Frick    (or  Frike)    (frik,    or    fre'-ke), 
Ph.    Jos.,     near   Wiirzburg,    1740 —  1 
London,    1798  ;    organist   and   com- 
poser. 

Fricke  (fnk-e),  Aug.  Gf.,  Brunswick, 
1829 — Berlin,  1S94  ;  bass. 

Frickenhaus  (frlk'-en-hows),  Fanny 
(nee  Evans),  b.  Cheltenham,  Eng- 
land, June  7,  1849  :  pianist  ;  pupil 
of  G.  Mount,  Aug.  Dupont  (Brussels 
Cons.),  and  Wm.  Bohrer  ;  1869,  de- 
but, London. 

Friedheim  (fret'-hlm),  Arthur,  b.  St. 
Petersburg,  Oct.  26,  1859 ;  pianist 
and  conductor ;  pupil  of  Rubinstein 
one  year,  and  of  Liszt,  8  years ;  c. 
concerto,  etc. 

Friedlander  (fret'-lent-er).  Max.,  b. 
Brieg,  Silesia,  Oct.  12,  1852  ;  concert- 
bass  and  editor ;  pupil  of  Manuel 
Garcia  and  Stockhausen ;  debut, 
1880,  London;  1881-83,  Frankfort ; 
since   in    Berlin  ;   1SS2,    Dr.    Phil.  h. 

c.  (Breslau). 

Friedrich     II.    Vide  Frederick. 

Fries  (fres),  Wulf  (Chr.  Julius),' 
Garbeck,  Ilolstein,  Ger.  Jan.  10, 
1825 — Ro.xbury,  Mass.,  April  29. 
1902  ;  self-taught  'cellist  ;  at  17  ii 
the  Bergen  Th.  orch.  and  Ole  Bull'i 
concerts;    1847,   Boston,    Mass.,  om 


DICTIONARY  OF  MUSICIANS  51 


of  the  founders  of  the  Mendelssohn 
Quintet  Club  ;  later  a  member  of  the 
Beethoven  Q.  Club. 

Frike.     Vide  frick. 

Frimmel  (frim'-mel),  Th.,  b.  Amstet- 
ten,  Lower  Austria,  Dec.  15,  1853  ; 
M.  D.  (Vienna)  ;  writer. 

Fritze  (frlt'-ze),  Wm.,  Bremen,  1S42 
— Stuttgart,  iS8r  ;  conductor,  writer, 
and  composer. 

Fritzsch  (fritsh),  Ernst  Wm.,  b. 
Liitzen,  Aug.  24,  1840  ;  pupil  Leip- 
zig Cons.  ;  acquired  the  music-pub. 
business  of  Bomnitz  in  Leipzig  ; 
since  1S70,  ed.  the  radical  "  Miisi- 
kalisches  IVochenhlatt"  and  1875 
started  the  "'  I\Iiisikalische  Hatisbldt- 
ter  "  ;  is  a  member  of  the  Gewand- 
haus  Orch.  ;  pub.  the  works  of  Wag- 
ner, Grieg,  etc.,  and  aided  progress. 

="roberger  (fro'-berkh-er),  Jn.  Jakob, 
1605  (?) — Hericourt,  France,  May 
7,  1667  ;  chief  German  organist  of 
the  17th  cent.  ;  son  of  a  cantor  at 
Halle  ;  studied  in  Rome  with  Fresco- 
baldi  ;  court  organist  at  Vienna  ;  trav- 
elled, and  in  England,  being  robbed, 
became  a  beilows-treader ;  he  over- 
blew during  Chas.  IFs  marriage  and 
was  beaten  by  the  organist  Gibbons  ; 
he  fell  to  improvising  shortly  after, 
and  was  recognised  by  a  pupil  who 
presented  him  to  the  king. 

'ro(h)lich  (fra-likh),  (i)  Jos.,  Wurz- 
burg,  1780 — 1862  ;  musical  director  ; 
writer  and  dram,  composer.    (2)  The 

;  name  of   three  sisters  b.    Vienna,  (a) 

j  Nanette    (Anna),    1793—?  pianist, 
^j     I  teacher,  and    singer,     (b)    Barbara, 

;.  1697 — ?,  contralto  and  painter,  m.  F. 
Bogner.  (c)  Josephine,  1803—1878, 
notable  singer  and  teacher. 

I'romm  (from),   Emil,    b.   .Spremberg, 

I  Niederlausitz.   Jan.    29,    1835  ;  pupil 

'  of  R.  Inst,  for  Church-music,  Berlin  ; 
1866,  Royal  Mus.  Dir.  ;  1869,  organ- 
ist and  conductor  at  Flensburg  ;  c.  2 
Passion  cantatas,  an  oratorio,  etc. 
rontini  (fron-te'-ne),  F,  Paolo,  b. 
Catania,  Aug.  6,  i860  ;  pupil  of  P. 
Platania,  and  Lauro  Rossi ;  now 
dir.    Catania    Mus.    Inst.  ;     c.    succ. 


opera  ''  Afalia'"  (Bologna,  1893); 
oratorio  "  Sansone"  (1882),  etc. 
Froschauer  (frosh'-ow-er),  Jn.,  printer 
at  Augsburg ;  said  to  have  printed 
the  first  music  with  movable  type  in 
1498.  ■ 
Frost,  (i)  Chas.  Jos.,  b.  Westbury- 
on-Tyne,  Engl.,  June  20,  1848;  son 
and  pupil  of  an  organist  at  Tewkes- 
bury, also  pupil  of  Cooper,  Goss,  and 
Steggall  ;  organist  various  churches  ; 
1882,  Mus.  Doc.  Cantab.  ;  iSSo  prof, 
of  organ  Guildhall  Sch.  of  Mus.  ; 
c.  oratorio,  "  Nathan  s  Parable  " 
(1878)  ;  a  symphony,  etc.  (2)  H.  Fr., 
London,  March  15,  1848 — June,i90i ; 
studied  organ  with  Seb.  Hart.  ;  1865- 
91,  organist  of  the  Chapel  Royal, 
Savoy;  1880-88,  pf.-prof.  Guildhall 
Sch.  of  Mus.  ;  from  1877  critic  of 
"  T/ie  Academy  "later  oi  ''  The  Atlie- 
ncRum"  and  '' Tlie  Standard" ;  pub. 
biog.  of  Schubert,  and  the  "  Savoy 
Hymn-tunes  and  Chants." 

Frotz'Ier  (frots'-ler),  Carl  ("  Auer  "), 
b.  Stockerau,  Lower  Austria,  April 
10,  1873  ;  pupil  of  his  father ;  at  15, 
had  c.  a  grand  mass,  an  offertory, 
etc.  ;  then  entered  Vienna  Cons, 
studying  under  Krenn  ;  1887-93,  or- 
ganist at  the  Pfarrkirche,  Stockerau, 
and  chamber-pianist  to  Prince  Hein- 
rich  Reuss  IV  ;  1893-97,  cond.  to 
Count  Esterhazy  at  Totis,  Hungary  ; 
since,  cond.  City  Th.,  Linz-on-Dan- 
ube  ;  c.  operas  ''  Arnelda"  (Totis, 
1894  ;  took  Philh.  Ger.-Amer.  Opera 
Society's  prize)  ;  "  Der  Liebesring"  ; 
'' Mathias  Corvinus  "  (Festh,  Royal 
Opera,  1896)  ;  3  masses  ;  a  symphony, 
etc. 

Frugatta  (froo-gat'-tji),  Giu.,  b.  Ber- 
gamo, May  26,  i860  ;  pianist ;  pupil 
of  Bazzini  (comp.)  and  Andreoli  (pf.) 
at  Milan  Cons.;  became  prof,  there; 
also  at  the  "  Collegio  reale  delle  Fan- 
ciulle  "  ;  composer. 

Fruh  (frii),  Armin  Lebrecht,  Muhl- 
hausen.  Thuringia,  Sept.  15,  1820— 
Nordhausen.  Jan.  8,  1894;  dram, 
composer  ;  inv.  1887,  of  the  "  Semeio- 
melodicon  "  (vide  p.  p.), 


^12 


THE    MUSICAL    GUIDE 


Fruytiers  (froi'-ters),  Jan.,  Flemish 
composer  at  Antwerp  i6th  century. 

Fry,  Wm.  H,,  Philadelphia,  1813 — 
Santa  Cruz,  1864  ;  dram,  composer  ; 
critic  N.  Y.  T^-ibune. 

Fuchs  (fookhs),  (i)  G.  Fr.,  Mayence, 
1752 — Paris,  1821  ;  clarinettist  and 
bandm.  (2)  Aloys,  Raase,  Austrian 
Silesia,  1799 — Vienna,  1853  ;  col- 
lector and  writer.  (3)  K.  Dorius, 
Jn.,  b.  Potsdam,  Oct.  22,  1838  ;  pupil 
of  his  father  and  v.  Bulow,  Weitz- 
mannand  Kiel ;  Dr.  phil.,  Greifswald; 
1871-75,  concert  pianist,  teacher  and 
critic,  Berlin  ;  1875-79,  Hirschberg  ; 
1879,  Danzig ;  since  '86,  organist  at 
the  Petrikirche,  there .  Pub.  numerous 
valuable  musical  treatises.  (4)  Jn. 
Nepomuk,  Frauenthal,  Styria,  May 
5,  1842— Vienna,  Oct.  5,  1899;  from 
1893,  dir.  of  Vienna  Cons.  ;  dir.  and 
dram,  composer.  (5)  Robt.,  b.  Frau- 
enthal, Feb. 15,  1847  ;  bro.  of  above ; 
pupil,  since  1875  prof.,  at  Vienna 
Cons.  ;  pub.  a  symphony,  3  valuable 
serenades,  etc.;  prod.  2  operas  :  succ. 
"Spieloper"  "'Die  7\-ii/elsglocke" 
(Leipzig,  1893)  and  the  succ.  com. 
opera  "  Die  Koiiigsbraut"  (Vienna, 
18S9).  (6)  Albert,  b.  Basel,  Aug.  6, 
1858  ;  pupil  of  Leipzig  Cons.  ;  1880, 
nius.  dir.  at  Trier;  1889,  owner  and 
manager  Wiesbaden  Cons. ;  composer. 
(7)  Anton,  b.  Munich,  Jan.  29,  1849  \ 
barytone ;  studied  with  Hey  and 
Milner  ;  sang  at  the  court-opera  ; 
since  1882  at  Bayreuth,  first  as  singer 
then  as  manager. 

Fuchs  (ffiks),  Fd.  K,,  Vienna,  i8ri— 
1848  ;  dram,  composer. 

Fuentes  (foo-an'-tes),  (i)  Don  Pas- 
quale,  b.  Albayda,  Valencia,  d.  there 
1768  ;  conductor  and  composer.  (2) 
Francisco  De  Santa  Maria  de, 
Franciscan  monk  and  writer  at  Ma- 
drid, 1778. 

Fuertes,  M.  S.     Vide  soriano. 

Fuhrer(fu'-rer),  Robt.,  Prague,  1807 — 
Vienna,  Nov.,  1861  ;  organ-com- 
poser. 

Fuhrmann  (foor'-man),  (i)  G.  Ld., 
wrote   work  on   the  lute,  Niirnberg, 


1615.    (2)  Martin  H.,  ca.  1670 — ca. 
1736  ;  theorist  and  writer. 

Fulda,  Adam  von.     Vide  adam. 

Fulsztynski  (foolsh-ten'-shkt),  Se- 
bastian, Polish  theorist,  i6th  c. 

Fumagalli  (foo-ma-gal'-le),  name  of 
four  bros.  b.  at  Inzago,  Italy  :  (i) 
Disma,  1826— Milan,  1893  ;  profes- 
sor and  composer.  (2)  Adolfo,  1828I 
— Florence,  May  3,  1856  ;  pianist. 
(3)  Polibio,  b.  Oct.  26,  1830;  pia- 
nist and  composer.  (4)  Luca,  b. 
May  29,  1837  ;  pupil  Milan  Cons.  ; 
concert-pianist;  prod,  opera  '' Luigi 
XI  "  (Florence,    1875). 

Fumagal'lo,  Mario  Leon,  b.  Milan, 
Sept.  4,  1864;  studied  with  Ceina  ;| 
barytone  of  wide  travel.  i 

Fumi  (foo'-me),  Vinceslao,  Monte-j 
pulciano,  Tuscany,  1823 — Florence, 
1S80 ;  conductor,  violinist,  dram, 
composer  and  collector. 

Fur'ker,  one  of  the  best  vln. -makers, 
London,  1780 — 1840. 

Furlanetto  (foor-la-net'-to).  Bona- 
Ventura  (called  Musin),  Venice 
173S  —  1817  ;  singing-teacher,  con 
ductor  and  composer. 

Furno(foor'-n6),  Giov.,  Capua,  1748— 
Naples,  1837  ;  professor  and  dram 
composer. 

Fursch-Madi  (foorsh'-ma-de),  Emmy 
Bayonne,  France,  1847 — Warrenville 
N.  J.,  Sept.  20,  1894  ;  pupil  of  Pari 
Cons.,  debut  Paris;  came  to  America 
1874,  with  the  New  Orleans  Frencl' 
Opera  Company  ;  1879-81,  Coven; 
Garden,  London  ;  her  final  appear 
ance  was  as  "  Ortrud,"  N.  Y.,  1894 

Fiirstenau  (fiirsht'-e-now),  (i)  Kas 
par,  Mllnster,  Westphalia,  1772 — 01 
denburg,  1819  ;  flute-virtuoso;  com 
poser.  (2)  Anton  B.,Munster,  179 
— Dresden,  1852  ;  son  and  pupil  c 
above  ;  flutist  and  composer.  (3 
Moritz,  Dresden,  1S24 — 1889  ;  so 
and  pupil  of  (2)  ;  flutist  and  writer.  ' 

Fiirstner  (fUrsht'-ner),  Ad.,  b.  Berlir 
Jan.  2,  1835  ;  founded  (186S)  a  mus. 
pub.  house,  Berlin. 

Fux  (foox),  Jn.  Jos.,  Hirtenfelc 
Upper    Styria,    1660 — Vienna,    Fet 


i 


proio 
io,iSi 


DICTIONARY  OF  MUSICIANS   513 


14,  1741  ;  eminent  theorist,  organist, 
and  court-conductor  and  writer ;  c. 
405  works  (few  pub.),  incl.  i8  operas, 
10  oratorios,  50  masses,  incl.  /nissa 
canonica.  He  wrote  the  famous 
treatise  on  cpt.  "  Gradus  ad  Parnas- 
stttn  "  in  dialogue  form  ;  it  is  based 
on  the  church-modes.  Biogr.  by 
Kochel  (Vienna,  1872). 

G. 

Gabler  (gap'-ler),  Jn,,  d.  ca.  1784  ;  or- 
gan  builder  at  Ulm. 

Gabriel  (i)  (ga'-brl-el),  Mary  Ann 
Virginia,  Banstead,  Surrey,  Engl., 
1825 — London,  1877  ;  c.  cantatas, 
operas,  etc.  (2)  (ga'-brl-gl).  Max, 
1890,  cond.  Residenz  Th.,  Hanover; 
prod,  the  succ.  3-act  operettas, 
"  Steffen  Langer "  (Magdeburg, 
1889);  "  De>'  Freiwerber  "  (Hanover, 
1890);  "  Der  Garde- Uhlan"  (Bres- 
lau,  1892;  Berlin,  1893,  as  '' Der 
Gar-de-Hnsar  "). 

Gabrieli  (ga-brl-a'-le),  (i)  Andrea, 
Venice,  ca.  15 10— 1586  ;  eminent  or- 
ganist and  teacher  and  composer  of 
the  first  "  real"  fugues  (v.  d.d.).  (2) 
Giov.,  Venice,  1558 — Aug.  12,  1613 
(ace.  to  his  monument)  ;  nephew  and 
pupil  of  above,  and  equally  famous  ; 
an  extraordinary  contrapuntist,  his 
"  symphonije  sacrse  "  employing  3 
simultaneous  choirs  independently 
handled;  he  has  been  called  "the 
father  of  the  chromatic  style "  be- 
cause of  his  bold  modulations.  (3) 
Dom.  (called  "  Menghino  del  violon- 
cello "),  Bologna,  ca. 1640 — ca.  1690; 
'cellist,  conductor,  and  composer. 

Gabrielli  (ga-brl-el'-le),  (i)  Catterina, 
Rome,  Nov.  12,  1730 — April,  1796; 
daughter  of  Prince  G.'s  cook  (and 
hence  called  "  La  Cochetta,"  or 
"  Cochettina  ")  ;  one  of  the  most 
beautiful  and  brilliant  of  singers  ;  her 
extraordinarily  flexible  voice  had  a 
"thrilling  quality"  (Burney)  ;  her 
caprices  and  her  high-handed  treat- 
ment of  the  nobility  and  royalty  ena- 
moured of  her  make  her  a  most  pict- 


uresque figure  ;  she  sang  with  great- 
est succ.  all  over  Europe  and  retired 
wealthy.  Her  sister  (2)  Francesca 
(called  "  La  Gabriellina,"  or  "  La 
Ferrarese  "),  Ferrara,  1755 — Ven- 
ice, 1795,  was  a  celebrated  prima 
donna  buffa.  (3)  Conte  Nicolo, 
Naples,  18 14 — 1891 ;  prod.  22  operas 
and  60  ballets. 

Gabriels'ki,  (i)  Jn.  Wm..  Berlin,  1791 
— 1846 ;  flutist  and  composer.  (2) 
Julius,  Berlin,  1806 — 1878  ;  bro.  and 
pupil  of  above  ;  flutist.  (3)  Ad.,  1st 
flutist,  Berlin  Royal  orch. ,  son  of  (2). 

Gabrilowitsch  (ga-bre-l6'-vltsh),  Os- 
sip,  b.  St.  Petersburg,  Jan.  26,  1878; 
studied  at  the  Cons,  with  Tolstoff 
and  Rubinstein ;  at  16  took  the  Ru- 
binstein prize ;  studied  with  Les- 
chetizky  at  Vienna,  1894-96 ;  1896 
began  touring  with  success  ;  1900-02 
America  ;  c.  pf.-pieces. 

Gabussi  (ga-boos'-se),  V.,  Bologna, 
1800 — London,  1846  ;  teacher  and 
composer. 

Gade  (ga-de),  Niels  Wm.,  Copen- 
hagen, Feb.  22,  1817 — Dec.  21,  1890; 
son  of  an  instr.-maker  ;  at  15  refused 
to  learn  his  father's  trade,  and  be- 
came pupil  of  Wexschall  (vln.)  Berg- 
green  (theory);  at  16  a  concert-violin- 
ist. His  overture,  ''  iVachklauge 
von  Ossian,"  took  first  prize  at  the 
Copenhagen  Mus.  Soc.  competition 
(1841)  and  won  for  him  a  royal  stipend. 
In  1842  the  C  min.  symphony,  and 
1846  the  cantata  "Ct'Wrt/«,"  were  prod, 
by  Mendelssohn  at  the  Gewand- 
haus.  He  travelled  in  Italy ;  then, 
1844,  lived  in  Leipzig  as  sub-cond.  to 
Mendelssohn,  and  regular  cond.  at 
his  death  (1847)  ;  1848,  he  returned 
to  Copenhagen  as  cond.  of  the  Mus. 
Soc.  and  as  organist  ;  1861,  court- 
cond.,  made  Prof,  by  the  King,  and 
Dr.  Phil.  /i.  c.  by  the  Univ.  ;  1886, 
Commander  in  the  Order  of  Dane- 
brog ;  1876  the  govt,  voted  him  a 
life-pension.  Autobiog.  ''  Aufzeich- 
nungen  und  Brief-' "  (Basel,  1893). 
Pub.  7  symphonies  (D  minor.  No.  5 
with    pf.);      5    overtures,    '' Nach- 


5H 


THE  MUSICAL  GUIDE 


kliinge  von  Ossian,"'  "  /;«  Hoch- 
lande"  ^'Hamlet"  '^Michelangelo" 
octet,  sextet,  and  quartet  for  strings  ; 
8  cantatas,  "  Elver s kind" S^x\-YJv!\'gs, 
daughter),  "  Friihlingsbotschaft" 
''Die  Heilige  iVacht,"  "  Zion," 
"  Kalanus"  "  Die  Kreuzfahrer" 
''Psyche"  etc.;  2  vin. -concertos  ;  pf. 
sonata  and  pes.,  songs,  etc. 

Gadsby,  H.  Robt.,b.  Hackney,  Lon- 
don, Dec.  15,  1842  ;  pupil  of  Wm. 
Bayley,  but  mainly  self-taught ;  or- 
ganist at  St.  Peter's,  Brockley  ;  1884, 
prof,  of  harm.  Queen's  Coll.  London; 
also  at  Guildhall  Sch.  of  Mus.  ;  c. 
"  Festival  Service  "  ;  3  symphonies  ; 
3  overtures,  "  Andromeda,"  "  The 
Golden  Legend"  and  "  The  Witches^ 
Frolic"  etc. 

Gad'sky,  Johanna,  b.  Anclam,  Prus- 
sia, June  15,  1871  ;  soprano,  edu- 
cated at  Stettin  ;  1892,  m.  H.  Pausch- 
er  ;  sang  in  U.  S.  A.  for  many  years, 
1899  Covent  Garden  and  as  "  Eva  " 
{Meistersinger),  at  Bayreuth. 

Gaforio  (ga-f6'-rl-6)  (orGafori,  Gafu- 
ri,  Gaffurio),  Franchino  (Latinized 
"  Franchinus  Gafurius,"  or  "  Fran- 
chinus "),  Lodi,  Jan.  14,  145 1 — 
Milan,  June  24,  1522  ;  priest,  emi- 
nent theorist,  choirmaster  and  singer. 

Gagliano  (gal-ya-n5),  (i)  Marco  di 
Zanobi  da,  b.  Florence ;  d.  there, 
Feb.  24,  1642  ;  conductor  and  com- 
poser. (2)  A  family  of  Naples  vln.- 
makers,  (a)  Alessandro,  pupil  of 
Stradivari,  worked  ca.  1695 — 1725. 
His  sons,  (b)  Nicol6  (170c -40),  and 
(c)  Gennaro  (1710-50),  and  his 
grandson,  (d)  Ferdinand©  (1736-81) 
succeeded  him  ;  later  descendants  est. 
factory  of  strings,  still  famous. 

Gahrich  (ga  -rlkh),  Wenzel,  Zercho- 
witz,  Bohemia,  1794 — Berlin,  1S64  ; 
violinist,  ballet-master,  and  dram, 
composer. 

Gail  (ga-el),  Edmee  Sophia  (nee 
Garre),  Paris,  Aug.  28,  1775 — July 
24,  1819;  singer  and  dram,  com- 
poser. 

Galeazzi  (ga-la-ad'-ze),  Fran.,  Turin, 
175S — Rome,  1819;  violinist. 


Galerat  ti,  Catterina,  Italian  contral- 
to, in  London   1714-21. 

Galilei  (ga-ll-la'-e),  V.,  Florence,  ca. 
1533 — ca.  1600  ;  lulenist,  Nnolinist 
and  theorist ;  father  of  the  astrono- 
mer. 

Galin  (ga-lan),  P.,  Samatan  Gers, 
France,  17S6 — Paris  (?),  1821  ;  wrote 
pop.  method  "  MelopListe  "  (v.  D.  D.), 

Galitzin  (ga-le'-tshen),  (i)  Nicolas 
Borissovitch,  d.  Kurski,  1S66;  a 
Russian  prince,  to  whom  Beethoven 
dedicated  an  overture,  and  3  quartets; 
he  advanced  Beethoven  liberal  sums 
for  his  dedications  ;  a  skilful  'cellist.  I 
(2)  G.  (Prince),  St.  Petersburg,  1823J 
— 1872  ;  son  of  above ;  composer) 
and  cond.  ;  maintained  in  Mos-j 
cow  (1S42)  a  choir  of  70  boys  ;  lateij 
an  orchestra.  ' 

Gallay  (gal-le),  (i)  Jacques  Fran.,i 
Perpignan,  1795 — Paris,  1S64;  horn-; 
virtuoso  and  composer.  (2)  Julesi 
Saint-Quentin,  1S22 — Paris,  1897  j 
amateur  'cellist  of  wealth  ;  made  rei 
searches  and  pub.  valuable  treatises' 

Gallenberg  (gal-len-berkh),  Wenze. 
Robt.,  Graf  von,  Vienna,  1783— 
Rome,  1S39  ;  c.  ballets. 

Galle  tius,  Fran,  (rightly  Fran^oi 
Gallet  (gal-la)),  b.  Mons,  Hainauh. 
i6th  cent.;  contrapuntist. 

Gal  li,  (i)  Filippo,  Rome,  1783 — Pari;; 
June  3,  1S53  ;  first  most  successft,' 
as  a  tenor  ;  illness  changed  his  voic(' 
and  he  achieved  great   success  as  : 

bass.     (2)  ,    d.    1S04 ;    Italia 

mezzo-soprano  in  London  from  I74;i 

Gallia.     Vide  epine.  ' 

Galliard  (gal'-li-art),  Jn.  Ernst,  Cell! 
Hanover,  16S7 — London,  1749;  o'^'' 
and  organist.  ; 

Gal  lico,  Paolo,  b.  Trieste,  May  i; 
1 863  ;  at  15  gave  a  pf. -recital  ■ 
Trieste ;  then  studied  Vienna  Con; 
with  Julius  Eppstein  ;  at  18  gradus' 
ing  with  first  prize  and  "  Gese^ 
schafts "  medal  ;  toured  Europ 
since  1892  pianist  and  teacher,  N< 
Vork. 

Gallic'ulus,     Jns.,    contrapuntist 
Leipzig,  1520-48. 


DICTIONARY  OF  MUSICIANS    s^s 


astrotu 


Nicoii 


ral 

,i  'cea 
lirj,  i: 
com 


Galli-Marie  (gal-li  mar-ya),  Celes- 
tine  (nee  Marie  de  I'lsle),  b. 
Paris,  Nov.,  1840  ;  mezzo-soprano; 
daughter  of  an  opera-singer  ;  debut 
Strassburg,  1859 ;  sang  Toulouse, 
iS6o,  Lisbon,  1S61,  Rouen,  1862 ; 
1S62-7S,  and  1S83-85,  Paris  Opera 
Comique  ;  she  created  "  Mignon  " 
(1S66),  "  Carmen  "  (1S75),  etc. 

Gal'lus,  (t)  Jacobus  (rightly  Jacob 
Handl,  Handl  or  Hahnel)  ;  Carnio- 
la,  ca.  1550 — Prague,  1591  ;  compos- 
er and  conductor.  (2)  Jns.  (Jean  le 
Cocq,  Maitre  Jean,  or  Mestre 
Jhan),  d.  before  1543  ;  a  Dutch  con- 
trapuntist, conductor   and  composer. 

(3)  Vide  MEDERITSCH,    JN. 

Galuppi  (ga-loop'-pi),  Baldassare 
(called  II  Buranel'lo),  Island  of  Bu- 
rano,  near  Venice,  Oct.  18,  1706 — 
Venice,  Jan.  3,  1784 ;  harpsichord 
virtuoso  ;  organist  1765-6S  ;  conduc- 
tor ;  c.  54  comic  operas. 

Gambale  (gam-ba'-le),  Emm.,  music- 
teacher,  Milan  ;  pub.  "  La  ri forma 
JHitsicale"  (1S40),  etc.,  advocating  a 
scale  of  12  semitones. 

Gambini  (gam-be'-ne),  Carlo  Andrea, 
Genoa,  1819 — 1865  ;  c.  operas,  etc. 

Gam'ble,  John,  English  violinist  and 
composer,  17th  century. 

Gamucci  (ga-moot'-che),  Baldassare, 
Florence,  1S22 — 1S92  ;  pianist  and 
writer. 

Ganassi  (ga-nas'-se),  Silvestro,  b. 
Fontego,  near  \'enice,  ca.  1500 
(called  "  del  Fontego  ")  ;  editor  and 
writer  on  graces. 

Gand  (gah),  Ch.  Nicolas  Eugene, 
ca.  1S26 — Boulogne-sur-Seine,  1S92  ; 
vln. -maker.     V.  lupot. 

Sandillot  (gah-de-yo),  L6on,  b.  Paris, 
Jan.  25,  1862  ;  writer  of  comedies 
and  composer  of  Parisian  vaudevilles. 

jandini  (gan-de'-ne),  (i)  A.,  Modena, 
1786 — Formigine,  1842  ;  conductor 
and  dram,  composer.  (2)  Alessan- 
dro,  Modena,  ca.  1807 — 1871  ;  son, 
pupil  (1842)  and  successor  of  above  ; 
dram,  composer  and  writer. 

Sanne  (gan),  L.  Gaston,  b.  Buxieres- 
les-Mines,  xVllier,  April  5,  1862;  pupil 


of  Dubois  and  Franck,  Paris  Cons.  ; 
c.  comic  opera  "  Rabelais "  (1892), 
vaudeville  operetta,  ballets,  etc. 

Gansbacher  (gens'-bakh-er),  Jn., 
Sterzing,  Tyrol,  1778 — Vienna,  1844; 
conductor  and  composer. 

Gan'tenberg  (-berkh),  H.,  b.  Berlin, 
Nov.  29,  1823  ;  flutist  ;  studied  with 
Gabrielsky;  from  i860  chamber-mus. , 
pensioned  1S93  ;  from  1872  teacher 
at  the  Hochschule. 

Gantvoort  (gant'-v6rt),  Arnold  J., 
b.  Amsterdam,  Dec.  6,  1S57  ;  1876, 
in  America  as  teacher  in  various  col- 
leges ;  1894,  Coll.  of  Mus.,  Cincin- 
nati ;  pub.  school  music-readers. 

Ganz  (gants),  (i)  Ad.,  Mayence,  1796 
— London,  1870  ;  violinist  and  cond. 
his  2  brothers  were,  (2)  Moritz 
Mayence,  1806— Berlin,  1868  ;  'cel- 
list ;  (3)  Ld.,  Mayence,  iSio — Ber- 
Hn,  1869 ;  violinist  and  composer 
Adolf's  2  sons  were,  (4)  Eduard, 
Mayence,  1827 — 1S69  ;  pianist.  (5' 
Wilhelm,  b.  Mayence,  Nov.  6,  1833 
pianist,  professor,  conductor. 

Garat  (^a-ra),  P.  J.,  Ustaritz,  Basses- 
Pyrenees,  April  25,  1764 — Paris 
March  i,  1823  ;  most  remarkable 
French  singer  of  his  time,  a  barytone 
of  great  compass  and  amazing  mem 
ory  and  mimicry  ;  professor  and  com 
poser. 

Garatade  (gir-o-da),  Alexis  de,  Nan- 
cy, 1779 — Paris,  1852  ;  professor 
composer  and  writer. 

Garbini  (gar-be -ne),  Edoardo,  b 
Parma ;  stable-boy  there,  when  dis- 
covered ;  now  pop.  tenor  in  opera. 

Garbrecht  (gar'-brekht),  Fr.  F.  W, 
(d.  1875),  founded  at  Leipzig  (1862; 
a  music  engraving  establishment 
owned  since  1880  by  Os.  Brandstetter 

Garcia  (gar-the'-a),  a  notable  family  of 
Spanish  vocal  teachers.  (i)  Don 
Fran.  Saverio  (Padre  Garcia,  called 
"lo  Spagnoletto "),  Nalda,  Spain, 
1731 — Saragossa,  1809  ;  conductor 
and  composer.  (2)  Manuel  del  Po- 
polo  Vicente,  Sevilla,  Jan.  22,  1775 
— Paris,  June  2,  1S32  ;  eminent  as 
tenor,  teacher,  and  progenitor  of  sing- 


5.6 


THE    MUSICAL    GUIDE 


ers ;  successful  as  manager,  cond. 
and  composer;  took  his  family,  his 
wife,  son  (3),  and  daughter  (5)  and 
others  to  America  for  a  v.  succ.  opera 
season,  iS 25-26.  Produced  43  ope- 
ras and  c.  others.  (3)  Manuel,  b. 
Madrid,  March  17,  1805  ;  son  of 
above  ;  bass  (in  Paris) ;  he  was  a  scien- 
tific investigator,  and  inv.  the  laryn- 
goscope, receiving  Dr.  Phil.  h.  c. 
Konigsberg  Univ.;  1847,  prof,  at  the 
Cons.,  1850,  London,  R.A.M.  Jenny 
Lind  was  one  of  his  pupils;  pub. 
"  Traits  complct  de  Vart  du  chant," 
1847.  (4)  Eugenie  (nee  Mayer), 
Paris,  1818 — 1880;  wife  and  pupil  of 
(3)  ;  soprano  and  teacher.  (5)  M. 
Fdicit6,  v.  MALI13R.A.N.  (6)  PauHnc, 
V.  viARDOT  GARCi.\.  (7)  Maflano, 
b.  Aoiz,  Navarra,  July  26,  1809  ;  not 
related  to  the  others  ;  dir.  of  the 
Pampeluna  School  of  Music ;  com- 
poser of  church-music. 

Garcin  (gar-sah),  Jules  Aug.  Salo- 
mon, Bourges,  1830 — Paris,  1896  ; 
violinist,  conductor  and  professor, 

Gardano  (gar-da'-no),  (i)  A.  (till  1557 
called  himself  Gardane),  ca.  1500 — 
Venice,  1571  (?)  ;  early  Italian  mus.- 
printer,  succeeded  by  sons,  (2)  Ales- 
sandro  and  (3)  Angelo. 

Garden,  Mary,  b.  Aberdeen,  Feb. 
20,  1S77;  soprano;  as  a  child 
brought  to  America  ;  pupil  of  Mrs. 
Duff  ;  (1896),  Paris  with  Trabadello 
and  Fugere  ;  debut,  1900,  Paris  Op. 
Com. ;  has  created  various  roles  there, 
including  "  Meiisande"  in  Debussy's 
"  PelUas  et  Mdlisande"  1902  ;  sang 
at  Covent  Garden,  1902. 

Gardo'ni,  Italo,  b.  Parma,  1821  ;  re- 
tired, 1S74  ;  operatic  singer. 

Gargiulo  (gar-joo'-l6),  (i)  Chevalier 
Enrico,  b.  Bari,  Italy,  March  31, 
1865  ;  mandolinist  ;  son  and  pupil  of 
a  dram,  barytone  (2)  Eugenio. 

Garibol'di,  Giu.,  b.  Maccerato,  Italy, 
March  17,  1833  ;  flutist  and  compos- 
er of  operettas. 

Garlan'dia,  Johannes  de,  ca.  1210- 
32  ;  French  theorist. 

Gamier  (g^rn-ya),  Fran.  Jos.,  Lauris, 


Vaucluse,  1759 — ca.  1825  ;  oboist  and 
composer. 

Garrett,  Geo.  Mursell,  Winchester, 
England,  1834 — Cambridge,  1897  ; 
pianist,  conductor,  composer  and  lect- 
urer. 

Gartner  (gert'-n5r),  Jos.,  Tachau, 
Bohemia,  1796 — Prague,  1863  ;  org.- 
builder  and  writer,  Prague. 

Gas'par  van  Weerbeke  (var'-bS-ke), 
b.  Oudenarde,  Flanders,  ca.  1440; 
eminent  contrapuntist  and  teacher. 

Gaspari  (gas-pa'-re),  Gaetano,  Bo- 
logna, 1807 — 188 1 ;  librarian,  pro- 
fessor and  composer. 

Gasparini  (or  Guasparini)  (gas-pa-re'- 
ne),  (i)  Fran.,  Camaiore,  near  Lucca, 
1668 — Rome,  1737  ;  director,  con- 
ductor and  theorist.  (2)  Michelan- 
gelo, Lucca,  1685 — Venice,  1732; 
male  contralto  and  dram,  composer. 
(3)  Don  Quirino,  'cellist  at  Turin ; 
1749-70  ;  conductor  and  composer. 

Gasparo  da  Salo  (gas-pa'-ro  da  sa'-16) 
(family  name  Bertolot'ti),  Salo, 
Brescia,  Italy,  ca.  1542 — Brescia  (?), 
1609  ;  famous  maker  of , viols. 

Gassier  (gSs-ya),  L.  Ed.,  France, 
1822 — Havana,  1871  ;  barytone. 

Gassmann  (gas'-man),  Florian  L., 
Bru.x,  Bohemia,  1723 — Vienna,  1774; 
court-conductor  and  dram,  composer. 

Gass'ner,  F.  Simon,  Vienna,  1798— 
Carlsruhe,  185 1  ;  violinist,  teacher, 
editor  and  composer. 

Gast,  Peter.    Vide  koselitz. 

Gastaldon  (gas-tal'-don),  Stanislas, 
b.  Turin,  April  7,  1861 ;  at  17  pub, 
nocturnes,  ballabili,  songs,  etc. ,  somt 
of  them  v.  pop.;  c»  succ.  i-act  opera- 
seria,  ''  II Pater"  (Milan,  1894),  etc 

Gastinel  (gis-tl-ngl),  Leon  G.  Cyp- 
rien,  b.  Villers,  near  Auxonne,  Aug. 
15,  1823 ;  pupil  of  Halevy,  Pari: 
Cons.  ;  took  first  Or.  prix  de  Rom( 
with  cantata  ''Velasquez";  prod 
comic  operas;  ballet  "Z^  Rive' 
(Gr.  Opera,  1890),  etc. 

Gastoldi  (gas-tol'-de),  Giov.  Giaco 
mo,  Caravaggio,  ca.  1556 — Milan  (?) 
1622  ;  conductor,  contrapuntist  ani 
composer. 


DICTIONARY  OF  MUSICIANS   517 


Tacian 

•M-k] 
1. 1* 
acki, 
no,  Bo 

L-pa* 


Gatayes  (gi-t^z'),  (i)   Guill.  P.  A., 

Paris,  1774 — 1846;  guitar-player  and 
composer.  (2)  Jos.  L^on,  Paris, 
1S05 — 1877 ;  son  of  above  ;  harpist, 
critic  and  composer.  (3)  F61ix,  b. 
Paris,  1809  ;  bro.  of  above  ;  pianist, 
chiefiy  self-taught ;  for  20  years 
toured  Europe,  America  and  Austra- 
lia ;  c.  excellent  symphonies  and  over- 
tures ;  military  music,  etc. 

Gathy  (ga-te),  Aug.,  Liege,  1800 — 
Paris,  1858  ;  editor,  teacher  and  com- 
poser. 

Gat'ty,  Alfred  Scott,  b.  Ecclesfield, 
Yorks.,  April  25,  1847;  1880  Pour- 
suivant  of  Arms,  Heralds'  Coll.  Lon- 
don ;  c.  2  operettas,  many  pop.  songs, 
particularly  in  imitation  of  American 
Plantation  songs,  pf. -pieces. 
'Gaucquier  (gok-ya),  Alard  (rightly 
Dunoyer,  Latinized  Nuceus),  called 
du  Gaucquier  and  Insulanus  from 
Lille-l'isle,  court-bandm.  to  Ma.\i- 
milian  II.  ;  famous  i6th  cent,  contra- 
puntist. 

Gauden'tios,  a  Greek  writer,  1652. 

Gaul  (gol),  Alfred  Robt.,b.  Norw^ich, 
England,  April  30,  1837  ;  at  9  a 
cath.  chorister  articled  to  Dr.  Buck  ; 
1863,  Mus.  Bac.  Cantab.;  1887,  cond. 
Walsall  Philh.;  later  teacher  and 
cond.  at  the  Birmingham  and  Mid- 
land Inst.,  etc.;  c.  oratorio  '' Heze- 
kiah  "  (1861);  cantatas,  incl.  "  Ruth  " 
and  "  TAf  Holy  City,''  etc. 

Gau(I)tier  (got-ya),  (i)  Jacques  (G. 
d'Angleterre,  or  Vancieti),  Lyons,  ca. 
1600 — Paris,  ca.  1670  ;  lutenist.  (2) 
Denis  (le  jeune,  or  Villustr^),  Mar- 
seilles, i6oo(-io  ?) — d.  Paris  ;  cousin 
of  above,  and  his  partner  in  a  lutenist 
school ;  famous  lutenist  and  collector 
of  lute-music.  (3)  Pierre,  b.  Orleans , 
0.  suites  for  lute  (1638).  (4)  Enne- 
mond,  Vienne,  Dauphine,  1635 — be- 
fore 1680 ;  son  of  (i) ;  lutenist.  (5) 
Pierre,  Cioutat,  Provence,  1642 — 
drowned,  Cette,  1697 ;  dram,  com- 
poser. (6)  Aloysius  Ed.  Ca- 
mille,  (Abbe)  Italy,  ca.  1755 — Paris, 
18 18 ;    wrote  a  method    for    teach- 


Gaunflett,  H.  J,,  Wellington,  Shrop- 
shire, 1805 — London,  1876  ;  organ- 
ist and  composer. 

Gauthier  (got-ya),  Gabriel,  b.  in 
Soane-et-Loire,  France,  1808  ;  be- 
came blind  when  11  months  old  ;  was 
pupil  and  (1S27-40)  teacher  Paris 
Inst,  for  the  Blind,  then  organist  of 
St.  Etienne-du-Mont,  Paris ;  pub. 
treatises. 

Gautier  (got-ya),  (i)  v.  gaultier.  (2) 
J.  Fran.  Eug.,  Vaugirard  n.  Paris, 
1822 — Paris,  1878  ;  conductor  and 
dram,  composer. 

Gaveaux  (ga-v6).  P.,  Beziers,  He- 
rault,  Aug.,  1761 — insane,  Paris,  1S25  ; 
tenor;  c.  operas,  incl.  '''' Lconore" 
(1788),  the  same  subject  afterwards 
used  in  Beethoven's  ^'Fidelia." 

Gavinifes  (ga-ven-yes).  P.,  Bordeaux, 
1726 — Paris,  1800  ;  violinist,  pro- 
fessor and  dram,  composer. 

Gaztambide  (gath-tam-be'-dhe),  (i) 
Joaquin,  Tudela,  Navarra,  1822 — 
Madrid,  1870 ;  composer,  teacher 
and  conductor.  (2)  Xavier,  a  young 
relative,  also  c.  zarzuelas  (see  D.  D.). 

Gazzaniga  (gad-zan-e'-ga),  Giu., 
Verona,  1743 — Crema,  1819;  con- 
ductor and  dram,  composer. 

Gear  (ger),  Geo.  Fr,,  b.  London,  May 
21,  1857;  pianist;  pupil  of  Dr.  Wylde 
and  J.  F.  Barnett ;  1S72  scholarship 
London  Acad,  of  Mus.,  now  prof, 
there  ;  1876-92  mus.-dir.  German- 
Reed  Company  ;  composed  scena  for 
sopr.  solo  and  orch. ,  etc. 

Gebauer  (zhii-bo-a),  (i)  Michel  Jos., 
La  Fere,  Aisne,  1763 — 18 12,  on  the 
retreat  from  Moscow  ;  oboist,  violin- 
ist and  viol-player ;  also  extraordi- 
nary virtuoso  on  the  Jew's  harp.  He 
had  3  brothers,  (2)  Francois  Rene, 
Versailles,  1773 — Paris,  1845  ;  bas- 
soonist, prof.,  writer,  and  composer. 
(3)  P.  Paul,  b.  Versailles,  1775  ;  died 
young  ;  pub.  20  horn-duets.  (4)  Et. 
Fran.,  Versailles,  1777 — Paris,  1823; 
flutist  and  composer.  (5)  (ge-bow'- 
er),  Fz.  X.,  Eckersdorf,  near  Glatz, 
1784 — Vienna,  1822  ;  'cellist,  con- 
ductor, teacher  and  composer. 


5.8 


THE    MUSICAL    GUIDE 


Gebel  (ga -bel),  (i)  Georg  (Sr.),  Bres- 
lau,  16S5 — 1750;  organist;  inv. 
clavichord  with  quarter  tones  and 
clavicymbalum  with  pedal-keyboard  ; 
composer ;  he  had  2  sons,  (2)  Georg 
(Jr.),  Brieg,  Silesia,  1709 — Rudol- 
stadt,  1753  ;  son  of  above  ;  conduc- 
tor, organist  and  composer.  (3) 
Georg  Sigismund,  d.  1775;  organ- 
ist and  composer.  (4)  Fz.  X.,  Fiir- 
stenau,  near  Breslau,  17S7 — Moscow, 
1843  ;  conductor,  pf. -teacher,  and 
composer. 

Gebhard  (gep'-hart),  Martin   Anton, 

b.  Bavaria,  1770  ;  Benedictine  monk, 
then,  1 83 1,  a  priest  at  Steinsdorf ; 
theorist. 

Gebhar'di,  Ludwig  Ernst, Nottleben, 
Thuringia,  1787 — Erfurt,  1862  ;  or- 
ganist, composer  and  teacher. 

Gedalge  (zha-dalzh),  Andr6,  b.  Paris, 
Dec.  27,  1856  ;  pupil  of  Guiraud  at  the 
Cons.;  took  2nd  Grand  prixde  Rome, 
1885   wrote    lyric  drama  " ///AW / 

c.  pantomime  "  Le  Petit  Savoyard" 
(Paris,  1891)  ;  a  succ.  r-act  opera- 
boufife  '  Pris  au  Pikge"  (Paris, 
1895)  ;  2  symphonies,  etc. 

Gehring  (ga -ring),  F.,  1838  —  Pen- 
zing,  near  Vienna,  1884;  writer. 

Geijer  (gl'-er),  Erik  Gustaf,  Ran- 
satter,  Wermeland,  1783 — Upsala, 
1847  ;  coll.  of  Swedish  folk-songs. 

Geisler  (gls'-ler),  (i)  Jn.  G.,  d.  Zittau, 
1827  ;  writer.  (2)  Paul,  b.  Stolp, 
Pomerania,  Aug.  10,  1S56  ;  grandson 
and  pupil  of  a  mus.-dir.  at  Mecklen- 
burg ;  studied  also  with  K.  Decker  ; 
1881-S2  chorusm.  Leipzig  City  Th., 
then  with  Neumann's  Wagner  Co.  ; 
1883-85  at  Bremen  (under  Seidl)  ; 
then  lived  in  Leipzig ;  prod.  5  ope- 
ras ;  c.  12  symphonic  poems,  incl. 
"  Der  Rattenfiinger  von  Hameln" 
(1880),  "  Till  Ettlenspiegei;'  etc. 

Geistinger  (gis'-tlng-er),  Maria 
("  Marie  ")  Charlotte  Cacilia,  b. 
Graz,  Styria,  July  26,  1S36  ;  soprano, 
etc. 

Gelinek  (ga-ll-nek),  (i)  Hn.  Anton 
(called  Cervetti),  Horzeniowecs, 
Bohemia,     1709 — Milan,    1779 ;    ^^" 


priest,  violinist  and  composer.  (2) 
Joseph,  Abbe  ;  Selcz,  Bohemia, 
175S — Vienna,  1825  ;  teacher  and 
composer. 

Geller-Wolter  (gel'-ler-vol-ter),  Lu- 
ise,  b.  Cassel,  March  27,  1863  ;  op- 
era and  concert  alto  ;  studied  with 
Frau  Zottmayer  and  Mme.  Marchesi. 

Geminiani  (jem-e-nt-a'-ne),  Fran., 
Lucca,  16S0 — Dublin,  Dec.  17,  1762; 
brilliant  and  eccentric  violinist  of 
great  importance  in  English  progress, 
and  the  author  of  the  first  vln.  method 
pub.  (1740). 

Gemiinder  (g^-miint'-er),  Ingelfingen, 
Wtirtemberg,  March  22,  18 14 — New 
York,  Sept.  7,  1895  ;  a  maker  whose 
vlns.  were  of  the  very  highest  per- 
fection ;  his  sons  succeed  him. 

Genast  (ge-nast),  Ed,,  Weimar,  1797 
— Wiesbaden,  1866  ;  barytone  and 
composer. 

Gen6e  (zhii-na),  Franz  Friedrich 
Richard,  Danzig,  Feb.  7,  1823— 
Baden,  near  Vienna,  June  15,  1895  ; 
pupil  of  Stalleknacht,  Berlin;  theatre- 
conductor  various  cities  ;  a  student, 
then  conductor  and  operatic  composer; 
1868-78  at  Th.  an  der  Wien,  Vienna; 
wrote  libretti  for  many  of  his  own 
works  and  for  Strauss  and  others  ; 
c.  light  operas  with  succ,  incl.  "  Der 
Geiger  aus  Tirol"  "jVanon"  etc. 

Generali  (ja-ne-ra'-le),  Pietro  (rightly 
Mercandet'ti),  Masserano,  Pied- 
mont, 1783 — Novara,  1832  ;  conduc- 
tor and  dram,  composer. 

Genet  (zhu-na),  Eleazar  (called  il 
Carpentras'so,  or  Carpentras  (kar- 
pafi-tras)),  Carpentras  Vaucluse,  ca. 
1745 — Avignon  (?),  ca.  1532  ;  singer, 
then  cond.,  then  bishop;  his  ad- 
mired masses,  etc.,  were  the  first 
printed  in  round  notes  without  liga- 
ture. 

Gengenbach  (geng'-en-bakh),  Niko- 
laus,  b.  Kolditz,  Saxony  ;  cantor  at 
Zeitz,  and  writer,  1626. 

Genss  (gens),  Hermann,  b.  Tilsit, 
Jan.  6,  1S56  ;  pianist  ;  pupil  of  the 
Royal  Hochsch.  fiir  Mus.,  Berlin; 
teacher  in  various  cities  ;    1893,  co- 


DICTIONARY  OF  MUSICIANS   519 


dir.  Scharwenka-Klindworth  Cons., 
Berlin  ;  c.  orch.  works,  etc. 

Georges  (zhorzh),  Alex.,  b.  Arras, 
France,  Feb.  25,  1850;  pupil,  now 
prof,  of  harm.,  Niedermeyer  Sch., 
Paris;  c.  operas  "  Le  Frintemps'''' 
(1888)  and  '' Pohues  d' Amour" 
(1892)  ;  "  Charlotte  Corday"  (1901)  ; 
2  oratorios,  a  mystery  "  Za  Passion  " 
(1902)  ;  symph.  poem,  etc. 

G6rard  (zha-rar),  H.  P.,  Liege,  1763 — 
Versailles,  1848  ;    teacher  and  writer. 

G6rardy  (zha-rar-de),  Jean,  b.  Liit- 
tich,  Dec.  6,  187S  ;  notable  'cellist; 
studied  with  Bellmann ;  a  pupil  of 
Griitzmacher ;  played  as  a  child  in 
England ;  at  13  in  Dresden  ;  1899, 
etc.,  toured  America  ;  lives  at  Spa. 

Ger'ber,  (i)  H.  Nikolaus,  Wenigen- 
Ehrich,  near  Sondershausen,  1702 — 
Sondershausen,  1775  ;  organist  and 
composer.  (2)  Ernst  L.,  Sonders- 
hausen, 1746 — i8ig  ;  son,  pupil  and 
successor  (1775)  of  above ;  'cellist, 
organist,  lexicographer  and  compos- 
er. 

Gerbert  (ger'-bert),  (von  Hornau) 
Martin,  Hor-bon-Neckar,  Aug.  12, 
1720 — St.  Blaise,  May  13,  1793  ;  col- 
lector of  the  invaluable  ' '  Scriptorcs 
ecclesiastici  de  finisica  sacra  potis si- 
mum"  noteworthy  treatises  of  the 
Middle  Ages,  reproduced  exactly  (the 
compilation  was  continued  by  Cousse- 
maker).  The  work  is  briefly  referred  to 
in  this  book  as  "  Gerbert."  He  be- 
came in  1736  cond.  at  St.  Blaise ; 
when  he  died,  the  peasants  erecting  a 
statue  to  him  ;  pub.  also  other  very 
important  works,  and  c.  offertories, 
etc. 

Gericke  (ga'-rT-ke),  Wilhelm,  b.  Graz, 
Styria,  April  18,  1845  ;  pupil  of  Des- 
soff,  Vienna,  Cons.,  then  cond.  at 
Linz ;  1874,  2d.  cond.  Vienna  ct.- 
opera  (with  Hans  Richter)  ;  1880, 
cond.  of  the  "  Gesellschaftsconcerte  " 
(vice  Brahms) ;  also  cond.  the  Sing- 
erverein  ;  1884-S9,  cond.  Boston 
(Mass)  Symphony  Orch.,  resuming 
the  post  1S98  (vice  Emil  Paur)  after 
being  dir.  "  Gesellschaftsconcerte  "  at 


Vienna  until  1895  ;  pub.  several  cho- 
ruses, pf.-pcs.  and  songs ;  also  c. 
operetta  "  Schoti  Hannchen"  {lAnz, 
1865) ;  a  Requiem  ;  a  concert-over- 
ture, etc. 

Gerlach  (ger'-lakh),  (i)  Dietrich,  d. 
Nurnberg,  1574  ;  music  -  printer, 
1566-1571.  (2)  Theodor,  b.  Dres- 
den, June  25,  1861  ;  pupil  of  Wull- 
ner ;  at  22  prod,  a  notable  cantata, 
^'Luther's  Lob  der  Musica"  1S84  ; 
Italy,  1885  ;  cond.  Sondershausen 
Th. ,  then  of  German  Opera  in  Posen  ; 
his  ''Epic  Symphony"  caused  his  ap- 
pointment as  ct.-cond.  in  Coburg, 
1891;  1894,  cond,  at  Cassel ;  c.  succ. 
opera  (book  and  music)  "  Matteo  Fal- 
cone'" (Hanover,  '98,  Berlin,  1902), 
orch.  pieces,  etc. 

Gerle  (ger'-le),  (i)  Konrad,  d.  Niirn- 
berg,  1521  ;  lute-maker.  (2)  Hans, 
d.  Nurnberg,  1570  ;  probably  son  of 
above  ;  violinist  and  vln. -maker. 

German,  J.  Edw.,  b.  Whitchurch, 
Shropshire,  England,  Feb.  17,  1862  ; 
violin  pupil  of  R.  A.  M.  ;  1889,  dir. 
Globe  Th.,  London  ;  1901  completed 
Arthur  Sullivan's  unfinished  opera 
"  The  Emerald  Isle,"  prod,  with 
succ.  London,  1901  ;  c.  operetta  ;  2 
symphonies  ;  various  suites,  including 
the  "Gipsy"  suite,  chamber-music, 
songs,  etc.  His  incidental  music  to 
Shakespeare's  plays  is  especially  no- 
table. 

Germer  (ger'-mer),  H.,  b.  Sommers- 
dorf.  Province  of  Saxony,  Dec.  30, 
1837  ;  pupil  Berlin  Akademie  ;  teach- 
er, pianist  and  writer. 

Gem,  August,  organ-builder,  London. 

Gernsheim  (gerns'-him),  Fr.,  b. 
Worms,  July  17,  1839,  of  Hebrew 
parents ;  pupil  of  Rosenhain  and 
Hauff,  Frankfort,  and  Leipzig  Cons.; 
1865,  teacher  of  comp.  and  pf.  Co- 
logne Cons.;  1872,  Prof.;  1874,  dir. 
of  the  Cons,  at  Rotterdam  and  cond. 
"Winter  Concerts";  since  1890  at 
Stern  Cons.,  Berlin  ;  c.  4  symphonies, 
overtures,  etc. 

Gero  (ga'-ro),  Jhan  (Johann)  (called 
Maister  Jan  or  Jehan,  or  Joannes 


520 


THE  MUSICAL  GUIDE 


Gallus),  conductor  and  composer  at 
Orvieto  Cath.,  i6th  cent. 

Gersbach  (gers'-bakh),  (i)  Joseph, 
Sackingen,  Baden,  1787 — Carlsruhe, 
1830 ;  teacher  and  composer.  (2) 
Anton,  Sackingen,  1801 — Carlsruhe, 
184S  ;  bro.,  pupil  and  successor  of 
above. 

Gerson  (ger-son),  J.  Charlier  de, 
Gerson,  near  Rethel,  1363 — Lyons, 
1429  ;  writer. 

Gerster  (ger'-shter),  Etelka,  b.  Ka- 
schau,  Hungary,  June  16,  1S57;  one 
of  the  most  remarkable  coloratura- 
sopranos  of  her  time  ;  1874-75,  a 
pupil  of  Marchesi,  Vienna  Cons.;  v. 
succ.  debut  Venice,  Jan.  8,  1876  ;  m. 
her  impresario  Dr.  Carlo  Gardini  and 
toured  Europe  and  America ;  lost 
her  voice  suddenly  and  opened  (1896) 
a  singing-school,  in  Berlin. 

Gervasoni  (jer-va-s6'-ne).  Carlo,  Mi- 
lan, 1762-1819;  writer  and  theor- 
ist. 

Gervinus  (ger-ve'-noos),  Georg  Gf., 
Darmstadt,  1805— Heidelberg,  1871  ; 
professor  and  writer. 

Geselschap  (ge-zel'-shap),  Marie,  b. 
Batavia,  Java,  1874  (?)  ;  pianist ;  pu- 
pil of  X.  Scharwenka,  Berlin  ;  played 
in  America,  etc.;   1S95  in  London. 

Gesius  (rightly  Goss)  (ga-st-oos ; 
ggs),  Bartholomaus,  Miincheberg, 
ca.  1555 — Frankfort-on-Oder,  1613; 
cantor  and  composer. 

Gesualdo  (ja-zoo-al'-do),  Don  Carlo, 
Prince  of  Venosa,  d.  1614 ;  one  of 
the  most  intellectual  and  progressive 
mus.  of  his  time  ;  wishing  to  revive 
the  chromatic  and  enharmonic  genera 
of  the  Greeks,  he  strayed  out  of  the 
old  church-modes  and,  becoming  one 
of  the  "  chromaticista,"  wrote  almost 
in  modern  style. 

Gevaert  (zhu-vart'),  Frangois  Au- 
guste,  b.  Huysse,  near  Oudenarde, 
July  31,  1828  ;  pupil  of  Sommere  (pf.) 
and  Mengal  (comp.)  at  Ghent  Cons., 
taking  Gr.  prix  de  Rome  for  comp. ; 
1843,  organist  at  the  Jesuit  church  ;  he 
prod.  2  operas  ;  lived  in  Paris  (1849- 
50) ;    then    went    to    Spain    and    c. 


"  Fantasia  sobre  motivos  espanoles" 
still  pop.  there,  for  which  he  was 
given  the  order  of  Isabella  la  Catolica  ; 
he  sent  back  reports  on  Spanish  mu- 
sic (pub.  by  the  Academy,  185 1) ;  he 
returned  to  Ghent  1S52,  prod.  9  ope-  ' 
ras,  2  of  them,  "  Georgette"  and  "Z^  ' 
billet  de  Marguerite"  with  much  sue-  , 
cess ;  in  1857  his  festival  cantata ' 
"  De  Natiofiale  Verjaerdag"  brought 
him  the  Order  of  Leopold  ;  1867-70  . 
chef  de  chant  Gr.  Opera,  Paris  ;  1871, ' 
dir.  Brussels  Cons,  (vice  Fetis) ;  pub. 
colls,  of  Italian  music,  also  the  valu- 
able fruits  of  much  research  in  old: 
plain-song.  His  "  Tr ait eW instrumen- 
tation" (1863)  revised  as  ''  Nouveau^ 
traits"  etc.  (18S5),  threatens  to  sup-, 
plant  Berlioz'  great  work  ;  he  prod, 
also  3  cantatas,  ''  Missa  pro  Defunc- 
tis"  and  ''Super  Flumina  Baby., 
lonis"  for  male  chorus  and  orch.; 
overture  "  Flandre  au  Lion"  etc. 

Geyer  (gl'-er),  Flodoard,  Berlin,  181I: 
— 1872  ;  prof.,  critic,  theorist  and' 
dram,  composer. 

Gheyn  (gen),  Matthias  van  den,  Tirle-' 
mont,  Brabant,  1721 — Louvain,  1785; 
one  of  a  Flemish  family  of  bell  found- 
ers; organist.  Of  his  17  children  his 
son  Joss6  Thos.  (b.  1752)  was  his 
successor  as  organist. 

Ghiselin(g)  (ge-ze-hlng)  (or  Ghise-i 
linus),  Jean,  Netherlandish  ;  contra' 
puntist  i5-i6th  cent. 

Ghislanzoni  (ges-lan-ts6'-ne),  A.,  Lee 
CO,  1824 — Caprino-Bergamasco,  1893: 
barytone  and  writer. 

Ghizeghem.     Vide  heyne. 

Ghizzolo  (ged'-z6-l6),  Gio.,  b.  Bres 
cia,  1560  (?) ;  monk  and  composer. 

Ghymers  (ge'-mers),  Jules  Eugene 
b.  Liege,  May  16,  1835  ;  pupil  o 
Liege  Cons.;  pianist  and  critic. 

Gys  (ges),  Joseph,  Ghent,  1801— St 
Petersburg,  1848 ;  violinist,  teache 
and  composer. 

Giacche  (jak'-kS).  Vide  berchem 
Giacchet'to.     Vide  buus. 

Giacomelli  (jak-o-mel'-le),  Geminiano 
Parma,  1686 — Naples,  1743  ;  dram 
composer. 


DICTIONARY  OF  MUSICIANS  521 


Gialdini  (jal-de'-ne),  Gialdino,  b.  Pes- 
cia,  Nov.  10,  1843  ;  pupil  of  Mabel- 
lini,  Florence;  his  first  opera,  ''  J^os- 
munda"  won  prize  offered  by  the  Per- 
gola Th.,  Florence,  but  was  unsuc. ; 
1868,  prod.  2  "opere  buffe "  in 
collaboration,  then  devoted  himself  to 
cond.  with  great  succ;  prod,  opera 
"/  Due  Soci"  (Bologna,  1892)  and 
"Za  Ptipilla"  (Trieste,  1896)  with 
success. 

Gianelli  (ja-nel'-le),  Pietro,  (Abbate) 
Friuli,  Italy,  ca.  1770 — Venice,  1822 
(?) ;   lexicographer. 

Gianettini  ^a-net-te'-ne)  (or  Zanet- 
tini),  A.,  Venice,  i649^Modena, 
1721  ;  dram,  composer. 

Gianotti  (ja-n6t'-te).  P.,  Lucca — 
Paris,  1765  ;  double-bassist,  composer 
and  writer. 

Giardini  (jar-de'-ne),  Felice  de,  Tu- 
rin, 1 7 16 — Moscow,  1796  ;  violinist 
and  dram,  composer. 

Gibbons,  (i)  Rev.  Edw.,  ca.  1570— 
ca.  1650;  organist.  (2)  Ellis  G.,  d.  ca. 
1650 ;  bro.  of  above  ;  organist  Salis- 
bury cath.  (3)  Orlando,  Cambridge, 
England,  1583 — Canterbury,  June  5, 
1625  ;  bro.  of  above ;  one  of  the 
foremost  of  Engl,  organists  and  com- 
posers ;  Mus.  Doc.  Oxon  ;  1604,  or- 
ganist Chapel  Royal ;  1623,  organist 
Westminster  Abbey.  (4)  Chris- 
topher, London,  .  16 15 — 'Oct.  20, 
1676  ;  son  of  (3),  organist  and  com- 
poser. 

Gibel  (ge'-bel)  (or  Gibe'lius),  Otto, 
Island  of  Fehmarn  (Baltic),  1612 — 
Minden,  1682  ;  composer. 

Gibellini  (je-bel-le'-ne),  Eliseo,  b.  Osi- 
mo,  Ancona,  ca.  1520;  until  1581 
composer  and  conductor. 

Gibert  (zhe-bar),  Paul  C^sar,  Ver- 
sallies,  1717— Paris,  1787;  dram, 
composer. 

Gibert  (he'-bert)  (or  Gisbert,  Gispert), 
Francisco  Xavier,  Granadella, 
Spain — Madrid,  1848  ;  priest,  cond. 
and  composer. 

Gibso'ne,  Guillaume  Ignace,  b.  Lon- 
don, ca.  1826 ;  pianist ;  pupil  of 
Moscheles  ;  also  dram,  composer. 


Gide  (zhed),   Casimir,  Paris,   1804 — 

1 868  ;  composer. 
Gigout  (zhe-goo),  Eugene,  b.  Nancy, 
France,  March  23,  1844  ;  organ-virt- 
uoso, critic,  etc.;  pupil  in  the  mat- 
trise  of  Nancy  cath.;  at  13  entered 
Niedermeyer  Sch.,  Paris,  and  was 
later  teacher  there  for  over  20  years  ; 
studied  also  with  Saint-Saens  ;  1863^ 
organist  at  the  Ch.  of  St.  Augustin  ; 
succ.  concert  organist  throughout 
Europe ;  1885,  founded  an  organ- 
sch.  subsidized  by  the  govt.;  com- 
mander of  the  order  of  Isabella  la 
Catolica  ;  1885,  officier  of  pub.  in- 
struction ;  1895,  Chev.  of  the  Legion 
of  Honour  ;  pub.  over  300  Gregorian 
and  plain-song  compositions. 

Gil  (hel),  Francisco  Assis,  b.  Cadiz, 
1829 ;  pupil  of  Fetis  ;  prof,  of  har- 
mony, Madrid ;  writer,  theorist  and 
dram,  composer. 

Gil  y  Llagostera  (hel  e  la-gos-ta'-ra), 
Caytan,  b.  Barcelona,  Jan.  6,  1807  ; 
first  flute  at  the  theatre  and  cath.' 
Barcelona  ;  c.  symphonies,  etc. 

Gilchrist,  W.  Wallace,  b.  Jersey 
City,  N.  J.,  Jan.  8,  1846;  pupil  of 
H.  A.  Clarke  at  the  U.  of  Penn.; 
from  1S77  organist  and  choirm.  Christ 
Ch.,  Germantown  ;  from  1882  teach- 
er Phila.  Mus.  Acad.;  cond.  of  vari- 
ous choral  societies ;  c.  prize  Psabn 
xlvi.  for  soli,  chorus,  orch.  and  org. 
(Cincinnati  Festival,  1882),  "  Song  of 
Thanksgivino  "  for"  chorus  and  orch.; 
a  cantata  "  T/ie  Pose"  (1887),  etc. 

Giles  (jllz),  Nathaniel,  near  Wor- 
cester,  Engl.,  ca.  1550  — Windsor, 
Jan.  24,  1633  ;  organist ;  Mus.  Doc. 
Oxon  ;  writer  and  composer. 

Gille  (gel'-le),  Karl,  1897  conductor 
at  Hamburg  City  Th.;  previously  con- 
ductor at  the  Ct.-Th.,  Schwerin. 

Gilles  (rightly,  G.  Brebos)  (zhel  bru- 
bo),  called  Maitre  G.,  or  "  Mase- 
giles,"  d.  1584  ;  organ  builder  at 
Louvain  and  Antwerp. 

Gillet  (zhe-ya),  Ernest,  b.  Paris, 
Sept.  13,  1856 ;  pupil  Niedermeyer 
Cons.;  solo 'cellist  Gr.  Opera ;  then 
lived  in  London  ;  c.  "  Loin  du  bal " 


522 


THE    MUSICAL    GUIDE 


and  other  pop.  and  graceful  pf.- 
pieces. 

Gillmeister  (gtl'-ml-shter),  Carl,  b. 
Schonebeck,  Dec.  25,  1856  ;  bass ; 
studied  at  the  Hochschule,  Uerlin  ; 
debut  at  Augsburg  ;  1SS8  at  Bay- 
reuth,  1900  at  Hanover. 

Gilmore,  Patrick  Sarsfield,  near 
Dublin,  Dec.  25,  1820 — St.  Louis, 
Mo.,  Sep.  24,  1892  ;  an  immensely 
popular  conductor,  some  of  whose 
influence  went  to  the  popularising  of 
good  music  ;  on  occasions  he  cond. 
an  orch.  of  1,000  and  a  chorus  of 
10,000,  also  an  orch.  of  2,000  and  a 
chorus  of  20,000,  reinforced  with  can- 
non fired  by  electricity,  an  organ,  an- 
vils, chimes,  etc.  (cf.  Sarti)  ;  he  c. 
pop.  military  and  dance  music' 

Gilson  (zhel-soii),  Paul,  b.  Brussels, 
i86g  ;  self-taught ;  his  cantata  "  ^7- 
nai  "  won  the  Grand  prix  de  Rome, 
1892;  1896  prod,  opera  "  Ahar" 
Brussels ;  completed  Ragghianti's 
opera  '"''  Jean-Marie" ;  c.  symph. 
sketches  "  La  Mer"  etc. 

Ginguen^  (zhari-gii-na),  P.  L.,  Rennes, 
174S  — Paris,  1816;  writer. 

Giordani  (jor-da'-ne),  name  of  a  family, 
father,  3  sisters  and  2  brothers,  all 
singers  in  comic  opera  at  Naples,  till 
1762  when  they  came  to  London  (ex- 
cept Giuseppe)  ;  one  of  the  brothers 
wrote  the  still  pop.  song  "  Caro  inio 
ben."  (i)  Tommasa  (rightly  Car- 
mine), Naples,  ca.  1740  —  Dublin 
after  18 16 ;  dram,  composer.  (2) 
Giuseppe  (called  Giordanello), 
Naples,  1744 — Fermo,  1798  ;  bro.  of 
above  ;  conductor  ;  c.  30  operas. 

Giordano  (j6r-da'-n6),  Umberto,  b. 
Foggia,  Aug.  27,  1867  ;  studied 
with  Paolo  Cerraos  at  the  Naples 
Cons.  ;  notable  neo-Italian,  living  at 
Milan;  c.  operas;  very  succ.  ''An- 
drea ChJnier "  (La  Scala,  Milan, 
1896  ;  also  in  Berlin,  1898,  and  U.  S.); 
also  ''Marino"  unsucc,  "  Regina 
Diaz  "  (Naples,  1894)  ;  and  succ.  3- 
act  melodrama  "Mala  Vita  "  (Rome, 
1892,  prod,  as  "  //  Voto"  Milan, 
1897) ;   "  Fedora  "  and  "  Siberia." 


Giorgi  (j6r'-je).     Vide  banti. 

Giornovichi.     Vide  jarnovic. 

Giorza  (j6r'-tsa),  Paolo,  b.  Milan, 
1838  ;  son  and  pupil  of  an  organist 
and  dram,  singer  ;  studied  cpt.  with 
La  Croix ;  lived  New  York  some 
years,  later  London  ;  prod,  unsucc. 
opera  "  Corrado  "  (Milan,  1869),  and 
many  very  succ.  ballets  at  La  Scala. 

Giosa,  Nicola  de.     Vide  de  giosa. 

Giovanelli  (ja-va-nel'de),  Ruggiero, 
Velletri,  ca.  1560 — Rome,  ca.  1620; 
1599  successor  of  Palestrina  as  con- 
ductor at  St.  Peter's,  Rome  ;  an  im- 
portant composer. 

Giraldoni  (zhe-rai-do'-ne),  Leone, 
Paris,  1824 — Moscow,  1897  ;  bary- 
tone. 

Girard  (zhe-rar),  Narcisse,  Nantes, 
France,  1797 — Paris,  i860;  conduc- 
tor and  violin  professor. 

Girardeau  (zhe-rar-do),  Isabella, 
called  la  Isabella,  Italian  singer  in 
London,  ca.  1700. 

Girelli-Aguilar,   ,  Italian   singer 

in  Vienna  and  London,  ca.  1771. 

Gismonde  (zhes-mohd).  Celeste,  d. 
1735  ;  mezzo-soprano. 

Giuglini  (jool-ye'-ne),  Antonio,  d.  in- 
sane, Pesaro,  1S65  ;    Italian  tenor. 

Gizziello  (g!d-zl-gl -16),  Gioacchino. 
Vide  CONTI.  I 

Glad  stone,  Francis  Edw.,  b.  Sum-J 
mertown,  near-Oxford,  May  2,  1845  ;■ 
pupil  of  S.  Wesley;  one  of  chief  Engl, 
contemporary  organists;  organist  vari- 
ous churches,  then  became  a  Catholic; 
and  was  until  1894  choir-dir.  St.  Mar); 
of  the  Angels,  Bayswater;  1879  Mus  ' 
Doc,  Cantab;  188 1,  prof,  of  cpti 
Trinity  Coll.,  London ;  prof,  o 
harm,  and  cpt.  R.C.M.;  c.  an  over 
ture,  chamber-music,  etc. 

Glarea'nus,  Henricus  (rightly  Hein- 
rich  Lo'ris,  Latinised,  Lori'tus)' 
Glarus,  1488  —  Freiburg,  Badenj 
March  28,  1563 ;  poet  and  impor; 
tant  theorist.  i 

Glasenapp  (gla'-ze-nap),  Karl  Fr.' 
b.  Riga,  October  3,  1847  ;  studie: 
philosophy  at  Dorpat ;  since  187 
head-master  at  Riga  ;  wrote  on  Wag 


■ 


I 


DICTIONARY  OF  MUSICIANS   523 


Milai 


I  ife; 
as  TO 

Leoot, 

;  bail' 


ner,  a  biography  in  3  vols.,  a  lexi- 
con, and  a  Wagner  Encyclopaedia, 
etc. 

Glaser  (gla-zer),  (i)  K.  G.,  Weissen- 
fels,  1784 — Barmen,  1S29  ;  mus.  din 
and  later  dealer,  composer  and 
writer.  (2)  Fz.,  Obergeorgenthal, 
Bohemia,  1798 — Copenhagen,  r86i  ; 
conductor,  violinist,  and  dram,  com- 
poser. 

Glaz(o)unow    (gla-tsoo-nof),     Alex., 

b.  St.  Petersburg,  Aug.  10,  1865  ; 
studied  till  1883  at  Polytechnic  Inst., 
then  took  up  music  ;  studied  witii 
Rimsky  -  Korsakov  ;  1881  his  first 
symphony  was  produced,  repeated 
under  Liszt  in  1884  at  Weimar ;  he 
cond.  his  second  symphony  in  Paris, 
1889 ;  his  fourth  symphony,  London 
Phil.,  1896-97,  with  Rimsky-Korsa- 
kov  and  Liadov,  cond.  Russian  Sym- 
phony Concerts  at  St.  P.;  c.  5  sym- 
phonies, 2  overtures  on  Greek  themes  ; 
overture  "  Carnava/"y  Elegie  '"A  la 
mifmoire  d'un  he'ros  "y  symphonic 
poem  "  Stenka  Rasine" ;  symphonic 
picture  "  The  Forest" ;  "  Chopiui- 
ana  "  orch.  suite  ;  and  other  orchl. 
pes.,  string-quartets,  pf.-pcs.,  suite 
on  S.  A.  C.  H.  A.  (his  nickname)  for 
pf.,  etc. 

Gleason  (gle'-sun),  Fr.  Grant,  b. 
Middletown,  Conn.,  Dec.  17,  184S  ; 
pupil  of  Dudley  Buck  and  at  Leip- 
zig Cons. ;  later  at  Berlin,  of  Loesch- 
orn,  Weitzmann  and  Haupt ;  later 
with  Beringer  (pf.)  in  London  ;  1875 
organist  Hartford  ;  1877,  teacher 
Hershey  Sch.  of  Music,  Chicago ; 
critic  for  years  of  Chicago    Tribune  ; 

c.  (te.xt  and  music)  grand  operas 
"Otko  Visco7jti"  and  "Montezuma" ; 
cantata  "  The  Culprit  Fay"  with 
orch.;  "Praise-song  to  Harmony," 
symphonic  cantata  ;  "  Auditorium 
Festival  Ode,"  symph.  cantata  with 
orch.;  op.  21,  ''  Edris"  symphonic 
poem  (after  the  prologue  to  ''  Ar- 
dath  "  by  Marie  Corelli),  etc. 

Gleich  (glikh),  Ed.,  Erfurt,  1816— 
Lani,rebriick,  near  Dresden,  1898  ; 
critic  and  writer  ;  c.  symphonies. 


Gleichmann  (ghkh'-man),  Jn.  G., 
Steltzen,  near  Eisfeld,  1685 — Ilme- 
nau,  1770  ;  organist. 

Gleissner  (glls-ner),  Fz.,  Neustadt- 
on-the-Waldnab,  1760 — Munich,  after 
1815  ;  printed  songs  of  his  own  by 
lithographic  process,  the  first  music 
so  printed. 

Gleits  (gilts),  K.,  b.  Hetzerode,  near 
Cassel,  Sept.  13,  1862  ;  studied  Leip- 
zig Cons,  and  Munich  Music  School, 
and  in  Berlin  ;  c.  symph. -poem  ''Fa- 
ta Morgana"  (played  by  Nikisch  at 
the  Berlin  Philh.  concerts,  1898) ; 
"  Ahasuerus"  "  Venus  and  Bellona" 
etc.,  for  orch. ;  "■Hafbur  and  Signild" 
for  chorus  ;  "  Inlichter"  a  pf. -fanta- 
sy with  orch.;  vln. -sonata,  etc. 

Glinka  (gUnk-a),  Michail  Ivan- 
ovitch,  Novospasko'i,  near  Smolensk, 
Russia,  June  i  (new  style),  1804 — 
Berlin,  Feb.  15,  1857;  piano-virtuoso 
and  composer,  father  of  the  new  na- 
tionalistic Russian  Musical  School  ; 
of  noble  birth ;  pupil  of  Bohm 
(vln.),  Mayer  (theory  and  pf.),  John 
Field  (pf.).  Of  very  weak  health,  he 
studied  vocal  composition  in  Italy  ; 
1S34  with  Dehn  in  Berlin  ;  prod,  at 
St.  Petersburg,  1836,  the  first  Russian 
national  opera  ".4  Life  for  the  Czar" 
{Zarskaja  Skisu  ox  Ivan  'Sussanina), 
with  succ.  still  lasting ;  the  next 
opera  "■Russian  and  Ludiiiilla  "  (St. 
P.,  1842)  was  also  succ.  (book  by 
Pushkin)  ;  1844  in  Paris  he  gave  orch. 
concerts  strongly  praised  by  Berlioz  ; 
1845-47,  Madrid  and  Seville,  where 
he  c.  "  Jota  Aragonese"  a  "  Capriccio 
brillante"  for  orch.,  and  "  Souvenir 
d'une  nuit  d'e'te  a  Madrid"  for 
orch.;  1851,  Paris;  1854-55,  near 
St.  Petersburg  writing  his  autobiog- 
raphy, planning  a  never-attempted 
opera  ;  he  visited  Dehn  at  Berlin  in 
1S56,  and  died  there  suddenly  ;  Glin- 
ka's other  comp.  inch  2  unfinished 
symphonies;  2  polonaises  for  orch.;  a 
fantasia,  "La  Kamarinskaja" ;  u 
septet ;  2  string-quartets ;  trio  for 
pf.,  clan  and  oboe  ;  dramatic  scenf;S  ; 
vocal-quartets,  songs  and  pf.-pcs, 


524 


THE    MUSICAL    GUIDE 


Gloggl  (glSg'-gl),  (I)  Fz.  X.,  Linz- 
on-Danube,  1764 — after  1832  ;  con- 
ductor, mus.  dir. ;  writer.  (2)  Fz., 
Linz,  1797 — Vienna,  1872 ;  son  of 
above ;  est.  music  business,  1843 ; 
writer  and  mus.  director. 

Glover  (gltiv'-er),  (i)  Sarah  Ann,  Nor- 
wich, Engl.,  1785 — Malvern,  1867; 
inv.  the  Tonic  Sol-fa  system  of  nota- 
tion and  wrote  about  it.  (2)  Chas. 
W.,  Feb.,  1806  — London,  1S63 ; 
violinist,  etc.  (3)  Stephen,  Lon- 
don, 1812 — Dec.  7,  1870;  teacher 
and  composer.  (4)  W.  Howard, 
London,  i8ig — New  York,  1S75  ; 
violinist  and  critic  ;  sang  in  opera. 
(5)  William,  b.  London,  1822  ;  or- 
ganist, etc. 

Gluck  (glook),  Christoph  Wilibald 
(Ritter  von),  Weidenwang,  near  Neu- 
markt,  Upper  Palatinate,  July  2, 
1714 — Vienna,  Nov.  25,  1787;  son  of 
head-gamekeeper  to  Prince  Lobko- 
witz ;  at  twelve  sent  to  the  Jesuit 
Coll.  at  Komotau  (1726-32),  where  he 
learnt  the  violin,  clavecin,  and  or- 
gan, and  was  chorister  in  the  Ch.  of 
St.  Ignaz ;  at  eighteen  he  went  to 
Prague,  earning  a  living  by  playing 
at  rural  dances,  giving  concerts  and 
singing  and  playing  in  various 
churches  ;  under  the  tuition  of  Fa- 
ther Czernohorsky  he  mastered  sing- 
ing and  the  'cello,  his  favourite  instr.; 
1736  entered  the  service  of  Prince 
Melzi,  Vienna,  who  took  him  to  Mi- 
lan and  had  him  study  harm,  and  cpt. 
with  Sammartini.  After  four  years' 
study  he  prod.  ''  Artaserse"  (La 
Scala,  1741)  with  great  succ.  and  was 
commissioned  to  c.  for  other  thea- 
tres; prod.  8  operas  1742-45.  On  in- 
vitation he  went  to  London  1745  ^s 
composer  for  the  Haymarket,  in  op- 
position to  Handel.  "  Z«  Cadtica 
dei  Giganti  "  was  given  on  the  defeat 
of  the  Pretender,  i~i\b,"'  Artamene" 
followed  by  "  Piramo  e  Tisbe,"  a 
pasticcio  of  his  best  arias  had  no  succ. 
and  led  Handel  to  say  that  the  music 
was  detestable,  and  that  Gluck  knew 
no  more  counterpoint  than  his  cook. 


The  operas  G.  had  written  up  to  this 
time  were  thoroughly  Italian.     The  in- 
fluence of  Handel  and  Rameau's  works 
heard    at   Paris   awakened   him,  and 
led  him  to  that  gradual  reform  which 
made      him      immortal,     though     it 
brought  on  him  the  most    ferocious 
opposition.     "  La  Semi)-amide  Rico- 
nosciuta  "  (Vienna,  1748)  began  the 
change  to  more  serious  power.    1750- 
62    he    prod.    '"  Tekmaco"    (Rome, 
1750),  "Za  Clemenza  di   Tito"  (Na- 
ples,  175 1),  and  4  others.     1754-64 
he  was  dir.  court-opera    Vienna   and 
prod.  6  more  works.     He  made  great 
succ.     in     spite    of    opposition    with 
"  Orfeo  ed  Euridice"  (1762),   "  ^A  ; 
ceste"    (1767),    '' Pa  ride   ed   Elena"  ^ 
(1769),  libretti  by  Calzabigi.     2  other' 
inferior    works   were    performed    by; 
membersof  the  royal  family  (1765).  Inj 
the  dedicatory  prefaces  to  "  Alceste"^ 
and    '' Paride    ed   Elena"    G.    ex-< 
pressed  his  protest  against  the  ItalianI 
school,  and  declared  for  dramatic  con-j 
sistency  unhampered  by  rigid  formu-J 
Ik    for  arias,  duets,  etc.,  and  inter-l 
polated    cadenzas.       He     had     such' 
harsh  criticism  at  home  and  such  en- 
couragement from  du  RoUet  of   the 
French  Embassy  at  Vienna  in  177J 
that  he  went  to  Paris.    But  here  also  h< 
met  such  opposition,  that  all  hisdiplo 
macy  and  all  the  power  of  his  forme;- 
pupil.  Queen  Marie  Antoinette  hard 
ly  availed  to  bring  about  the  presenta 
tion  of  ''  Iphige'nie  en  Aiilide"  (1774) 
its  great  succ.  was  repeated  in  "  Or 
//^('/j"  (Aug., 1 774),  '\4lceste"  {i77(>) 
and   Armide    (1777).     Piccinni    wa 
brought  to  Paris  as  a  rival,  and  prod 
"  Roland"  while  Gluck  was  preparin: 
the  same  subject.     Gluck  burned  hi 
score   and   published    a   letter  whic 
precipitated    an    unimaginably   fierc 
war  of  pamphlets.     Both   men   no' 
set  to  composing  "  fp/iigJnie  en  Tat. 
ride  " ;  here  Gluck  forestalled  his  riv; 
by  two  years  (1779),   and   Piccinni 
work  on  appearing  was  not  a  succ 
while  Gluck's  succeeded  enormousl; 
His  last  opera,  ''  Echo  et  Narcisse. 


DICTIONARY  OF  MUSICIANS  525 


,,u|,  ;     wasnotsucc.  (Sept.  21,  1779);  17S0,  he  an  incomplete  cantata,  '' Das  Jiingste 

|,|ij,^  retired  to  Vienna  and  lived  on  his  well-  Gericht"   finished  by  Salieri,  and  7 

<^^^  earned  wealth,   till   apoplexy  carried  odes  for  solo  voice  and  pf.     Biog.  by 

im, 


him  off.     He  wrote  a  De  profundis  A.    Schmidt    (1854) ;    Marx    (1863) ; 

for  chorus  and  orch.,  6  overtures  and  Desnoiresterres  (1872). 


etocii! 


T 


Gluck. 

By  Ernest  Newman, 

AKEN  up  in  his  twenty-second  year  by  an  amateur  of  Italian  music, 
and  put  under  Sammartini  at  Milan,  Gluck' s  earliest  models  were 
Italian.  Though  his  iirst  works  showed  slight,  unconscious  traces  of 
Northern  origin,  he  probably  thought,  for  twenty  years,  of  little  more  than 
producing  opera  after  opera  in  the  Italian  style.  The  intellectual  changes 
that  led  to  the  reform  of  the  opera  with  Orfeo  were  perhaps  due  in  part  to 
the  influence  of  Rameau  and  Handel.  The  French  light  opera,  also,  and 
his  own  attempts  in  it,  seem  to  have  taught  him  something  of  direct,  con- 
temporary expression,  as  distinguished  from  the  conventional  operatic  mouth- 
ing of  antique  sentiments.  Apart  from  these  musical  influences,  he  was 
strongly  swayed  by  the  general  esthetics  of  the  eighteenth  century,  whose 
ideal  of  art  was  the  veracious  imitation  of  Natiire.  He  had  probably  read 
Algarotti's  book  on  the  Opera  (1763),  which  advocates  many  of  the  reforms 
he  afterwards  carried  out.  \  Three  rich  currents  intercrossed  in  him  when 
he  came  to  consciousness  of  himself.  His  Italian  practice  had  given  him  ease 
and  grace  of  style  ;  his  Northern  nature  and  training  made  him  at  home  in  the 
world  of  grave  and  dignified  passion  ;  from  the  French  opera  he  had  learned 
to  seek  in  musical  tones  the  natural  correlatives  to  the  verbal  idea.  To  these 
three  musical  qualities  he  added  the  power  of  penetrating  reflection  upon  the 
essence  of  his  art.  •[[  The  opera,  when  he  took  it  up,  was  the  laughing-stock 
of  Europe.  It  left  his  hands  a  serious  form  of  art,  carefully  thought  out  in 
all  its  details,  with  a  new  method  and  unity  of  purpose.  The  overture  was 
made  to  throw  light  on  the  coming  drama  ;  the  libretto  was  kept  on  as  high 
a  level  as  the  taste  and  subjects  of  those  days  would  permit  ;  the  old  distinc- 
tion of  aria  and  recitative  was  undermined,  the  aria  becoming  more  dramadc 
while  not  ceasing  to  be  lyrical  when  required,  and  the  recitative  being  raised 
fi"om  its  previous  conventional  lines  into  a  living,  organic  musical  speech  ;  the 
orchestra  no  longer  merely  accompanied  the  singer,  but  helped  in  the  expres- 
sion of  the  emotions  of  the  actor  ;  the  senseless  vocal  ornaments  of  the  Italian 
opera  were  discarded,  and  the  singers  taught  to  exist  for  the  opera  instead  of 
■he  opera  existing  for  them  ;  in  a  word,  brains  and  a  purpose  occupied  the 
leld  hitherto  filled  only  by  vanity  and  imbecility.  ^  Had  Europe  not  under- 
gone such  startling  changes  at  the  end  of  the  last  century,  Gluck's  influence 


526 


THE  MUSICAL  GUIDE 


would  have  borne  great  fruit.  But  the  new  social  and  intellectual  life  brought 
in  a  new  world,  for  which  a  new  music  had  to  be  found  ;  while  elsewhere  his 
influence  was  lost  sight  of  in  the  dazzling  artificiality  of  the  later  Italian  opera. 
Still,  all  the  serious  dramatists — Beethoven,  Wagner,  Weber,  Berhoz — had 
their  way  made  easier  by  the  labour  of  Gluck.  ^  Like  Wagner  and  Bach, 
he  stands  in  a  category  of  his  own,  seeming  almost  to  be  without  ancestors 
and  without  descendants.  His  place  is  among  the  masters  of  dramatic  grip  | 
and  veracious  poetic  expression.  Even  yet,  indeed,  some  of  his  work  is  j 
incomparable  in  these  respects. 


Gmeiner  (g'mi'-ner),  Lula,  b.  Kron- 
stadt,  Aug.  i6,  1876  ;  alto  ;  studied 
vin.  with  Olga  Grigorourcz  ;  then 
studied  voice  with  Gr.  Walter  and 
Emilie  Herzog  ;  lives  in  Berlin. 

Gnecco  (n'yek'-ko),  Francesco 
Genoa,  1769 — Milan,  1810  ;  dram, 
composer. 

Gobbaerts  (giib'-barts),  Jean  Louis, 
Antwerp,  1S35 — Saint  Gilles,  near 
Brussels,  1886 ;  pianist  and  com- 
poser. 

Gobbi  (gob'-be),  (i)  Henri,  b.  Pesth, 
June  7,  1842  ;  pupil  of  R.  Volkmann, 
and  Liszt ;  music-teacher  and  critic, 
Pesth  ;  c.  a  festival  cantata  celebrat- 
ing Liszt's  public  career,  etc.  (2) 
Aloys,  b.  Pesth,  Dec.  30,  1844;  bro. 
of  above  ;  violinist  and  teacher. 

Gobel  (ga'-bel),  K.  H.,  Berlin,  1815— 
Bromberg,  1S79;  pianist,  conductor, 
and  dram,  composer. 

Gockel  (gok-el),  Aug.,  Willibadessen, 
Westphalia,  1831 — 1861  ;  pianist  and 
composer. 

Godard  (go-dar),  Benjamin  (Louis 
Paul),  Paris,  Aug.  18,  1849 — Cannes, 
Jan.  II,  1895  ;  studied  vln.  with 
Hammer  and  played  in  public  at  9  ; 
then  studied  with  Reber  (comp.)  and 
Vieuxtemps  (vln.),  Paris  Cons.;  1865 
pub.  a  vln. -sonata,  later  other  cham- 
ber -  compositions ;  rec'd  the  Pri.\ 
Chartier  from  the  Institut  de  France 
for  merit  in  the  department  of  cham- 
ber-music ;  prod.  5  operas,  inch  ''  Jo- 
cclyn'  (Brussels,  1888),  and  the  very 
succ.  posthumous  "  Z^  Vivandiere" 
(Paris   Op. -Com.,    1895),  the    last  2 


acts  orchestrated  by  Paul  Vidal ;  2 
operas  not  prod.;  he  c.  also  incid. 
mus.  and  6  symphonies;  "  Le  Tasse" 
(Tasso),  dram,  symphony  with  soli 
and  chorus  took  the  city  of  Paris 
prize  in  1S78  ;  concerto  for  vln.  ;  a 
pf. -concerto,  songs  and  pf.-pcs. 

God  dard  (Davison),  Arabella,  b.  St, 
Servan,  near  Saint  .Malo,  Brittany, 
Jan.  12,  1838  ;  at  4  played  in  public, 
at  6  studied  with  Kalkbrenner  at 
Paris,  at  8  played  to  Queen  Victoria 
pub.  6  waltzes  and  studied  with  Mrs, 
Anderson  and  Thalberg ;  at  IJ 
played  at  the  Grand  National  Con^ 
certs  ;  1850-53  pupil  of  J.  W.  Davi' 
son,  whom  she  m.  (i860) ;  tourec' 
Germany  and  at  17  played  at  Leip 
zig  Gewandhaus  1855;  1873 -7*' 
toured  the  world  ;  retired  1880  am 
lived  in  Tunbridge  Wells. 

Godebrye.     Vide  j.^cotin.  j 

Godefroid  (god-fwri),  (i)  Jules  Jo; 
seph,  Namur,  Belgium,  18 11 — Paris) 
1S40;  harpist  and  dram,  composer 
(2)  Dieudonn6  Jos.  Guil.  Fells' 
Namur,  1818 — Villers-sur-mer,  1897 
bro.  of  above ;  harpist  and  dran 
composer. 

God'frey,  (i)  Chas.,  Kingston,  Surre;i 
1790 — 1863  ;  bassoonist  and  coi; 
ductor.  (2)  Daniel,  b.  Westminstei 
Engl,  Sept.  4,  1831  ;  son  of  above 
pupil  R.A.M.,  later  Fellow  and  Pre' 
of  Military-  Mus.;  1856  bandm. 
the  Grenadier  Guards ;  1S72  ai 
1898  toured  the  U.  S.  with  his  bam 
composer.  (3)  Adolphus  Free 
b.  1837,  son  of   (i)  ;  conductor.     ( 


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liSSo 


DICTIONARY  OF  MUSICIANS   527 


[839,  son   of   (i)  ;    con- 


,  Wei- 
1890  ; 
Karl 

1859; 
cond. 


Charles,  b. 

ductor. 

Godowski  (go-dof -shke),  Leopold, 
b.  Wilna  (Vilno),  Russian  Poland, 
Feb.  13,  1870  ;  pianist  ;  debut  and 
tours  at  9;  pupil  of  Wilna,  and  iS8i- 
84  R.  Hochschule,  Berlin ;  at  14 
toured  America  ;  18S7-90  studied 
with  Saint-Saens ;  1890-91  toured 
America  again;  1894  dir.  pf.-dept.. 
Broad  St.  Cons.,  Phila.;  1S95-99 
head  of  pf.-dept.,  Chicago  Cons.; 
then  toured  Europe  ;  since  1902  lives 
in  Berlin  ;  began  first  comp.  at  7  ; 
pub.  Moto  Perpetuo,  Polonaise  in  C.; 
elaborations  of  Chopin,  etc. 

Goepfart  (gep'-fiirt),  (i)  Chr.  H. 
mar,  1835 — Baltimore,  Md., 
organist  and  composer.  (2) 
Eduard,  b.  Weimar,  March  8, 
son  of  above  ;  since  1891 
Baden-Baden  Mus.  Union  ;  c.  "  Sa- 
rastro,"  a.  sequel  to  Mozart's  "  Magic 
Flute"  etc.  (3)  Otto  Ernst,  b. 
Weimar,  July  31,  1864;  bro.  of 
above  ;  since  1888  Weimar  town  can- 
tor and  composer. 

Goering  (ga'-ring),  Th.,  b.  Frankfort- 
on-Main,  Oct.  2,  1844  ;  critic,  iSSo- 
83  Paris,  then  Munich  ;  now  music 
correspondent  Cologne  ZeiUing. 

Goes  (go'-es),  Damiao  de,  Alemquer, 
Portugal,  1501 — Lisbon,  1573  ;  am- 
bassador, theorist  and  composer. 

Goethe  (ga'-te),  Walther  Wg.  von, 
Weimar,  181S — Leipzig,  1885;  grand- 
son of  the  poet  ;  c.  3  operettas,  etc. 

Goetschius  (get'-shl-oos),  Percy,  b. 
Paterson,  N.  J.,  Aug.  30,  1853;  pupil 
Stuttgart  Cons.;  1876  teacher  there  ; 
1885  Royal  Prof.;  critic  for  various 
German  music  papers  ;  1890-92  prof. 
Syracuse  (N.  Y.)  Univ.  and  Mus. 
Doc.  ;  1892-96,  taught  comp.  and 
lectured  on  mus.  hist.,  etc.,  N.  E. 
Cons.,  Boston  ;  since  i8g6  private 
teacher  Boston,  and  essayist  ;  since 
1897  organist  First  Parish  Ch. ,  Brook- 
line  ;  pub.  important  and  original 
treatises  ;  c.  2  Concert-Fugues,  etc. 

Goetz  (gets),  Hn.,  Konigsberg,  Prus- 
sia,   1840— Hottingen,  near   Zurich, 


1876  ;  1863,  organist  and  conductor  ; 
c.  operas,  songs,  etc. 

Gogavi'nus,  Ant.  Hn.,  Dutch  phy- 
sician at  Venice  1552  ;  writer. 

Goldbeck  (golt'-bek),  Robert,  b. 
Potsdam,  April  19,  1S39  ;  pupil  of 
Kohler  and  H.  Litolff ;  gave  v.  succ. 
concerts  in  London  and  prod,  oper- 
etta ;  1857-67  in  New  York  as  teach- 
er; 1868  founded  a  Cons,  at  Chicago; 
dir.  till  1873  ;  cond.  the  Marmonic 
Society,  and  co-dir.  Beethoven  Cons., 
St.  Louis  ;  New  York,  1885  ;  c.  2 
operas;  cantata,  Burger's  ''  Leouo^-e" 
etc. 

Goldberg  (golt'-berkh),  (i)  Jn.  G. 
(Theophilus),  Konigsberg,  ca.  1730 
— Dresden  (?),  1760  (?)  ;  organ  and 
clavichord  player.  (2)  Jos.  Pas- 
quale,  Vienna,  1825 — 1S90;  vln. -pupil 
of  Mayseder  and  Seyfried,  then  oper- 
atic bass  and  teacher.  His  2  sisters, 
(3)  Fanny  G.-Marini  and  (4)  Cath- 
erine G.-Strossi,  are  singers. 

Golde(g6r-de).  (i)  Ad.,  Erfurt,  1830— 
1880  ;  son  and  (1872)  successor  of  (2) 
Joseph  G.,  dir.  SoUer  Singing-So- 
ciety, Erfurt. 

Goldmark  (golt'-mark),  (i)  Karl,  b. 
Keszthely,  Hungary,  May  18,  1830 
(not  1832,  as  usually  stated);  violinist 
and  pianist,  pupil  of  Jansa  (vln.), 
later  of  Bohm  (theory)  at  the  Vienna 
Cons. ,  then  mainly  self-taught  ;  de- 
but 1858,  Vienna,  with  his  own  pf.- 
concerto  ;  the  popular  overture  '" Sa- 
kttntala  "  (op.  13);  and  a  Scherzo, 
Andante,  and  Finale  for  Orch.  (op. 
19)  won  him  success  strengthened  by 
his  opera  ' '  Die  Konigin  von  Saba  " 
(Vienna,  1875);  c.  also  operas  ''Mer- 
lin "  (Vienna,  1886)  v.  succ.  ;  "  Das 
Heivichen  am  Herd"  based  on  Dick- 
ens' "  Cricket  on  the  Hearth"  (Vi- 
enna, 1896)  ;  "  Die  Kriegsgefangene" 
(Vienna  Ct.  -  opera,  1899);  "' Der 
Fremdling"  (not  prod.)  and  "■  Gotz 
von  Berlic/iingeji  ;"  c.  also  2  sympho- 
nies, incl.  ''  Ldndliche  Hochzeit" ; 
overtures,"  hn  Friihling"  "  Prome- 
theus Bound"  and  "  Sappho"  etc. 
(2)  Rubin,  b.  New  York  City,  1872  ; 


528 


THE  MUSICAL  GUIDE 


composer ;  nephew  of  above ;  at  7 
began  to  study  with  A.  M.  Livonius, 
with  whom  he  went  to  Vienna,  1889  ; 
studied  there  also  with  Door  and 
Fuchs  ;  later  in  New  York  with  Jo- 
se ffy  and  Dvorak  ;  since  1892  lives 
in  Colorado  Springs,  Colorado ; 
founder  and  dir.  of  a  Coll.  of  Mus. 
there.  At  19  c.  "  Theme  and  Varia- 
tions "  for  orch.  (performed  by  Seidl, 
1895) ;  c.  a  pf.-trio,  cantata  with 
orch.  "  Pilgrimage  to  Kevlaar"  over- 
ture "  Hiawatha"  (played  by  Boston 
Symph.  Orch.),  vln. -sonata,  etc. 

Goldner  (golt'-ner),  Wm.,  b.  Ham- 
burg, June  30,  1839 ;  pupil  Leipzig 
Cons. ;  lives  in  Paris  as  a  pianist  and 
composer. 

Goldschmidt  (golt-shmtc),  (i)  Sigis- 
mund,  Prague,  1815 — Vienna,  1877, 
pianist  and  composer.  (2)  Otto,  b. 
Hamburg,  Aug.  21,  1829  ;  pianist ; 
pupil  of  Jakob  Schmitt  and  F.  \V. 
Grund,  Mendelssohn,  and  Chopin ; 
1849  London  with  Jenny  Lind,  whom 
he  accompanied  on  her  American 
tour  and  m.  (Boston,  1852)  ;  1852-55 
Dresden;  1S58-87  London;  1863 
vice-principal  of  the  R.A.M.,  1875 
founded  Bach  Choir,  also  cond.  mus, 
festivals  at  Diisseldorf  (1S63)  and 
Hamburg  (1866);  c.  oratorio  "  Kuth  " 
(Hereford,  1867)  ;  pf.-concerto  and 
trio,  etc.  (3)  Adalbert  von,  b. 
Vienna,  1853;  pupil  Vienna  Cons.; 
amateur  composer  ;  prod,  with  great 
succ.  cantata  "  Die  Sieben  Tod- 
siinden"  (Berlin,  1875),  and  succ. 
opera  "  Hclianthiis"  (Leipzig,  1884); 
prod,  trilogy  ''  Gaea"  1889.  (4) 
Hugo,  b.  Breslau,  Sept.  19,  1859  ; 
1884  Dr.  jur. ;  studied  singing  with 
Stockhausen  (1887-90)  ;  1893  co-dir. 
Scharwenka-KHndworth  Cons.,  Ber- 
lin ;  writer. 

Gold  win,  John,  d.  Nov.,  1719  ;  Engl, 
organist  and  composer. 

Golinel  li,  Stefano,  b.  Bologna,  Oct. 
26,  1818  ;  pianist  ;  pupil  of  B.  Do- 
nelli  and  N.  Vaccai  ;  pf.-prof.  Liceo 
Musicale  till  1870 ;  c.  5  pf. -sonatas, 
etc. 


Gollmick  (gol'-mtk),  (i)  Fr.  K.,  Ber- 
lin, 1774 — Frankfort-on-Main,  1852; 
tenor.  (2)  Karl,  Dessau,  1796 — 
Frankfort-on-Main,  1866 ;  son  of 
above ;  theorist  and  writer.  (3) 
Adolf,  Frankfort-on-M.,  1825 — Lon- 
don, 1883  ;  pianist ;  son  and  pupil  of 
(2)  ;  studied  also  with  Riefstahl, 
1S44  ;  c.  comic  operas,  etc. 

Goltermann  (gol'-ter-man),  (i)  G. 
Ed.,  Hanover,  1824 — Frankfort-on- 
AL,  1898;  'cellist  and  composer.  (2) 
Jn.  Aug.  Julius,  Hamburg,  1825— 
Stuttgart,  1876  ;  'cellist.  (3)  Aug., 
1826 — Schwerin,  1890  ;  court  pianist. 

Gombert  (gom'-bert),  Nicolas,  Bru- 
ges, ca.  1495 — ^^ter  1570;  a  most  im- 
portant i6th  cent,  composer,  one  of 
the  first  to  take  up  secular  music 
seriously ;  a  lover  of  Nature  and 
writer  of  descriptive  and  pastoral 
songs  of  much  beauty  ;  his  motet 
"  Paster  Noster  "  was  prod,  at  Paris 
by  Ft'tis  with  impressive  effect. 

Gomes  (or  Gomez)  (go'-mas),  Anto-i 
nio  Carlos,  Campinas,  Brazil,  July 
II,  1839 — Para,  Sept.  16,  1896;  pu-j 
pil  of  Rossi,  Milan  Cons.  ;  Dir.  ot, 
Para  Cons.;  c.  succ.  operas  "  Salt 
tor  Rosa,"  '' Lo  Schiavo"  '' Marii 
Tudor  "  etc. 

Good'ban,  (i)  Thos.,  Canterbury 
17S0 — 1863  ;  writer  and  cond.  Hi 
3  sons  were  (2)  Chas.,  (3)  Henr 
Wm.,  'cellist,  and  (4)  Thos.,  violin 
ist.  (5)Jas.  F.,  nephew  of  (i),  violin 
ist  and  organist. 

Good'groome,  (i)  John,  b.  ca.  1630 
composer.  (2)  John,  probably  son  c 
above  ;  organist,  1735.  (3)  Thec, 
dore,  Pepys'  teacher  ;  probably  brc 
of  (I). 

Good  rich,  (i)  Alfred  John,  b.  Chil< 
Ohio,  May  8,  1847;  eminent  theorist! 
except  for  a  year's  instruction  froi; 
his  father,  wholly  self-taught  ;  teachi 
theory  Grand  Cons.,  N.  Y.,  i87f' 
voice,  pf.  and  theory  Fort  Wayr 
Cons. , Ind. ;  dir.  vocal-dept.  Beethovf : 
Cons.,  St.  Louis;  2  years  at  Marti! 
Washington  Coll.,  Va.;  lived  in  CY 
cago,  now  in  New  York  as  teache; 


,J 


DICTIONARY  OF  MUSICIANS  529 


m  1 

r.  { 
j-Loi 
pupil 


'1)5 
fort' 


pub.  theoretical  essays  and  books  of 
radical  and  scholarly  nature,  the  im- 
portant products  of  research  and  in- 
dividuality, incl.  "  Complete  Musical 
Analysis"  (rSSg),  ''  Analytical  Har- 
mony" (1S94),  "  Theory  of  Inter- 
pretation" (1S9S),  '' Coutiterpoint." 
(2)  John  Wallace,  b.  Boston, 
1870  (?)  ;  notable  organist ;  studied 
Boston,  Munich  and  with  Widor, 
Paris  ;  teacher  N.  E.  Cons.,  Boston  ; 
tours  in  concert ;  igo2  chorusmaster 
.  Worcester  Festival. 
f*"?;  Good'son,  (i)  Richard,  d.  1718  ;  or- 
^  ganist  and  professor  at  Oxford.  (2) 
""  Richard,  d.  1741;  son  and  successor 
™-"l    of  above  ;  organist. 

Sood'win,  Amina  Beatrice,  b.  Man- 
chester, Engl.;  pupil  of  her  father; 
at  6  played  in  public,  then  studied 
with  Reinecke,  Jadassohn,  Delabord, 
Liszt  and  Frau  Schumann  ;  1895 
founded  a  pf.-coll.  for  Ladies,  Lon- 
don ;  m.  an  American,  W.  Ligram- 
Adams  ;  pub.  a  work  on  technic  and 
c.  pf. -pieces. 

oovaerts  (go'-varts),  Alphonse,  J. 
M.  Andre,  b.  Antwerp,  May  25, 
1847  ;  1S66,  assist,  librarian,  Ant- 
werp ;  founded  an  amateur  cathedral 
choir  to  cultivate  Palestrina  and  the 
Netherland  cptists  ;  1S87  royal  ar- 
chivist, Brussels;  writer  and  composer. 
Jopfert  (gep'-fert),  (i)  K.  And.,  Rim- 
par,  nearWurzburg,  1768 — Meining- 
en,  1818  ;  clarinetist  and  dram,  com- 
poser. (2)  K.  G.,  Weesenstein,  near 
Dresden,  1733 — Weimar,  1798  ;  vln. 
^  virtuoso  ;  conductor  and  composer. 
rordigiani  (gor-ded-ja'-ne),  (i)  Giov. 
Bat.,  Mantua,  1795 — Prague,  1871; 
son  of  a  musician  ;  dram,  composer. 
(2)  Antonio,  a  singer.  (3)  Luigi, 
Modena,  1806 — Plorence,  i860  ;  bro. 
of  (i);  dram,  composer. 
ror'don,  (i)  John,  Ludgate,  1702 — 
1739;  Prof.  (2)  W.,  Swiss  flutist 
of  Engl,  descent ;  1826  began  im- 
provements on  the  flute,  which  later 
Bohm  carried  to  success,  though  W. 
G.  went  insane  1836  from  discourage- 
ment. 

34 


He:  ;> 


Goria    (go-re'-a),    Alex.    Ed.,    Paris, 

1S23 — r86o;  teacher  and  composer. 
Gorno  (gor'-no).  Albino,  b.  Cassalmo- 
rano   (Cremona),    Italy;  pupil   Milan 
Cons. ,  graduating  with  3  gold  medals  ; 
pianist   and   accompanist  to  Adelina 
Patti  on  Amer.  tour  1S81-1882  ;  then 
pf.-prof.    Cincinnati  Coll.  of  Music ; 
c.  opera,  cantata  "  Garibaldi  "  etc. 
Goroldt  (ga'-rolt),  Jn.  H.,  Stempeda, 
near    Stolberg     (Harz),     1773 — after 
1S35  ;    mus.     dir.,    writer  and   com- 
poser. 
Gorria,  Tobio.     Vide  boito,  arrigo. 
Gorter  (gor'-ter),  Albert,  b.  Niirnberg, 
Nov.    23,    1862  ;    studied    medicine ; 
then    music   at    R.    Mus.    Sch.,  Mu- 
nich ;  took  3  prizes  for  composition  ; 
studied  a  year  in  Italy  ;  assist,    cond. 
Bayreuth    Festivals ;    cond.    BresJau, 
etc.;   1894-99   assist,  cond.  Carlsruhe 
Ct.-Th.,  then  cond.  Leipzig  City  Th.; 
c.   (te.xt  and  mus.)  opera  "  A^ar^/^" 
and   comic  opera    '"  Der    Schatz   des 
Rhainpsinnit"   (Mannheim,    1894);   2 
symphonic  poems,  etc. 
Goss,    (i)  John  Jeremiah,  Salisbury, 
1770— 1817;     alto.      (2)     Sir    John, 
Fareham,    Hants,    England;    1800 — 
London,    1880  ;    organist ;    knighted, 
1872  ;  composer  and  writer. 
Gossec  (gos'-sek)  (rightly  Goss6,  Cos- 
set or  Gossez)   (gos-sa),  Francois 
Joseph,    Vergniers,     Belgium,    Jan. 
17,  1734 — Passy,  near  Pans,  Feb.  16, 
1829;     1741-49     chorister     Antwerp 
cath.;  for  2  years  he  then  studied  vln. 
and  comp. ;   175 1  Paris,  cond.  private 
orch.  of    La    Popeliniere  ;    then  fer- 
7nier-general ;   1754  he   pub.  his  first 
symphonies  (5  years  before  Haydn's); 
1759   his   first    string-quartets 'which 
became  pop.;   1769   his    ''  Messe  des 
Marts"  made  a  sensation  (the  '' Tnba 
minim"    being   written  for  2  orch., 
one  for  wind,  instrs.,  concealed,  a  new 
effect  he  repeated  in  his  first  oratorio); 
1762   cond.   of    Prince    Conti's  orch. 
at  Chantilly ;  from  1764   prod.  3-act 
operas  ''  Le  Faux  Lord  "    etc.,  incl. 
succ.  ''  Les  Pecheurs"  (Comedie  It., 
1766)  ;    1770   founded   Concerts   des 


530 


THE    MUSICAL    GUIDE 


Amateurs;  1773  reorganised  and 
cond.  the  Concerts  Spirituels  till 
1777 ;  1780-S2  assist,  cond.  Acade- 
mic de  Musique  (later  Gr.  Opera)  ; 
17S-I.  founded  and  dir.  Ecole  Royale 
de  Chant,  the  beginning  of  the  Cons, 
of  which  (1795)  he  was  an  inspector 
and  prof,  of  comp.;  c.  26  symphonies, 
3  symphonies  for  wind,  "  Symphonic 
concei-taiite"  iov  II  insts.,  overtures, 
3  oratorios,  etc.;  masses  with  orch. ; 
string-quartets,  etc. 
Gost  ling,  Rev.  John,  d.  1733  ;  bass, 
famous  for  his  range  ;  Purcell  wrote 
for  him  a  song  ranging  from  D-e'  (v. 

PITCH,  D.   D.). 

Gottschald  (got'-shiilt),  Ernst,  b.  El- 
terlein,  Sa.xony,  Oct.  19,  1826  ;  a  ju- 
rist and  writer  under  pen-name 
"von  Elterlein." 

Gottschalg  (got-shalkh),  Alex.  W., 
b.  Mechelrode,  near  Weimar,  Feb. 
14,  1827;  pupil  Teachers'  Seminary, 
Weimar  ;  succeeding  Gopfer  there 
later  ;  court  organist,  teacher,  editor 
and  writer. 

Gottschalk  (gots'-cholk),  (i)  Louis 
Moreau,  New  Orleans,  La.,  May  8, 
1829 — Rio  de  Janeiro,  Dec.  18,  1S69; 
brilliant  and  original  pianist  and  com- 
poser ;  studied  in  Paris  ;  began  c.  at 
10  ;  c.  operas,  etc.,  and  90  pf.-pcs.  of 
distinct  and  tropical  charm.  (2) 
Gaston,  bro.  of  above,  singer  and 
for  vears  teacher  in  Chicago. 

Gotze  (ga'-ze),  (I)  Jn.  Nik.  K.,  Wei- 
mar, 1791 — 1S61  ;  violinist  and  dram, 
composer.  (2)  Fz.,  Neustadt-on- 
Orla,  1814 — Leipzig,  18SS  ;  tenor, 
teacher  and  composer.  (3)  Karl, 
Weimar,  1S36 — Magdeburg,  1SS7  ; 
pianist  and  dram,  composer.  (4)  H., 
b.  Wartha,  Silesia.  April  7,  1836  ; 
studied  singing  with  (2)  ;  lost  his 
voice  ;  .teacher  in  Russia  and  Bres- 
lau  ;  1885  Ziegenhals,  Silesia  ;  1889 
Royal  Mus.  Dir.;  wrote  2  technical 
books  ;  c'  a  mass  with  orch.,  etc. 
(5)  Auguste,  b.  Weimar,  Feb.  24, 
1840  ;  daughter  of  (2) ;  teacher  Cons., 
Dresden  ;  founded  a  school  there  ; 
1891  taught  at  Leipzig  Cons.  ;   wrote 


under  name  "Auguste   Weimar." 

(6)  Emil,  b.  Leipzig,  July  ig,  1856  ; 
pupil  of  Scharfe,  Dresden  ;  187S-S1, 
tenor  Dresden  Ct.-Th.,  then  at  Co- 
logne Th.,  then  toured  as  "  star," 
1900  lived  in  Berlin   as  court-singer,   ij 

(7)  Otto,  1SS6,  conductor  at  Essen-on-  ? 
Ruhr;  prod.  succ.  opera  "  A'iscaUo" 
(Sondershausen,  1S96).  (8)  Fz.,  1892, 
prod.  Volksoper  "  Utopia''  (Stettin, 
1892)  and  i-act  opera  "  Die  Rose  von 
Thiesso'v "  (Glogau,  1895).  (g) 
Marie,  b.  Berlin,  Nov.  2,  1865  ; 
alto,  studied  Stern  Cons,  and  with 
Jenny  Meyer  and  Levysohn  ;  sang 
Berlin  opera,  then  at  Hamburg  City 
Th.  ;  2  years  in  America;  1892  Berlin 
ct. -opera. 

Goudimel  (goo-dK-mel),  Claude,  Vai- 
son,  near  Avignon,  ca.  1505 — killed  in 
St.  Bartholomew  massacre,  Lyons, 
Aug.  24,  1572  ;  pupil  perhaps  of  J 
quin  Despres  ;  est.  a  school  and 
formed  Palestrina  and  other  pupils, 
winning  name  ;  "  Father  of  the  Ro- 
man School "  ;  a  music  printer  for  s 
time;  his  important  comp.  incl.  "  TAi 
Psalms  of  David"  complete. 

Gould,  Nathaniel  Duren,  Chelms 
ford,  Mass.,  17S1 — Boston,  1S64 
conductor  an  1  writer. 

Gounod     (goo-no),    Charles     Fratt 
9ois,  Paris,  June  17,  1818 — Oct.  17 
1893  ;  son  of  a  talented  painter  an* 
engraver  ;  his  mother  taught  him  th 
pf.   and    he  entered  the  Lycee  Sain 
Louis ;     1836     studied    at    the    Paril 
Cons,  with    Reicha  (harm.),   Halev 
(cpt.  and  fugue),    Lesueur  and   Pae' 
(comp.);  took    2nd     Prix    de    Ro 
with  cantata  "  Marie  Stuart  et  Rii\ 
zio"  \n   1837;  his  cantata  '' Fernar., 
da  "  won  the  Grand  Prix  de  Rome 
1839,  and  he  studied  church  music  J 
Rome  ;    1841  his  orch.  mass  was  pe 
formed  ;    in    1S42  he  cond.    his   R 
qiiiem   at   Vienna    with  great  succ 
returned  to  Paris  as  precentor  and  oj 
ganist  of  the    Missions    Etrangei 
studied  theology  2  years,  intended 
take  orders   and   was   called   I'AM 
Gounod  by  a  publisher  in  1846;  aft 


DICTIONARY  OF  MUSICIANS    531 


5  years  of  seclusion,  parts  of  his 
iMesse  Soknnelle  were  played  with 
profound  succ.  in  London  ;  he  prod. 
a  symphony,  but  his  opera  "Sapp/io" 
failed  (Gr.  Opera,  1851)  ;  revised 
1884,  it  failed  again  ;  a  gr.  opera, 
''  La  Nointe  Sa/ig/a/!fe  "  (18^4),  and 
a  comic  opera,  "  Le  Medecin  Alalgre 
Lui"  (played  in  London  as  "The 
Mock  Doctor")  (185S),  both  failed; 
1852-60  cond.  the  "  Orpheon,"  Paris, 
and  c.  choruses  and  2  masses.  The 
opera  ''Faust"  (Th.  Lyrique,  1859) 
was  and  still  is  a  great  succ.  "  Fhilif- 
mcn  ct  Baucis  "  (i860);  "  La  Reine de 
Saba"  (in  London  as  "  Irene  ")  (1862); 
"  Mireille"  (1S64),  "  Za  Colombe" 
(1866),  were  not  great  works,  but 
"Romeo  et  Juliette  "  (1867)  still  holds 
the  stage  ;  1866  member  of  the  Insti- 
tut  de  France  and  commander  of  the 
Legion  of  Honour.  In  1870,  during 
the  war  he  lived  in  London  ;  founded 
Gounod's  Choir.  In  1871  he  prod. 
*'  Gallia"  a  cantata  based  on  "  Lam- 
entations "  ;  1875  returned  to  Paris, 
prod."C/«(7  Mars  "  (Opera  Comique, 


\i-n):'PolyeHctc  "  (Gr.  Opera,  1878), 
and  "  Le  Tribiit  de  Zamora"  (1881), 
none  succ.  The  sacred  trilogy  " /,<? 
RAiemptioii"  (Birmingham,  1882) 
(music  and  French  words),  and  "Mors 
et  Vita "  (Birmingham,  1885)  (Latin 
text  arranged  by  Gounod)  are  stand- 
ard. He  also  c.  "  Messe  Solennelle  a 
Ste.  Cecile" ;  ma.s,ses\  '' AiiQvli  ctisto 
des  "  (1882) ;  ''Jeanne  d' Arc  "  (1SS7)  ; 
a  Stabat  Mater  with  orch.;  the  orato- 
rios "  Tobie"  "  Les  Sept  I^aroles  de 
Jesus  "  "  Je'sus  sur  le  Lac  de  Tib^- 
riade" ;  the  cantatas  "A  la  Fron- 
tiere"  (1870,  Gr.  Opera),  "  Le  Vin 
des  _  Gaulois"  and  "  La  Danse  de 
I'Epee,"  the  French  and  English 
songs,  etc.  He  left  2  operas,  " Mai- 
tre  Fierre"  (incomplete)  and 
"  Georges  Dandin  "  (said  to  be  the 
first  comic  opera  set  to  prose  text, 
cf.  Bruneau).  He  wrote  "  Methode 
de  cor  a  pistons,"  essays,  etc.  Biog. 
by  Jules  Claretie  (Paris,  1875);  Mme. 
Weldon  (London,  1875)  ;  Paul  Voss 
(Leipzig,  1895)  ;  "  Mei/ioires  "  (Paris, 
1895)- 


Gounod. 

By  Vernon   Blackburn. 

OUNOD'S  music  belongs  entirely  to   a  world  of  its  own.      In  a 

word,  he  made  that  world,  and  then  he  set  his   music  in  it.      You 

would  not  say  that  it  was  first-rate  by  any  means,  and  you  would  not 

lave  the  heart  to  say  that  it  was  second-rate.      But,  just  as  the  old  writers  con- 

lived  a  condition  after  death  in  which  man  received  neither  reward  nor  pun- 

Ihment,  a  sort  of  midway  house  where  the  dross  of  the  flesh  had  not  been 

punged  and  where  the  fire  of  the  spirit  had  not  entirely  departed,  so  Gounod 

kind  of  mingled  spirit  in  music.      He  is  the  idol  of  gold  with  the  feet  of 

|ay.      ^Yet  he  had  one  note,  one  separate  characteristic  in  his  music  which 

aes  certainly  divide  him  from  every  other  musician    in   the  world.      None 

sounded  as  he  has  sounded  the  peculiar  note  of  eroticism  which  is  absolutely 

t'xual.      Instance  it  by  one  example  (the  song  of  Marguerite  at  the  end  of 

te  second  act  of"  Faust, ''^  when  she  throws  open  the  window  to  give  ex- 

sion  to  her  emotion)  as  a  creation  of  sexualness  which  no  other  song  in 

ife  world  has  probably  possessed.      I  have  heard  it  said  that  the  performance 


532 


THE    MUSICAL    GUIDE 


of  Gounod's  masses  in  Paris  used  to  be  regarded  by  ladies  of  fashion  and 
quality  as  something  in  the  light  of  an  orgy.  For  this  was  Gounod's  dom- 
inant note,  his  dominant  quahty.  ^He  was  not  a  master  of  melody,  but  he 
wrote  quite  beautiful  melodies.  He  was  not  a  master — and  in  each  case  I 
am  using  the  word  **  master  "  in  the  superlative  sense — of  technique,  but  he 
had  a  mystic-second-rate  mystic,  but,  all  the  same,  rriystic,  quaUty  in  his 
work.  He  was  not  really  dramatic  ;  '^Philemon  et  Baucis,^''  "Faust,^^  and 
Romeo, ^^  are  there  to  prove  so  much  ;  but  he  was  charming  in  just  not  the 
great  way.  As  a  song-writer,  though,  he  often  achieved  something  like 
greatness.  The  much-hackneyed  "  Ouand  tu  chantes,"  "Nazareth,^^  but, 
above  all,  "Le  Juif  Erranty''  prove  that  in  little  flights  of  emotion,  separate 
swingings  into  the  sky,  as  it  were,  Gounod  could  do  as  well  as  anybody.  : 
But  he  was  not  a  great  master  ;  he  was  a  great  contemporary,  as  I  have  said , 
elsewhere,  and  his  death  was  mourned  by  contemporaries.  Whether  future' 
generations  will  rank  him  any  higher  than  Emanuel  Bach,  time  alone  can; 
prove.  ^Gounod's  personality  can  scarcely  be  said  to  have  made  any  im-i 
pression  upon  the  world,  and  his  influence  died  like  a  bright  "  exhalation  of  j 
the  evening."      You  can  prove  it  to-day  only  in  mediocre  song- writers. 


Gouvy    (goo-ve),     Louis  Theodore, 

Goffontaine,  Rhenish  Prussia,  1819 — 
Leipzig,  1898  ;  pianist  and  composer. 

Gow,  (i)  Niel,  Strathband,  1727 — 
Invar,  Scotland,  1807  ;  violinist  and 
composer.  (2)  Nathaniel,  1766  — 
183 1  ;  son  of  above,  also  violinist  and 
composer.  (3)  Donald,  brother  of  (i), 
was  a  'cellist.  And  (4)  Niel,  Jr., 
1795 — 1823,  son  of  (2),  was  violinist 
and  composer.  (5)  George  Cole- 
man, b.  Ayer  Junction,  Mass.,  Nov. 
27,  i860 ;  studied  with  Blodgett, 
Pittsfield  and  Story  (Worcester)  ; 
graduate  Brown  Univ.,  1884,  and 
Newton  Theol.  Seminary,  1889  ;  then 
teacher  of  harm,  and  pf.  Smith  Col- 
lege ;  studied  with  Bussler  in  Berlin  ; 
1895  prof,  of  music  Vassar  Coll.; 
composer  and  writer. 

Graan  (gran),  Jean  de,  Amsterdam, 
1852 — The  Hague,  1874;  violinist. 

Graben-Hoffmann  (gra-ben  hof- 
man),  Gustav  (rightly  Gustav  Hoff- 
mann), Bnin,  near  Posen,  March  7, 
1820 — Potsdam,  May  21,  1900  ;  sing- 
ing teacher,  w^riter  and  composer. 


Grabert   (gra'-bert),  Martin,  b.  Arm 
walde.  May    15,    1868  ;  studied    wit-    1 
Bargiel  and  Bellerman,  Berlin,  R.  I     ' 
for  church-music,  1891  winning  Me} 
erbeer-stipend,     1S94      Mendelssoh    i 
prize;  lived  in  Berlin  as  organist,  cho 
dir.  and  composer  of  choruses,  etc. 

Grabu(t)  (gra-bii),  Louis  (or  Lewis 
French  operatic  composer  at  the  Eni     1 
lish  court,  1666-90. 

Gradener   (gra'-de-ner),  (i)  K,  G.  F 
Rostock,     1812  —  Hamburg,     188;     ; 
dir.,    conductor,    writer,    and    drai     I 
composer.  (2)  Hermann  (Th.  Ott<:    i 
b.  Kiel,  May  8,  1S44  ;  son  and  pu 
of  above;  later  studied  Vienna  Con 
1873    teacher   harmony    Horak's  1 
Sch.,  later  Vienna  Cons.;  from  iS,     ' 
lecturer    on  harm,  and   cpt.    Vien 
Univ. ;  cond.  Singakademie  ;    c.  ( 
priccietta   and    Sinfonietta   for  or     1 
(op.  14),  etc. 

Graew  (grav).     Vide  bacf.\rt. 

Graffigna  (graf-fen'-ya),  Achille,  Ji    i 
Martino    Dal  I'Argine,  Italy,  i8ir 
Padua,     1S96 ;     conductor,    teaciii 
and  dram,  composer.  '    Plfc 


DICTIONARY  OF  MUSICIANS  533 


Gra'ham,   Geo.    F.,  Edinburgh,  1790 

— 1867  ;  composer  and  writer. 
Crrammann  (gram'-man),  Karl,  Lu- 
beck,  1S44 — Dresden,  1S97  ;  dram, 
composer  and  writer. 
3randi  (gran'-de).  Ales,  de,  Venice  (?) 
— Bergamo,  1630 ;  singer  and  com- 
poser. 
jrandval  (gran-val),  Mme.  Marie 
Felicia  Clemence  de  Reiset, 
Vicomtesse  de,  b.  Saint-Remy-des- 
Monts  (Sarthe),  France,  Jan.  20, 
1S30 ;  pupil  of  Flotow  and  Saint- 
Saens  (comp.)  ;  prod,  the  operas 
"  Piccolmi  "  (Op. -Com.,  1S68),  "  Les 
Fiances  des  Rosa"  (Th.-Lyr.,  1863), 
"Atala"  (Paris,  1888),  ''  Mazeppa" 
(Bordeaux,  1892)  and  others  ;  won 
the  Prix  Rossini  with  oratorio  "  La 
Fille  de  Ja'ire."  "  drame  sacre," 
"  Sainie-A^iies"  in  MS.;  has  prod, 
symph.  works  and  songs  ;  sometimes 
wrote  under  pen-names  *'  Tesier, 
Valgrand,  Jasper,  Banger,"  etc. 

n  inger,  Chas.  Alb.,  b.  Cincin- 
nati, Jan.  2,  1S61  ;  pupil  Coll.  of 
Mus. ;  dir.  several  mus.  societies; 
prof,  in  the  College  for  Music. 
ranjon  (grah-zhoh),  Robert,  music- 
printer,  Paris,  Lyons  and  Rome,  15S2. 
ranom,  Louis  C.  A.,  English  com- 
poser, 1 75 1. 

raphaus  (gra'-fe-oos),  Hieronymus, 
d.  May  7.  1556  ;  music-printer  Niirn- 
berg  from  1533. 

rassini  (gras-se'-ne),  Josephina, 
Varese,  Lombardy,  1773  —  Milan, 
1850  ;  Italian  soprano  of  remarkable 
talent  and  beauty. 

■as  (dorii-gras),  Mme.  Julia  Aimee 
Dorus,  Valenciennes,  1807 — retired, 
1850;  operatic  singer  Paris  and  Lon- 
don. 

<asse  (gras),  Edwin,  b.  New  York 
"ity,  1874  (  ?)  ;  blind  violinist ;  pupil 
)f  Carl  Hauser,  N.  Y.;  at  13,  of 
"esar  Thomson,  Brussels,  then  at 
he  Cons.,  taking  ist  prize  ;  1901 
ook  "Prix  de  Capacite "  ;  debut 
krlin,  Feb.  22,  1902,  with  great 
ucc. 
(asset  (gras-sa),  J.  Jacques,  Paris, 


ca.  1767 — 1839  ;  violinist,  conductor, 

professor,  etc. 
Gratiani.     Vide  graziani. 
Graumann     (grow'-man),    Mathilde. 

Vide  MARCHESI. 

Graun  (grown),  (i)  Aug.  Fr.,  1727- 
71,  tenor,  cantor.  (2)  Jn.  Gl.,  1698 
— Berlin,  1771  ;  bro.  of  above;  vio- 
linist ;  pupil  of  Pisendel  and  Tartini; 
in  service  of  Fredk.  the  Great  and 
cond,  of  Royal  band  ;  c.  40  sympho- 
nies, etc.  (3)  K.  H.,  Wahrenbrlick, 
Prussian  Saxony,  INIay  7,  1701 — Ber- 
lin, Aug.  8,  1759  ;  bro.  of  above  ;  or- 
ganist, singer,  court-conductor,  and 
composer. 

Graupner  (growp'-ner),  Chp.,  Kirch- 
berg,  Saxony,  1683  —  Darmstadt, 
1760  ;  dram,  composer. 

Graziani  (gra-tse-a'-ne),  (i)  (Padre) 
Tommaso,  b.  Bagnacavallo,  Papal 
States  ;  conductor  and  composer  of 
i6th  cent.  (2)  (or  Gratiani)  Boni- 
face, Marino,  Papal  States,  ca.  1606 
— Rome,  1664  ;  cond.  and  composer. 
(3)  Ludovico,  Fermo,  Italy,  1S23 — 
18S5  ;  tenor.  (4)  Francesco,  Fer- 
mo, April  16,  1829 — Fermo,  June  30, 
1901,  bro.  of  above  ;  barytone,  sang 
in  Italy,  Paris,  New  York. 

Grazzini  (grad-ze'-ne),  Reginaldo, 
b.  Florence,  Oct.  15,  1848  ;  studied 
R.  Cons,  with  T.  Mabellini  ;  op.- 
cond.  in  Florence,  later  prof,  of  mus. 
theor)'  and  artistic  dir.  Liceo  Bene- 
detto Marcello,  Venice  ;  c.  sympho- 
nies ;  a  mass  with  orch.,  etc. 

Great'orex,  Thos.,  North  Wingfield, 
Derby,  Engl.,  1758 — Hampton,  near 
London,  1S31  ;  organist,  teacher,  and 
composer  (1789-93)  ;  then  conductor. 

Greco  (gra'-ko)  (or  Grecco),  Gaetano, 
b.  Naples,  ca.  16S0  (?) ;  composer 
and  teacher. 

Greef  (graf),  (i)  Wm,,  Kettwig-on- 
Ruhr,  1809 — Mors,  1875  ;  organist 
and  singing  teacher.  (2)  Greef-An- 
driessen.    Vide  stahmer,  a. 

Green,  Samuel,  London,  1730 — Isle- 
worth,  1796;  organ-builder. 

Greene,  (t)  Maurice,  London,  1696 
(1695  ?) — 1755  ;  teacher  and  compos- 


534 


THE    MUSICAL    GUIDE 


er.  (2)  (Harry)  Plunket,  b.  Old 
Connaught  House,  Co.  Wicklow, 
Ireland,  June  24,  1865  ;  basso  ;  stud- 
ied with  Hromada  and  Goetschius, 
Stuttgart,  1883-86,  and  6  months 
with  Vannuccini  of  Florence  ;  later 
with  J.  B.  Welch  and  Alf.  Blume, 
London;  debut,  Jan.  21,  18S8,  in 
'"Messiah"  ;  debut  in  opera  at  Cov- 
ent  Garden,  1.890;  excels  in  recitals; 
has  sung  frequently  in  America. 

Greeting,  Thos.,  teacher  of  flageo- 
let, London,  latter  half  17th  cent.  ; 
tau;4ht    Pepys. 

Grefinger  (or'Grafinger)  (gra'-flng-er), 
Jn.  W.,  Vienna,  i6th  cent,  com- 
poser. 

Gregh  (greg),  Louis,  Paris  music-pub- 
lisher; 1S94  prod,  pantomime  ;  vaude- 
ville operettas,  etc. 

Gregoir  (grug-war),  (i)  Jacques  Ma- 
thieu  Joseph,  Antwerp,  1817 — Brus- 
sels, 1876  ;  teacher  and  dram,  com- 
poser. (2)  6d.,  Turnhout,  near 
Antwerp,  Nov.  7,  1822 — Wyneghem, 
June  28,  1890  ;  bro.  and  pupil  of 
above  ;  pianist,  dram,  composer  and 
writer. 

Gregoro'vitch,  Charles,  b.  St.  Pet- 
ersburg, Oct.  25,  1867  ;  violinist  ; 
pupil  of  Wieniawski,  Dont  and  Joa- 
chim ;  1896-97  toured  Europe  and 
America. 

Gregory  I.  ("The  Great"),  Rome, 
54i:>-6o4  ;  Pope  from  590  ;  reformer 
and  reviser  of  Roman  Catholic  ritual. 

V.   GRKGORIAX  and  MODES'(D.D.). 

Grell,  Ed.  Aug.,  Berlin,  1800— Steg- 
litz,  near  Berlin,  1886  ;  organist,  con- 
ductor, prof,  and"  composer. 

Grenie  (grfin-ya),  Gabriel  Jos.,  Bor- 
deaux, 1757 — Paris,  1837  ;  inv.  of 
the  orgue  expre/sif  (v.  H.A.RMO.MU.M, 
D.  D.),  which  Erard  improved. 

Gresnich  (gren-Tsh),  Ant.  Frederic, 
Liege,  1755 — Paris,  1799  ;  conductor 
and  dram,  composer. 

Gr6ta  (gra-ta),  Jeanne  (nee  Greta 
Hughes),  b.  Lancaster,  Mo.;  colora- 
tura soprano  ;  studied  with  Gott- 
schalk,  Chicago,  Agramonte,  New 
York,    Mme.    La    Grange,    Critikos, 


and  Dubulle,  Paris  ;  debut  St.  James' 
Hall,  London,  1897  ;  toured  Englan' 
and  Scotland  with  great  success,  whe: 
at  a  concert  before  the  Princess 
Teck  she  caught  a  severe  cold,  nece: 
sitating  a  long  retirement ;  now  sing- 
ing again  in  Xev,'  York  ;  1899,  m. 
Herbert  Witherspoon. 
Gretry  (gra-trwe),  (i)  Andre  Ernesti 
Modeste,  Liege,  Feb.  9,  1741 
Montmorency,  near  Paris,  Sept.  24, 
18 13  ;  dram,  composer  ;  son  of  a  vid-l 
linist.  Chorister  at  6,  but  dismi 
for  incapacity  at  11,  then  pupil  d<| 
Leclerc  and  Renekin.  R.  failing  tcj 
keep  him  to  the  strict  course  of  cpt 
Moreau  later  tried  with  equal  failure 

1758  he  prod.  6  symphonies  at  Liege 

1759  '^  mass  for  which  the  Canon  di.i] 
Harlez  sent  him  to  study  in  Romeia 
to  which  he  walked  ;  he  studied  cptl" 
and  comp.  with  Casali  and  Martii  ' 
for  5  years,  but  was  again  dismisse 
as  impossible  ;  a  dramatic  intermezzi 

"  Z^    Vendeinmiatrice"    was     sue! ' 
1765,  but  reading  Monsigny's  "  Ro\ 
et  Colas"  he  decided  that  his  restlej 
dramatic  longings  were  best  adaptij 
for  French  opera  comique.   He  wasi 
long  time  finding  a  fit  librettist  (V(' 
taire    declining  his  invitation).      I 
reached    Paris    slowly    via    Gene\ 
where  he  taught  singing  a  year  a 
prod,    the    succ.     i-act    "'  Isahellc  '    . 
Gertrmle."     In   Paris  after  2   yer ' 
hardships  his  ''  Les   Afariagcs  So-    . 
nitt's  "  was  rehearsed,  and  though  ;t    j 
prod.,   won   him   a  patron    in  Co  t    j 
Creutz,   the    Swedish    Minister,    \'j    | 
secured  him  as  libretto  Marmont  s    ,; 
comedy    "  Le   Huron."      This      s    J 
prod.  (Op. -com.,  1768)  with    a   g»t 
succ,    enjoyed  also  in  e.xtraordirfy 
degree    by   an    astounding   seriesjf 
works,  mostly  comic  and   mostly  13- 
cessful,  the   best  of   which  are  "|«: 
cile"  "  Le  Tableau  Parlant"  (i^j), 
"Z«   Deux    Avares"    "  Ze'mirjei 
Azor"     {1771),      '\Le    MagiiifitM^ 
' '  La    Rosii're    de     Salem 


(1773);  ^^ 
Le  Jitgeinent  de  Midas"  (inw^i 


(1774)  .''La  Fausse  Ma^ie  "  (l'i)i 


DICTIONARY  OF  MUSICIANS    535 


he  satirised  tlie  old  French  music 
and  its  rendition  at  the  Academic), 
and  ''  LAniani  Jaloux"  (1778); 
the  grand  opera  ''  Andromaque" 
(1780)  (in  which  the  chief  role  is  ac- 
companied by,  3  flutes  throughout)  ; 
"La  Double  Epreuve"  (or  "  Coli)iet- 
te  a  la  cow  ")  (1782) ;  ,"  Theodore  et 
Pauline"  (or  ''L  Epreuve  villa- 
geoise")  \  and  ''Richard  Civur  de 
Lion"  {his  best  work,  still  played  in 
Paris);  the  gr.  opera  ''La  Caravatie 
du  Ca'ire"  (1785,  performed  506  times; 
(libretto  bv  the  Comte  de  Provence, 
later  Louis  XVIII.);  "  Za  Rosiere 
Reptiblicaine"  (1793);  "La  Fete  de 
la  Raison"  (prod.  1794  during  the 
Revolution)  ;  "  Lisbeth  "  ;  "  A  nacre- 
en  chez  Polycrate"  (1797);  c.  50 
operas  in  all,  remarkable  for  sponta- 
neity, grace  and  fervour  of  melody, 
dramatic  effect  and  general  charm, 
but  open  to  serious  criticism  as 
works  of  formal  art.  He  was  called 
"the  Moliere  of  music."  Mozart  and 
Beethoven  wrote  Variations  on  themes 
of  his.  Once  launched,  his  progress 
was  a  triumph  of  honour  of  all  kinds; 
in  1802  Napoleon  made  him  Chev- 
alier of  the  Legion  of  Honour  with 
a  pension  of  4,000  francs.  He  bought 
Rousseau's  former  residence  at  Mont- 
morency and  retired  there  ;  wrote 
Memoirs,  etc.  He  had  several  chil- 
dren, including  the  gifted  Lucille  (v. 
infra),  all  of  whom  he  outlived.  He 
left  6  unprod.  operas  and  c.  also  6 
symphonies  ;  6  pf. -sonatas,  6  string- 
Vjj,  I  (quartets,  church-mus.,  etc.  IJiog.  by 
.■';,,■,{.  his  nephew,  A.  J.  G.  (18 15);  Gregoir 
flia-KiSSs);  Brunet  (1884),  etc.  (2)  Lu- 
,,'jji  cille,  Paris,  1773-93;  daughter  of 
'*;'^ J  above,  who  instrumented  her  opera 
■"'.jjjjr'Z^  Mariage  d' Antonio"  written 
■'^^^..j,.  and  prod,  at  the  Op. -Com.,  with 
•"ate"  f^^^-  when  she  was  only  13  ;  the  next 
^^'ji"  year  her  opera  "  Toinette  et  Louis" 
''"/■'iiir  r *^  not  a  success  ;  she  married  un-  ' 
„';^,;jmppily  and  died  at  20. 

;^'.\,i;Veulich    (groi'-iikh),    (i)    K.    W., 

'  ■  tKunzendorf ,    Silesia,     1796  —  1837  ; 

:eacher    and    composer.       (2)    Ad., 


■iliotl!.  t 
•  vj  Genii 
■jveaif 


Posen,  1819 — Moscow,  1868  ;  teach- 
er and  composer.  (3)  Ad.,  Schmiede- 
berg,  Silesia,  1S36 — Breslau,  1890  ; 
conductor,  bass.,  organist  and  com- 
poser. 
Grieg  (greg),  Eduard  Hagerup, 
b.  Bergen,  June  15,  1S43  ;  pupil  of 
his  mother,  a  pianist  ;  at  15  entered 
Leipzig  Cons.;  pupil  of  Hauptmann 
and  Richter  (harm,  and  cpt.)  ;  Rietz 
and  Reinecke  ^comp.)  ;  Wenzel  and 
Moscheles  (pf.)  ;  then  with  Gade. 
Copenhagen.  With  the  young  Nor- 
wegian composer  Rikard  Nordraak, 
he  conspired,  as  he  said,  "Against 
the  effeminate  Mendelssohnian-Gade 
Scandinavianism,  turning  with  enthu- 
siasm into  the  new,  well-defined  path 
along  which  the  Northern  School  is 
now  travelling."  1867  Grieg  founded 
a  Musical  Union  in  Christiania  and 
was  cond.  till  1880  ;  1S65  visited 
Italy,  again  in  1870,  meeting  Liszt  in 
Rome.  1879  he  performed  his  pf.- 
concerto  at  the  Gewandhaus,  Leipzig. 
Since  1880  lives  chiefly  in  Bergen  ; 
lately  cond.  the  Christiania  Phil.; 
1888  played  his  concerto  and  cond. 
his  2  melodies  for  string-orch.  at  Lon- 
don Phil.  1894  Mus.  Doc.  Cantab. 
C.  concert-overture  "In  Autumn"  ; 
op.  20,  "  Vor  der  Klosterpforte"  iox 
solo,  female  voices  and  orch.; 
"  Landerkennung"  for  male  chorus 
with  orch. ;  "  Der  Einsame  "  for  bary- 
tone, string  orch.  and  2  horns  ;  op. 
35,  "  Norwegische  Tanze,"  for  orch.; 
op.  40,  "  Aus  Holzberg's  Zeit"  suite 
for  string  orch.;  "  Bergliot"  melo- 
drama with  orch.;  "Peer  Gynt" 
suites  I  and  2  for  orch.;  op.  50, 
"Olav  Trygvason"  for  solo,  chorus, 
and  orch.;  "  Sigurd  Jorsalfar"  for 
orch.,  etc.;  op.  22,  2  songs  for  male 
voices  and  orch.;  various  pes.  for 
string  orch.,  string-quartet  in  G  min.; 
pf. -concerto  ;  pf. -sonatas,  3  vln. -so- 
natas, a  'cello-sonata,  also  for  pf.- 
"  Poetische  Tonbilder,"  Romanzen 
and  Balladen  ;  several  sets  of  "  Ly- 
rische  Stiicke"  "  Symphonische 
StUcke"      (4    hands),  "Norwegische 


536  THE    MUSICAL    GUIDE 

Volkslieder    und    Tdnze"    '' Bildcr  incl.  song-cycle  to  Garborg's  "  y%M^. 

aiis  dem  Volkslebeti,"  Peer  Gynt  snxie.  iussa."      Biog.    by    Ernest    Clossonj 

No.   I   (4   hands),  and    many    songs,  (Fischbacher,  Paris,  1S92). 

Eduard  Grieg.  ; 

By  Henry  T.    Finck. 

WHEN  Hans  von  Biilow  called  Grieg  the  Norwegian  Chopin  h 
doubtless  had  in  mind  the  melodic  fertility,  the  harmonic  origi 
nality  and  boldness,  the  eloquence  of  style,  and  the  almost  exclu 
sive  devotion  to  the  shorter  forms  of  composition,  which  these  two  mastei 
have  in  common.  There  is  another  point  of  resemblance.  For  a  long  tim 
musicians  believed  that  the  striking  peculiarities  of  Chopin's  music  were  du 
to  the  influence  on  him  of  the  Polish  folk-music,  whereas,  in  truth,  they  aii 
only  the  product  ofhis  own  genius.  The  same  must  be  said  of  Grieg  will 
reference  to  the  Norwegian  folk-songs,  which  are  generally  supposed  to  haij 
been  the  sources  ofhis  inspiration.  It  is  only  necessary  to  study  these  folk-son 
of  Norway  to  see  how  utterly  erroneous  this  idea  is.  He  caught  their  spirit-i; 
half  melancholy,  half  wild — but  his  melodies  and  harmonies  are  his  own,  ai 
they  are  more  beautiful  than  any  folk-music.  ^  As  a  youth  he  came  und 
the  influence  of  Schubert,  Schumann,  Chopin,  and  Wagner,  but  in  his  son: 
(beginning  with  the  third  Grieg  Album  in  the  Peters  edition)  he  is  all  Gricj  ) 
and  the  same  is  true  ofhis  pianoforte  and  other  instrumental  pieces.  Api 
from  a  concerto  for  the  pianoforte,  three  sonatas  for  piano  and  violin,  one  r 
piano  and  'cello,  a  few  choruses,  an  overture  and  a  few  orchestral  suij  ;  -^ 
(among  which  the  two  Peer  Gy7it  are  best  known),  he  has  written  only  so^ 
(120  up  to  date),  and  a  large  number  of  short  pianoforte  pieces,  HaU 
dozen  ofhis  songs  have  been  arranged  with  pianoforte  accompaniments.  [ 
As  a  harmonist  Grieg  is  even  bolder  than  Wagner  and  Liszt ;  he  has  spo^a  \ 
the  last  word  in  modulation.  His  best  productions  are  still  far  too  lie 
known.  His  music  has  influenced  nearly  all  the  younger  Scandinavian  c<i-  j 
posers,  and  not  a  few  others,  who  sometimes  help  themselves  to  his  ideajn 
the  innocent  belief  that  they  are  simply  copying  Norwegian  folk-melocs. 
A  kindred  spirit  to  Grieg  is  the  most  original  of  American  composers,  Edv.'d 
MacDowell. 


Griepenkerl     (gre-penk-erl),    (i)    F.  Windsor,    179S — London,    iS75;od 

K.,   Peine,   Brunswick,  1782 — Bruns-  of  tlie 'cellist.     (2)  J.  C.  G.,  piiSt, 

wick,    1849  ;    Prof.      (2)  W.    Rob.,  'cellist,  dir.  and  writer. 

Holwyl,  1810 — Brunswick,  1S6S  ;  son  Griesinger  (gre'-zlng-er),  G.  Auj.d- 

of  above  ;  teacher  and  writer.  Leipzig,  182S  ;  writer. 

Griesbach  (gres'-bakh),  (i)  John  Hy.,  Griffin,    (i)   Thos.,   English   oin-| 


DICTIONARY  OF  MUSICIANS    537 


builder  i8th  cent.     (2)  George  Eu- 
gene,   1781 — London,    1863;    Engl, 
pianist  and  composer. 
_    Grill,  (i)  F.,   d.  Odenburg,  Hungary, 
ca.   1795  ;  composer,   etc.     (2)  Leo, 

b.  Pesth,  Feb.  24,  1S46  ;  pupil  of  F. 
Lachner  ;  since  1S71  teacher  of  cho- 
ral singing  and  theory  Leipzig  Cons. ; 

c.  overture  "'  Hilarodia"  1S92. 
Grillet  (gre-ya),  Laurent,  b.  Sancoins. 

Cher,  France,  May  22,  1851 ;  pupil  of 
A.  Martin  ('cello),  E.  Mangin  (harm.), 
and  Ratez  (cpt.  and  fugue);  cond. 
various  theatres  ;  1S86  Nouveau- 
Cirque,  Paris  ;  writer  ;  c.  comic  opera 
"  Graciosa  "  (Paris  1892),  ballets,  etc. 
,  jarimm,  (i)  Fr.  Melchior,  Baron  von, 
|°'j  Ratisbon,  1723— Gotha,  1S07  ;  one 
".?!'•  I  of  the  advocates  and  controversial- 
ists for  the  Ital.  o/>£?'a  biiffa.  (2) 
Karl,  Hildburghausen,  1819 — Frei- 
burg, Silesia,  iSSS  ;  'cellist  and  com- 
poser. (3)  K.  Konst.,  lived  in  Ber- 
lin, 1820 — 18S2  ;  harpist.  (4)  Ju- 
lius Otto,  b.  Pernau,  Livonia,  March 
6,  1827 ;  pianist ;  pupil  of  Leipzig 
Cons.  ;  founded  vocal  society  at 
Gottingen,  then  R.  Mus.  Dir.  Mun- 
ster  Academy  and  cond.;  c.  a  sym- 
phony, 2  suites  in  canon-form,  etc. 
jrim'mer,  Chr.  Fr.,  Mulda,  Sa.xony, 

iSoo — 1S50  ;  composer. 
Jrisar     (gre-zar),    Albert,     Antwerp, 
Dec.  26,  1808 — Asnieres,  near  Paris, 
June   15,  1869;  proHlic    dram,   com- 
poser ;  biog.  by  Pougin,  Paris. 
irisart    (gre-zar),    Chas.    J.    Bapt,, 
prod,  light  operas  in  minor  theatres, 
the  last   "Z<? /•<?/// j9(7/.f"  (1893)  and 
"  Voila  le  Roi"  (1894). 
rrisi  (gre'-ze),  (i)     Giuditta,   Milan, 
July  28,  1805 — near  Cremona,  May  i, 
1840  ;  famous  mezzo-soprano  ;  pupil 
of  Milan   Cons.  ;    m.    Count    Barni, 
1S34.      (2)  Giulia,    Milan,  July  28, 
^^'     iSii — Berlin,   Nov.   29,   i86g  ;  sister 
and    pupil    of    above  ;    famous    dra- 
matic soprano  ;    pupil  of  Giacomelli, 
Pasta  and  Marliani ;  m.  Count  Mel- 
cy,  later  m.  ]Mario. 

•ritzinger  (grits'-lng-er),  L6on,  b. 
Bojan,    Austria,     Sept.     20,    1856 ; 


tenor  ;  studied  in  Vienna  and  sang 
10  years  at  the  opera  house  there  ; 
then  in  various  cities,  1900  Bruns- 
wick court-theatre. 

Groninger  (gro'-nlng-er),  S.  van,  b. 
Deventer,  Holland,  June  23,  185 1  ; 
pupil  of  Raif  and  Kiel,  Berlin  ;  pian- 
ist ;  teacher  in  ZwoUe,  The  Hague  ; 
now  at  Leyden  ;  composer. 

Grosheim  (gros'-him),  G.  Chr.,  Cassel, 
1764 — 1847  ;  dram,  composer. 

Grosjean  (gro-zhan),  (i)  J.  Romary, 
Rochesson,  Vosges,  France,  18 15 — 
St.  Die,  1888  ;  org.  composer  and 
writer.  (2)  Ernest,  b.  Vagney,  Dec. 
18,  1S44  ;  nephew  of  above  ;  organist 
at  Verdun. 

Gross  (gros),  Jn.  Benj.,  Elbing,  West 
Prussia,  1809 — St.  Petersburg,  1848  ; 
'cellist  and  composer. 

Gros'si  (gros'-se),  (i)  G.  F.  Vide  si- 
face.  (2)  Carlotta  (rightly  Char- 
lotte Grossmuck),  b.  Vienna,  Dec. 
23,  1849  ;  coloratura  singer  ;  studied 
in  the  Cons,  there  ;  1869-78  at  the 
Berlin  Opera. 

Grossman,  Louis,  b.  Kalisz,  Po- 
land, 1835;  c.  overtures  ''Lear" 
and  "  Marie  "  and  succ.  operas 
"  Fisherman  of  Palermo  "  (Warsaw, 
1866)  and  "  Woyewoda's  Ghat" 
(1872). 

Grove,  Sir  George,  Clapham,  Surrey, 
Aug.  13,  1820 — London,  May  28, 
1900  ;  civil  engineer  ;  Sec.  to  the  So- 
ciety of  Arts  ;  1852,  Sec,  and  1873  a 
member  of  the  Board  of  Directors, 
Crystal  Palace ;  edited  Alacmillans 
Magazine ;  later  dir.  of  the  Royal 
Coll.  of  Mus.;  1883,  knighted;  1875 
D.C.L.  Univ.  of  Durham;  1885 
LL.D.,  Glasgow;  wrote  important 
book  ' '  Beethoven  and  His  A^ine 
Symphonies"  (1896),  etc.,  and  was 
the  editor-in-chief  1879-89  of  the  mu- 
sical dictionary  known  by  his  name. 

Grua  (groo'-a),  (i)  C.  L.  P.,  court- 
conductor  at  Mannheim  and  com- 
poser, 1700 — 1755.  (2)  Paul,  Mann- 
heim. 1754 — Munich,  1833  ;  son  ot 
above ;  conductor  and  dram,  com 
poser. 


538 


THE    MUSICAL    GUIDE 


Gruber   (groo'-ber),   Jn.   Sigismund, 

Niirnberg,  1759 — 1805  ;  lawyer  and 
writer. 

Gruenberg  (griln'-berkh),  Eugene,  b. 
Lemberg,  Galicia,  Oct.  30,  1854 ; 
violinist ;  pupil  at  Vienna  Cons. ;  for 
10  years  member  Leipzig  Gewand- 
haus  Orch.;  then  (till  1898)  Boston 
Symph.  Orch.  ;  for  3  years  vln.-teacli- 
er  at  the  Boston  Cons.;  later  at  the 
N.  Engl.  Cons.;  pub.  "  Theory  of  Vio- 
lin Playing  "  ;  studies,  essays,  etc. ;  c. 
a  symphony  (performed  at  the  Ge- 
wandhaus),  etc. 

Griin  (griin),  Friederike,  b.  Mannheim, 
June  14,  1836;  soprano,  at  first  in 
the  opera-chorus,  then  sang  solo  parts 
at  Frankfort,  later  (1863)  at  Cassel 
and  1S66-69  Berlin  ;  1869  m.  Russian 
Baron  von  Sadler  ;  studied  with  Lam- 
perti  at  Milan  and  continued  to  sing 
with  success. 

Grunberg(grun'-bgrkh),  (i)  Paul  Emil 
Max,  b.  Berlin,  Dec.  5,  1852  ;  vio- 
linist ;  leader  at  Sondershausen,  later 
at   Prague  ;    now  teacher   in   Berlin. 

(2)    Vide  GRUENBERG. 

Grunberger  (griin'-berkh-er),  Lud- 
wig,  Prague,  1839 — 1896  ;  pianist 
and  composer. 

Grund  (groont),  Fr.  Win.,  Hamburg, 
1791 — 1874;  conductor  and  dram, 
composer. 

Grunfeld  (grlin'-felt),  (i)  Alfred,  b. 
Prague,  July  4,  1852  ;  pianist  and 
composer  ;  pupil  of  Hoger  and  Krej- 
ci,  later  at  Kullak's  Academy,  Berlin  ; 
1873,  chamber-virtuoso,  Vienna  ; 
toured  Europe  and  the  U.  S.  (2) 
Heinrich,  b.  Prague,  April  21,  1855  ; 
bro.  of  above ;  'cellist ;  pupil  of 
Prague  Cons.;  1876,  teacher  in  Kul- 
lak's Academy  ;  1886  'cellist  to  the 
Emperor. 

Gruning  (grU'-nTngk),  Wilhelm,  b. 
Berlin,  Nov.  2,  1858  ;  tenor,  studied 
Stern  Cons.;  sang  in  various  thea- 
tres ;  toured  America  ;  then  1889-97 
at  Bayreuth  as  Parsifal,  Siegfried, 
etc.;   1900  Berlin  court-opera. 

Grus  (grus),  Leon,  1835— Paris,  July, 
1902.  Publisher  ;  also  c.  under  name 
"  Elsen." 


rti 
ClA- 

eim 


Grutzmacher      (griits'-makh-er),     (i) 
Fr.  Wm.    L.,  b.  Dessau,   March  i. 
1832  ;  eminent    'cellist ;  son  and  pu- 
pil of  a  chamber-musician  at  Dessau 
later   studied  with  Drechsler    ('cello 
and   Schneider  (theory) ;  at  16  joinec 
a  small  Leipzig  orch.;    was  "  discovJ 
ered  "  by  David,  and  at  17  made  isj 
'cello,  Gewandhaus  orch.  and   teach^ 
er  at  the  Cons.;   i86g  Dresden,  late! 
Cologne  ;   1902  Philadelphia  ;  c.  con 
certo  for  'cello,  orch.-  and  chambei 
music,  pf.-pcs.,  songs,  etc.     (2)  Ld 
b.    Dessau,    Sept.   4,   1835  ;  bro.  an 
pupil  of  above  ;  studied  with  Drech? 
ler   ('cello)   and    .Schneider  (theory) 
played    in    the    Gewandhaus    orch 
Leipzig ;    then     ist    'cello    Schweri 
court-orch.  ;      1876     chamber     virt 
oso     at     Weimar.      (3)     Friedrii 
son     and    pupil    of    (2)  ;     ist    'eel 
Sondershausen  court-orch. ,  then  Pes 
(1890) ;   1892-94  prof,  at   the  Con; 
Pesth  ;   1894  in  the  Giirzenich   (Jrc 
and  teacher  at  the  Cons.,  Cologne. 

Guadagni  (goo-a-dan'-ye),  (i)  Gaet 
no,  Lodi,  1725  (?)— 1785  (97  ?) ;  im 
contralto  (later  a  soprano)  of  18 
cent.;  Gluck  wrote   "  Teleinaco"  I 

him.   (2) ;  sister  of  above;  sang 

London  ;  m.  F.  Alessandri. 

Guadagnini  (goo-a-dan-ye'-ne),  fam 
of  vln. -makers  of  the  Cremona  scho. 
(i)  Lorenzo  and  (2)  John  Baptis 
worked  1 690-1 740.  (3)  J.  B., 
younger  (son  of  Lorenzo),  also  mr 
e.xcellent  violins. 

Guarducci  (goo-ar-doot'-che),  Mor,- 
tiascone,  ca.  1720  (?);  Italian  sin'r 
in  London,  1766-71. 

Guarneri  (goo-ar-na-re)  (LatiniJ 
Guarne'rius),  family  of  famous  v  - 
makers  at  Cremona,  (i)  Pietro./- 
drea,  b.  ca.  1630 ;  worked  1650-  I 
pupil  of  N.  Amati ;  his  label  Audi  s 
Guarneritis  Cremo7icB  stib  titolo  S;- 
tcE  Theresia  i(> — .  (2)  Giuseppe >. 
1660  ;  son  of  above  ;  worked  \t- 
1730;  his  IsAisX  Joseph  Guartw/s 
filitis  Andreas  fecit  Cremonce  suti' 
tolo  St.  There  si  re  16—.  (3)  P.,  b.?. 
1670  ;  son  of  (i)  ;  worked  1690-1  ^ 


DICTIONARY  OF  MUSICIANS    539 


(4)  p.,   son  of  (2)  ;  worked  1725-40. 

(5)  Giuseppe  Antonio  (known  as 
Guarneri  del  Gesu,  i.e.,  "the  Je- 
sus," from  the  "  I II  S  "on  his  labels), 
June  8,  16S3 — ca.  1745  ;  the  best  of 
the  family,  nephew  of  (i)  ;  his  label, 

Joseph    Guarnerius    Andrea    A'epos 

'Cremona  17 — ,  I  H  S. 

>udehus  (goo'-de-hoos),  H.,  b.  Alten- 
hagen,  Hanover,  March  30, 1S45 ;  tenor, 
son  of  a  village  schoolmaster ;  pupil 
of  Frau  Schnorr  von  Karolsfeld  at 
Brunswick  ;  1870-73  engaged  for  the 
court  opera,  Berlin ;  1872,  studied 
with  Louise  Ress,  Dresden ;  reap- 
peared 1875  ;  1880-90  at  Dresden 
■«  on  ct-opera,  creating  "  Parsifal  "  at  Bay- 
j  ^ji^  reuth,  1882;  in  New  York  1890-91, 
j'jff  j^  later  at  Berlin  ct. -opera. 
Friei  M^'ii"  (ga-nah),  Marie  Alex.,  Mau- 
.  15(1  ipeuge  (Nord),  France,  1744 — Paris, 
'  i^jj]  fSSig  ;  violinist  and  composer. 
.',jjj(;  Uercia  (goo-ar-che'-a),  Alphonso,  b. 
^[  Naples,  Nov.  13,  1S31;  pupil  of  Mer- 
QuIj.  cadante  ;  dram,  barytone  for  a  time  ; 
j^MQl  since  1859  vocal  teacher,  Naples ; 
^J.')),     jc.  succ.  opera  ''Rita"  (Naples,  1875), 

"^Jj  u6rin  (ga-ran),  Emmanuel,  b.  Ver- 

'      g  sailles,  1779;  'cellist. 

y  '  uerrero  (ger-ra'-r5),  Francisco,  Se- 

'i*'.,  [i  villa,   Spain,  1528 — 1599;  conductor, 

■  '■  '„  singer  and  composer. 

Jjr,  lest,  (i)  Ralph,  Basely,   Shropshire, 

^,  I  1742 — 1S30  ;    organist  p.Ad  composer. 

\£  ^^^     George,     Bury    St.    Edmunds, 

*  1771 — Wisbeach,  1831  ;    organist  and 

.,  ^(  composer. 

i*™'  .  leymard  (ge'-mar),  (i)  Louis,  Chap- 

;"*"  )onay    (Isere),     France,    1822 — Cor- 

.,  j  )eil,   near  Paris,  1880  ;    tenor,  1848- 

«M';^  58  at  the  Gr.   Opera.     (2)  Pauline 

Mf"?J  ne'e  Lauters),   b.  Brussels,   Dec.  i, 

.  *"  ,|  [834  ;  wife  of  above  ;   mezzo-soprano  ; 
lorteai'lbupil  of  the  Cons.;  debut  1855,  Th. 


5 


ynque,  Paris  ;   later  at  Gr.  Opera. 
■.    jwglielmi   (gool-yel'-me),   (i)  Pietro, 
,.,&«    ;ond.  to  Duke  of  Modena.     His  son 
.:T0tW|2)  p.,  Massa  di  Carrara,  Italy,  1727 
1720  ?) — Rome,  Nov.  19,  1804  ;  con- 
juctor,  teacher  and  composer  of  over 
!00  operas.   (Perhaps  the  (3)  Signora 


G.  who  sang  in  London  1770-72  was 
the  wife  he  treated  so  shamefully.) 
Rival  of  Passiello  and  Cimarosa ; 
1793  cond.  at  the  Vatican,  composed 
only  church-music.  (4)  Pietro  Car- 
lo (called  Guglielmini),  Naples,  ca. 
1763 — Massa  di  Carrara,  1827  ;  son 
of  above ;  dram,  composer,  teacher 
and  conductor. 

Guicciardi  (goo-et-char'-de),  Giuliet- 
ta  (or  Julie),  Countess  (or  Grafin), 
Nov.  24,  1784 — March  22,  1855  ;  pi- 
anist ;  pupil  of  Beethoven  and  his 
enamoured  inamorata ;  a  Viennese 
woman,  m.  Count  Gallenberg,  1803. 

Gui  de  Chalis  (ge  du  shiil-es)  (Gui- 
do),  end  of  the  12th  cent.;  writer. 

Guidetti  (goo-e-det'-te),  Giov.,  Bo- 
logna, 1532 — Rome,  1592  ;  pupil  and 
assistant  of  Palestrina ;  conductor 
and  composer. 

Guido  d'Arezzo  (goo-e'-do  dar-red'- 
z6)  (Latinised  Areti'nus),Arezzo,  Ita- 
ly, ca.  995 — Avellano  (?),  May  17  (?), 
1050  (?)  ;  eminent  revolutionist  in 
music ;  a  Benedictine  monk  at 
Pomposo,  near  Ferrara,  later  per- 
haps at  Arezzo ;  his  abilities  as 
a  singing-teacher  and  musician  led 
Pope  John  XIX.  to  summon  him 
to  Rome ;  he  was  later  probably 
a  Prior  at  Avellano ;  though  he 
is  being  stripped  of  many  of  his 
early  honours,  it  seems  true  that  he 
introd.  the  4-line  staff,  and  ledger- 
lines  and  Solmisation  (v.  aretinian  ; 

GAMUT  and  SUI.MISATION,   D.  D.). 

Guido     de    Chalis.       Vide    gui     de 

CUAI.IS. 

Guignon  (gen-yoh),  J.  P.,  Turin,  1702 
— Versailles,  1775  ;  violinist  and 
composer. 

Guilmant  (gel-man),  (i)  Alex.  F61ix, 
b.  Boulogne,  March  12,  1837  ;  son 
and  pupil  of  the  org.  (2)  Jean  Bap- 
tiste  G.  (Boulogne,  1793 — 1800); 
later  pupil  of  Lemmensand  G.  Carul- 
li  (harm.)  ;  at  12  substituted  for  his 
father  at  the  church  of  St.  Nicolas  ; 
at  16  organist  at  St.  Joseph  ;  at  iS 
prod,  a  solemn  mass  ;  at  20  choirm. 
at  St,  Nicholas,  teacher  in  Boulogne 


540 


THE    MUSICAL    GUIDE 


Cons,  and  cond.  of  a  mus.  soc;  1S71 
organist  of  Ste.  Trinite  ;  1893  chev. 
of  Legion  of  Honour ;  1S96  org.- 
prof.,  I'aris  ■  Cons. ;  1893,  1897-98 
toured  Europe  and  U.  S.  with  much 
succ;  1901  resigned  from  Ste.  Tri- 
nite ;  c.  symphony  for  organ  and 
orch.;  "lyric  scene"  ''  Belsazar'"  ior 
soli,  chorus  and  orch.;  '' Christtts 
Vincit"  hymn  for  chorus,  orch., 
harps  and  org. ;  4  org.  sonatas,  etc. 

Guindani  (goo-en-dii'-ne),  Ed.,  Cre- 
mona, 1S54 — 1897  ;  dram,  composer. 

Guiraud  (g€-r6),  (i)  Ernest,  New 
Orleans,  June  23.  1837 — -Paris,  May 
6,  1892  ;  son  of  (2)  Jean  Baptiste 
G.  (Pri.'cde  Rome,  Paris  Cons.,  1827), 
at  12  in  Paris  ;  at  15  prod,  opera 
"  Zf  roi  David'"  aX  New  Orleans; 
studied  Paris  Cons.,  and  took  Grand 
prix  de  Rome  ;  later  prof,  of  accom- 
paniment Paris  Cons,  and  dram,  com- 
poser. 

Gulbranson  (gool'-bran-zon),  Ellen, 
b.  Stockholm ;  notable  soprano ; 
studied  with  Marchesi,  sang  in  con- 
cert ;  1889  entered  opera,  singing 
Briinhilde,  1S99  Kundry  at  Bayreuth 
and  other  roles  in  other  cities ;  lives 
on  her  estate  near  Christiania. 

Gumbert  (goom'-bert),  Fd.,  Berlin, 
18 18  —  1896;  tenor  and  barj-tone  ; 
also  critic  and  dram,  composer. 

Gumpeltzhaimer(goom'-pelts-hT-mer), 
Adam,  Trostberg,  Bavaria,  1559 — 
.\ugsburg,  1625  ;  composer  and  theo- 
rist. 

Gumpert  (goom'-pert),  Fr.  Ad.,  b. 
Lichtenau,  Thuringia,  April  27, 
1841;  pupil  of  Hammann  ;  from  1864 
1st  horn  Gewandhaus  Orch.,  Leipzig; 
writer  and  composer. 

Gumprecht  (goom'-prekht),  Otto,  b. 
Erfurt,  April  4,  1823  ;  studied  law, 
Dr.  jur. ;    1S49  critic  and  writer. 

Gungl  (or  Gung'l)  (goong'-l),  (r)  Jo- 
seph, Zsambek,  Hungary,  Dec.  i, 
iSio — Weimar,  Jan.  31,  1S89;  oboist, 
bandmaster  and  composer  of  pop. 
dance-music.  (2)  Virginia,  daughter 
of  above;  opera-singer;  debut  ct.- ope- 
ra, Berlin,  1871  ;  later  at  Frankfort. 


(3)  Jn„  Zsambek,  1828— Pecs,  Hun- 
gary,  1883 ;  nephew  of  (i) ;  com- 
poser. 

Gunn,  (i)  Barnabas,  d.  1743;  Engl. 
organist.  (2)  Barnaby,  1730-53, 
organist.  (3)  John,  Edinburgh  (?), 
17^5  (') —  ca.  1824;  Chelsea  Hos- 
pital,  1730-53 ;  'cello-teacher  and 
writer. 

Giinther  (glin'-ter),  (i)  Hermann, 
Leipzig,  1S34-71  ;  a  physician;  c.  • 
opera  under  name  "  F.  Hesther."  (2)' 
Otto,  Leipzig,  1822 — 1897;  bro.  of ' 
above  ;  dir.  (3)  Giinther-Bach- 
mann,  Karoline,  Diisseldorf,  1816 
— Leipzig,  1S74;  singer. 

Gunz  (goonts),  G.,  Gaunersdorf,  Low-i 
er  Austria,  1831 — Frankfort,  1894; 
tenor.  ! 

Gura  (goo'-ra),  (r)  Eugen,  b.  Pressem,; 
n.  Saatz,  Bohemia,  Nov.  8,  1842:; 
barytone  ;  pupil  of  Polytechnic  anc. 
the  Akademie,  Vienna  ;  then  Municll 
Cons.,  debut  1865,  Munich,  1867-7(1 
Breslau  ;  1870-76  Leipzig  with  grea 
succ;  1876-83  Hamburg,  Munich' 
18S3-95.  His  son  (2)  Hermann  is  : 
barytone. 

Gurli'tt  (goor'-llt),  Cornelius,  Alto 
na,  near  Hamburg,  Feb.  10,  1820- 
Berlin,  1901  ;  pupil  of  the  elder  Rei 
necke  and  ^Yeyse  ;  army  mus.  dir.  i: 
the  Schleswig-Holstein  campaigni 
prof.  Plamburg  Cons.;  1S74  RoyJ' 
Mus.  Dir.;  c.  3  operas,  incl.  "Z>- 
romische  Matter"  (Altona,  i860 
etc. 

Giirrlich  (giir'-likh),  Jos.  Augustii 
Munsterberg,  Silesia,  1761 — Berlii 
1S17  ;  organist,  bass,  court-conduc 
or  and  dram,  composer. 

Gusikow  (goo'-zl-kof),  Michael  Jos 
Sklow,  in  Poland,  Sept.  1806 — Ai.x-1: 
Chapelle,  Oct.,  1837;  remarkable  vir 
uoso  on  the  .xylophone. 

Gutmann  (goot'-man).  Ad.,  Heide, 
berg,  1S19 — .Spezia,  18S2  ;  compose 

Gyrowetz  (ge'-ro-vets),  Adalbet 
Budv.-eis,  Bohemia,  Feb.  19,  1763 
Vienna,  March  19,  1850  ;  son  ai 
pupil  of  a  choirm.;  c.  symphonic 
operettas,  etc.;  court-conductcr. 


f 


[| 


DICTIONARY  OF  MUSICIANS    54 


i;3(Kj 


leriu 


" ;  bra. 
ler-Bai 


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Presst 
3,  a 


'M 


H 

Habeneck  (ab'-g-nek),  Fran5ois 
Ant.,  Mezieres  (Ardennes),  France, 
June  I  (Jan.  25?),  17S1 — Paris,  Feb. 
8,  1849  ;  son  and  pupil  of  a  German 
musician  ;  studied  Paris  Cons.;  later 
cond.  of  its  concerts  and  vln.-prof. ; 
introd.  Beethoven's  symphonies  to  the 
French  pubHc  ;  composer. 

Haberbier  (hii'-ber-ber),  Ernst,  Ko- 
nigsberg,  Oct.  5,  1813 — Bergen,  Nor- 
way, March  12,  1S69  ;  son  and  pupil 
of  an  organist  ;  court-pianist  at  St. 
Petersburg  ;  later  toured  with  great 
success ;  composer. 

Haberl  (ha'-berl),  Fz.  X.,  b.  Oberel- 
lenbach,  Lower  Bavaria,  April  12, 
1840 ;  took  orders  1862 ;  1862-67 
cath.  cond.  and  mus,  dir.  Passau 
Seminary  ;  1S67-70  organist,  Rome  ; 
1871-82  cath. -cond.  at  Ratisbon  ; 
1875  founded  famous  sch.  for  church- 
music;  edited  Palestrina's  works,  etc.; 
1SS9,  Dr.  Theol.  A.  c,  Univ.  of  WUrz- 
burg ;  1SS3,  Pope  Leo  XIIL  in- 
trusted him  with  the  cataloguing  of 
the  invaluable  archives  of  the  Sistine 
Chapel,  of  which  he  published  a  no- 
table bibliography  and  thematic  cata- 
logue ;  his  pub.  works  are  of  the 
greatest  importance  in  the  history  of 
church-music. 

Habermann  (ha-ber-man),  Fz.  Jn., 
Konigswarth,  Bohemia,  1706 — Eger, 
17S3  ;  conductor,  teacher  and  com- 
poser. 

Habert  (ha -bert),  Jns.  Evangelista, 
Oberplan,  Bohemia,  1S33 — Gmunden, 
1896  ;  editor  and  collector. 

Hackel  (ha'-kel),  Anton,  Vienna,  1779 
— 1846  ;  composer. 

:Hackh  (hak),  Otto   (Chp.),  b.  Stutt- 

1  gart,  Sept.  30,  1852  ;  pupil  of  Stutt- 
gart Cons,  and  of  A.  de  Kontski  (pf.), 
at  New  York  ;  1S72-75  teacher  at 
the  Cons.;  1877-78  toured;  1878 
teacher  in  London  ;  in  1880-89  ^r. 
Cons. ,  New  York ;  later  private 
teacher  and  composer. 
ad'ley,  Henry  K.,  b.  Somerville, 
Mass.,  U.  S.  A.,  1871  ;  notable  com- 


poser, son  and  pupil  of  a  music- 
teacher  ;  also  studied  with  Chadwick, 
Heindl  and  Allen,  Boston  ;  1894-96 
at  Vienna  with  Mandyczewski  ;  1S96 
in  charge  of  music  St.  Paul's  school. 
Garden  City,  N.  Y.;  c.  2  symphonies 
"  Voi/^/i  aud  Life"  (prod,  by  Seidl, 
1897),  and  "  The  Seasons"  a  ballet, 
suite,  cantata  ;  2  comic  operas,  etc. 

Had'ow,  Wm.  H.,  b.  Ebrington, 
Gloucestershire,  Dec.  27,  1859;  com- 
poser, lecturer  and  writer  of  "  Sitidies 
in  Modern  Altaic  "  etc. 

Hadria'nus.     Vide  adriansf.n. 

Haffner  (hef'-ner),  Jn.  Chr.  Fr.,  Ober- 
schonau,  near  Suhl,  1759 — Upsala, 
Sweden,  1833  ;  organist,  court-con- 
ductor, dram,  composer  and  collec- 
tor. 

Hagemann  (ha'-ge-man),  (i)  Fran- 
cois Willem,  b.  Zutphen,  Holland, 
Sept.  10,  1827  ;  1846  royal  organist 
Appeldoorn;  1848  cond.  at  Nijkerk  ; 
studied  1852  Brussels  Cons.;  organist 
and  composer  at  Batavia.  (2)  Mau- 
rits  Leonard,  b.  Zutphen,  Sept.  23, 
1829  ;  bro.  of  above  ;  violinist  and 
pianist  ;  pupil  of  Brussels  Cons.; 
^865-75  dir.  Cons.,  Batavia;  1875 
founder  and  dir.  of  a  Cons.,  Leu- 
warden  ;  c.  oratorio  ''Daniel"  etc. 

Hagen  (ha'-gen),  (i)  Fr.  H.  von 
der,  Schmiedeberg,  Ukraine,  1780 — 
Berlin,  1856  ;  prof,  and  writer.  (2) 
Jn.  Bapt.,  Mayence,  1818 — Wies- 
baden, 1870  ;  conductor  and  com- 
poser. (3)  Ad.,  b.  Bremen,  Sept. 
4,  1851  ;  son  of  above  ;  violinist  ; 
1879-82  cond.  Hamburg  Th.;  1883, 
court  cond.  Dresden,  and  1884  man- 
ager of  the  Cons.;  c.  comic  op- 
era "  Zivei  Komponisten"  Hamburg, 
1882,  etc.  (4)  Theodor,  Hamburg, 
1823 — New  York,  1871  ;  teacher, 
critic  and  composer. 

Hager,  Jns.     Vide    hasslinger-h.a.s- 

SINGEN. 

Hague  (hag),  (i)  Chas.,  Tadcaster, 
1769 — Cambridge,  1821  ;  prof,  and 
composer.  (2)  Harriet,  1793 — 1816  ; 
daughter  of  above  ;  pianist  and  com- 
poser. 


542 


THE    MUSICAL    GUIDE 


Hahn  (hrin),  (r)  Bd.,  Leubus,  Silesia, 
1780 — Breslau,  1852;  cath. -conduct- 
or and  writer.  (2)  Albert,  Thorn. 
West  Prussia,  1828 — Lindenau,  near 
Leipzig,  1830  ;  teaclier.  (3)  Rey- 
naldo,  b.  Caracas,  Venezuela,  Aug. 
9,  1874 ;  pupil  of  Massenet,  Paris 
Cons.;  lives  in  Paris  ;  c.  3-act  "  idylle 
polynesienne "  "  Z'//(?  du  Rcve  " 
(Paris,  Op. -com.,  1S98);  opera,  "  La 
Carmelite"  (MS.)  ;  songs  of  remark- 
able beauty  and  originality,  etc. 

Hahnel  (ha'-nel).     Vide  g.a.i.lus,  j. 

Haigh,  Thos.,  b.  1769  ;  Engl,  violin- 
ist, pianist  and  composer. 

Haines,  Napoleon  J.,  London,  1S24 
—  New  York,  1900 ;  founder  of 
Haines  Bros.  Piano  Mfrs.,   X.  V. 

Hainl  (anl),  Georges  Francois,  Is- 
soire,  Puy-de-D6me,  1S07  —  Paris, 
1873  ;  "cellist ;  conductor,  writer  and 
composer. 

Haizinger  (hl'-tsTng-er),  Anton,  Wilf- 
ersdorf,  Lichtenstein,  1796 — Vienna, 
1869  ;  tenor. 

Hale  (i),  Philip,  b.  Norwich,  Vt., 
March  5,  1854 ;  notable  American 
critic  and  essayist  ;  as  a  boy,  organ- 
ist Unit.  Ch.,  Northampton,  Mass.; 
1876  grad.  Yale  Univ.;  1880  ad- 
mitted to  the  Albany  bar  ;  pupil  of 
D.  Buck,  1876  ;  1SS2-S7  studied  or- 
gan and  comp.  with  Haupt,  Faiszt, 
Rheinberger  and  Guilmant,  Urban, 
Bargiel,  Raif  and  Scholz ;  1879-82 
organist  St.  Peter's,  Albany ;  18S7- 
89  St.  John's,  Troy  ;  since  1889  of 
First  Religious  Soc,  Roxbur\',  Mass. ; 
18S7-89  also  cond.  of  Schubert  Club 
at  Albany;  1S89-91  critic  successively 
of  the  Boston  Home  Journal,  Post ; 
1891,  Journal;  1897-1901  edited 
Mas.  Record ;  1901,  Ed.  Musical 
World ;  lecturer  on  mus.  subjects  ; 
1884  m.  at  Berlin  (2)  Irene  Baum- 
gras,  b.  Syracuse,  N.  Y.,  U.  S.  A.  ; 
pupil  Cincinnati  Coll.  of  Mus.;  tak- 
ing gold  medal  1S81  ;  then  studied 
with  Moszkowski  and  Raif,  Berlin  ; 
ruined  her  health  by  overwork  ;  lives 
in  Boston;  c.  songs  and  pf.-pcs. 
under  pen-name  "Victor  Ren6." 


Hale  (or  Halle),     Vide   .vdam  de  lajB* 

HADC. 

Halevy  (a-la-ve),  Jac.  Frang.  Fro-| 
mental  Elie,  Paris,  May  27,  1799— 
of  consumption,  Nice,  March  17, 
1862  ;  of  Jewish  parentage  ;  pupil  of! 
Cazot,  Lambert  (pf.),  and  Berton 
(harm.),  Cherubini  (cpt.);  Paris  Cons.Jl 
winning  2nd  harmony  prize ;  i8iqi 
and  1817,  2nd  Prix  de  Rome;  i8icj 
won  Pri.K  de  Rome  ;  1827  prof,  ol; 
harmony  and  accomp.  at  the  Cons. 
1833  prof,  of  cpt.  and  fugue  ;  182c 
prod.  2  succ.  operas  ;  1830  succ.  bal 
let  "  Manon  Lescaut  "  ;  1830-46  f/i(f 
de  chant  at  the  Opera  ;  1832  he  com 
pleted  Herold's  ''  Ludovic"  will 
succ. ;  1835  he  wrote  and  prod.  2  grea 
successes,  his  master  -  piece 
Jiiive  "  (Gr.  Opera)  and  a  comic  open 
"  L' Eclair  "  ;  Chevalier  of  the  I^ 
gion  of  Honour  ;  1836  member  of  th 
Academic ;  1854,  secretary  for  life 
In  1836  Meyerbeer  appeared,  and 
efforts  to  rival  his  prestige  H.  wrot 
too  much  with  inferior  libretto: 
among  his  works  being  (1841)  "  Z 
Reine  de  Chypre."  He  collaborat 
with  Adam,  Auber  and  Carafe  in 
operas  ;  he  left  2  unfinished  opera; 
"  Vanina  d'Ornano"  (completed  I 
Bizet)  and  "  Zt-  Deluged  Biogr.  t 
his  brother  Leon  (1862),  etc. 

Halir  (ha-ler),  (i)  Karl,  b.  Hohe: 
elbe,  Bohemia,  Feb.  i,  1859;  violi 
ist ;  pupil  of  Bennewitz,  Prague  Co: 
and  Joachim  in  Berlin  ;  18S4  lead| 
of  the  ct.-orch.,  ^Veimar ;  181, 
toured  the  U.  S.  His  wife  (2)  Th 
resa  (nee  Zerbst),  b.  Berlin,  No] 
6,  1859,  and  m.  in  1S88  ;  soprani 
pupil  of  Otto  Eichberg. 

Hall,  (i)  Henry,  Windsor,  ca.  1655; 
1707  ;  organist  and  composer.  1 
Henry,  Jr.,  d.  1763;  son  of  abovj 
organist  and  composer.  (3)  Wn, 
i7th  cent,  violinist  and  compost 
(4)  Chas.  King,  London,  1845  (?),' 
Sept.  I,  1895  ;  organist,  dram,  co 
poser.  (5)  Glen,  b.  Chicago  (?),  18: 
tenor  ;  pupil  of  Plenschel,  etc. 

Halle  (al).     Vide  ada.m  de  la  h. 


11 


DICTIONARY  OF  MUSICIANS  543 


Halle  (hal'-Ie),  Jn.  Samuel,  Barten- 
stein,  Prussia,  1730  —  iSio  ;  prof, 
and  writer. 

Halle  (al-la),  Sir  Charles  (rightly 
Karl  Halle),  Hagen,  Westphalia, 
April  ir,  iSig — Manchester,  Oct.  25, 
1895  ;  pianist  and  conductor,  Paris, 
1836-4S  ;  later  pop.  cond.  at  Man- 
chester and  dir.  of  "Gentlemen's 
Concerts "  there  ;  also  closely  con- 
nected with  London  Popular  Con- 
certs; 188S  m.  Mme.  Neruda  (q. 
v.). 

Hallen  (hal'-len),  Anders,  b.  Goten- 
burg,  Dec.  22,  1846  ;  pupil  of  Rei- 
necke,  Rheinberger,  and  Rietz  ;  cond. 
of  the  Mus.  Union,  Gotenburg  ;  1892 
cond.  Royal  Opera,  Stockholm  ;  c.  3 
operas,  ''  Harald  der  Viking"  (Leip- 
zig, 1S81  ;  Stockholm,  1883);  v.  succ. 
'  Hexfallen  "  ("  Der  Hexenfang ") 
(Stockholm,  1896);  '^  IValdemar" 
(Stockholm,  1899)  ;  2  Swedish  Rhap- 
sodies ;  ballad  cycles  with  orch. ;  sym- 
phonic poem  '' Eiii  Soinmermar- 
clien'' \  romance  for  vln.  with  orch.; 
German  and  Swedish  songs,  etc. 

Haller  (hal'-ler),  Michael,  b.  Neusaat 
(Upper  Palatinate),  Jan.  13,  1840; 
1S64  took  orders  ;  studied  with 
Schrems ;  1S66  cond.  "  Realinsti- 
tut "  ;  teacher  of  vocal  comp.  and 
cpt.  at  the  Sch.  of  Church-music  ; 
writer  and  composer  ;  completed  the 
lost  3rd-choir  parts  of  si.K  12-part 
comps.  of  Palestrina's. 

Hallstrom  (hal'-stram),  Ivar,  Stock- 
holm, June  5,  1826 — 1901  ;  dram, 
composer ;  librarian  to  the  Crown 
Prince,  now  King  of  Sweden  ;  1861 
dir.  of  Sch.  of  Music.  His  first  opera 
failed — having  20  numbers  in  minor 
keys  ;  his  2d  also  ;  but  others  were 
succ,  incl.  "  Ay aga"  (1S85  ;  book 
by  "  Carmen  Sylva  "). 

^alm  (halm),  Anton,  Altenmarkt, 
Styria,  17S9 — Vienna,  1S72  ;  pianist 
and  composer. 

:lambourg  (ham'-boorg),  Mark,  b. 
('■ogutschar-Noronez,  Russia,  June 
T,  1S79 ;  notable  piano-virtuoso  ; 
studied  with  his  father  (now  a  teacher 


in  London),  and  with  Leschetizky ; 
has  toured  widely  with  brilliant  suc- 
cess ;  igoo,  America  ;  lives  in  Lon- 
don. 

Ham'boys.     Vide  hanboys. 

Hamel    (a-mel),    (i)    M.    P.,  Auneuil 
(Oise),  France,  1786 — Beauvais,  after 
1870  ;  amateur  expert  in  organ-build- 
ing ;  writer.     (2)  "Eduard,    b.  Ham- 
burg,    1811;     violinist    and    pianist;  ; 
Grand  Opera  orch.,  Paris  ;  from  1846  i 
at    Hamburg    as    teacher   and   com-  '' 
poser.       (3)      Margarethe.       Vide            ! 

SCHICK.  ] 

Ham'erik,    Asger,    b.    Copenhagen,  j 

April  8,  1843  ;   pupil   of    Gade,  Mat-  ' 

thison-Hansen   and  Haberbier;    1862 
of  von  Billow  ;  c.  two  operas  ;  1870  at 
Milan  prod,  an  Ital.  opera  "  Z«  Ven- 
detta"; 1871  dir.  of  the  Cons,  of  the  i 
Peabody   Institute    and   of   the   Pea- 
body  symphony  concerts,  Baltimore,  1 
Md.;   1890  knighted  by  the  King  of  j 
Denmark  ;  c.  1866  a  festival  cantata 
to   commemorate    the    new    Swedish            j 
constitution,         ''Der       Wanderer"  j 
(1872);    1883    '' Oper  ohne    IVorte" ;  \ 
a    choral   work    "  Christliche    Trilo-  i 
gie"  (a   pendant  to  a   "  Trilogie  ju- 
daiqiie "    brought   out    in    Paris)  ;    5            , 
symphonies,  etc. 

Ham'erton,  Wm.  H.,  b.  Nottingham, 

1795  ;  singing-teacher  and  composer.  1 

Hamilton,  Jas.  Alex.,  London,  1785 
— 1S45  ;  writer. 

Hamma     (ham'-ma),     (i)     Benj.,     b.  \ 

Friedingen,  Wtirtemberg,  Oct.  10, 
1S31 ;     studied     with     Lindpaintner  I 

(comp.)  at  Stuttgart  ;  then  at  Paris  j 

and  Rome;  till  1870  cond.  and  teach-  I 

er  at   Konigsberg  ;    now   dir.    sch.  of  : 

mus.  at  Stuttgart ;  dram,  composer. 
(2)  Fz.  X.,  b.  Wehingen,  Wtirtem- 
berg, Dec.  3,  1835  ;  bro.  of  above  ; 
organist  at  Basel ;  then   at   Obersta-  j 

dion  ;  now  teacher  at  Metz  ;  com- 
poser. 

Hammerschmidt  (ham'-mer-shmTt), 
Ands.,  Briix,  Bohemia,  161 1 — Zit- 
tau,  Oct.  29,  1675  ;  organist,  1639, 
at  Zittau  ;  c.  important  and  original 
concertos,  motets,  madrigals,  etg. 


544 


THE    MUSICAL    GUIDE 


Hampel  (ham'-pel),  Hans,  Prague, 
1822 — 18S4;  organist  and  composer. 

Han'boys  (or  Hamboys),  John,  Eng- 
lish theorist  ca.  1470. 

Hand  (hant),  F.  G.,  b.  Plauen,  Sax- 
ony, 17S6 — [ena,  1S51  ;  writer. 

Handel  (or  Handel,  Handl).  (i)  Vide 

GALl.US.       (2)  Vide   HANDEL 

Handel  (hent'-l)  (Hendel,  Hendeler, 
Handeler  or  Hendtler),  Georg 
Friedrich  (at  first  spelt  Hendel  in 
England  ;  later  he  anglicised  it  to 
George  Frederic  Handel  (han - 
del,  the  form  now  used  in  England), 
Halle,  Feb.  23,  1685 — London,  April 
14,  1759  ;  son  of  a  barber  (afterwards 
surgeon  and  valet  to  the  Prince  of 
Saxe- Magdeburg)  and  his  second  wife 
Dorothea  Taust.  Intended  for  a 
lawyer  ;  in  spite  of  bitter  opposition 
he  secretly  learned  to  play  a  dumb 
spinet.  At  7  on  a  visit  to  his  elder 
step-brother,  valet  at  the  court  of 
Saxe-Weissenfels,  Handel  while  play- 
ing the  chapel-organ,  was  heard  by 
the  Duke,  who  persuaded  the  father 
to  give  the  boy  lessons.  Zachau,  or- 
ganist of  Halle,  taught  him  cpt.,  ca- 
non and  fugue,  and  he  practised  the 
oboe,  spinet,  harpsichord  and  organ  ; 
he  soon  c.  sonatas  for  2  oboes  and 
bass,  became  assist,  organist,  and  for 
3  years  wrote  a  motet  for  every  Sun- 
day. In  1696  his  skill  on  organ  and 
harpsichord  won  him  at  Berlin  the 
friendship  of  Ariosti,  and  the  jealousy 
of  Bononcini.  The  Elector  offered  to 
send  him  to  Italy  ;  but  his  father 
took  him  back  to  Halle  ;  the  next 
year  his  father  died,  and  he  went  to 
Halle  Univ.  (1702-03)  to  study  law, 
at  the  same  time  serving  as  organist 
at  the  cathedral  at  a  salary  of  $50  a 
year.  1703  he  went  to  Hamburg  as 
violino  di  ripicno.  He  fought  a  duel 
with  Mattheson,  later  his  friend  and 
biographer,  and  was  saved  by  a  but- 
ton. When  Keiser  the  dir.  fled  from 
debt,  H.  was  engaged  as  clavecinist. 
He  c.  a  "  Passion"  and  prod.  2  op- 
eras, ''  Ab?iira"  (succ.)  and  "  Nero" 
(1705)  ;  he  was  also  commissioned  to 


1 


write  "^Floritido  und  Daphne  "  (1708), ; 
an  opera  filling  two  evenings.  In 
1706,  with  200  ducats  earned  by 
teaching,  he  went  to  Italy  and  made 
success  and  powerful  acquaintances, 
incl.  the  Scarlattis.  In  P'lorence 
(1707)  he  prod,  with  succ.  '' Rodrigo" 
(Venice,  1708),  and  ''  Agrippina" 
with  great  succ.  In  Rome  he  prod. 
2  oratorios,  and  in  Naples  a  serenata, 
"Ac/,  Galatea  s  PoUfemo"  in  which) 
is  a  bass  solo  with  a  compass  of  2  oc-f 
taves  and  a  fifth.  1709,  in  Germany! 
as  cond.  to  the  Elector  of  Hanover  ;■ 
1 7 10  visited  England  on  leave  of  ab-' 
sence.  In  2  weeks  he  c.  the  opera 
'"  Jiinaldo"  a  pasticcio  of  his  older 
songs.  It  was  prod,  at  the  Haymarket 
Th.  with  great  succ;  1712  he  returned 
to  London  on  leave ;  but  stayed. | 
His  first  two  operas  were  not  succ. 
but  an  ode  for  the  Queen's  birthday, 
and  a  Te  Deum  and  Jubilate  in  cele^ 
bration  of  the  Peace  of  Utrecht  woe 
him  royal  favour  and  an  annuity  o) 
;^200 ;  1714  his  Hanover  patror 
became  George  I.  of  England,  and 
only  the  good  offices  of  Baron  Kil 
manseck  and  the  production  of  the  2\ 
pieces  called  the  "  IVater-Micsic"  a 
a  royal  aquatic  fete,  restored  him  t( 
favour.  1716-18  he  went  to  Hanove, 
with  the  King.  He  there  c.  his  onl;i 
German  oratorio,  the  ''  Passion"  \ 
1 718  cond.  to  the  Duke  of  Chandoj 
and  c.  the  English  oratorio  '^Esther,  \ 
the  secular  oratorio  ''Acis  and  Gala] 
tea"  and  the  ChandosTe  Deums  an^j 
Anthems.  He  taught  the  Prince  c; 
Wales'  daughters,  and  c.  for  Princes' 
Anne  "  Suites  de  Pieces"  for  harpsij 
chord  {The  Lessons)  including  "  Th, 
Harmonious  Blacksmith."  ! 

He  was  dir.  of  new  R.  A.  of  M, 
1720  prod,  the  succ.  opera  "  T^a^/c 
;«/j-/<? "  (prod.  1721  in  Hamburg  a; 
''  Zenobia").  Now  Bononcini  an 
Ariosti  appeared  as  rivals  and  a  fi' 
mous  and  lasting  feud  arose  round  tlj 
three  after  they  had  prod,  one  openT 
"  3fuzio  Scaevola"  in  which  eac' 
wrote  an  act.     B.  had  rather  the  be 


DICTIONARY  OF  MUSICIANS   545 


ter  of  it,  when  he  was  caught  in 
a  plagiarism  (a  crime  not  unknown 
in  Handel's  works  (v.  lotti).  B. 
left  England  without  reply  (1731). 
Up  to  this  time  H.  had  prod.  12 
operas. 

1726  he  was  naturalised.  1729-31 
he  was  in  partnership  with  Heidegger, 
proprietor  of  the  King's  Th.,  where 
he  prod.  "  Lofario"  followed  by  4 
more  operas.  1732  he  prod,  his  two 
oratorios  revised  ;  1733  the  oratorios 
"  Deborah''  a.nd  "At/ialiak"  at  Ox- 
ford, when  he  was  made  Mus.  Doc.  /;.£:. 
1733  he  began  a  stormy  management 
of  opera,  quarrelled  with  the  popular 
singer  Senesino,  and  drove  many  of 
his  subscribers  to  forming  a  rival 
troupe  "  The  Opera  of  the  Nobility," 
with  Porpora  and  afterwards  Hasse 
as  composer  and  conductor;  1737  the 
companies  failed,  H.  having  prod.  5 
operas;  the  ode  "  Alexander's  Feast" 
(Dryden),  and  the  revised  "  Trionfo 
del  Tempo  e  della  Verita."  Over-ex- 
ertion brought  on  a  stroke  of  paraly- 
sis in  one  of  his  hands  and  he  went 
to  Aix-la-Chapelle,  returning  to  Lon- 
don with  improved  health.  He  now 
prod.,  under  Heidegger,  5  operas, 
incl.  ''''  Farainoudo"  "  6Vv'j^  "  (1738), 
and  "  Deidaiiiia"  (1741). 

Now  he  abandoned  the  stage  and 
turned  to  oratorio,  producing  "  Saul" 
tand  '^Israel  in  Egypt"  (1739)  ;  the 
"  Ode  for  St.  Cecilia  s  Day"  and  in 
[740  "  D Allegro  and  II  Penseroso" 
(Milton),  and  a  supplement  "  //  Alo- 
derato"  written  by  Chas.  Jennens,  who 
also  wrote  the  text  of  the  Messiah. 


1 74 1  he  visited  Dublin  and  prod, 
there  his  masterpiece  the  "  Messiah" 
April  13,  1742.  This  re-established 
him  in  English  favour  and  raised  him 
from  bankruptcy.  It  was  followed  by 
"  Samson"  the  "'  Dettingen  Te  De- 
tim"  "  Semele"  ''''Joseph  "  (1743), 
"  Belshazzar,"  and  '''Heracles" 
(1744).  His  rivals  worked  against 
him  still,  and  in  1745  he  was  again 
bankrupt,  writing  little  for  a  year  and 
a  half,  when  he  prod,  with  renewed 
success  and  fortune  his  "  Occasional 
Oratorio,"  and  "Judas  Alaccabaeus" 
(1746);  "Joshua"  (1747),  "Solo- 
mon "  (1748)  ;  "  Susannah  "  (1748)  ; 
"Theodora"  (1749);  "The  Choice 
of  Hercules"  (1750);  and  " Jeph- 
thah"  {i-ji-z),  his  last.  During  the 
comp.  of  " Jephthah"  he  underwent 
three  unsuccessful  operations  for  cat- 
aract. He  was  practically  blind  the 
rest  of  his  life,  but  continued  to  play 
org. -concertos  and  accompany  his  ora- 
torios on  the  organ  up  to  1759.  He 
was  buried  in  Westminster  Abbey. 
His  other  comp.  incl.  the  "Forest 
Miisick"  (Dublin,  1742),  etc.,  for 
harps.;  the  "Fireworks  Miisick" 
(1749)  for  strings;  6  organ-concertos; 
concertos  for  trumpets  and  horns  ; 
and  for  horns  and  side  drums  (MS.)  ; 
sonatas  for  vln.,  viola  and  oboe,  etc. 
A  complete  edition  of  his  works  in 
100  vols,  was  undertaken  in  1856  for 
the  German  Handel  Soc.  by  Dr. 
Chrysander  as  editor.  Biog.  by  Mat- 
theson  (1740)  ;  Mainwaring  (1760)  ; 
Forstemann  (1844);  Scholcher  (1857); 
Rockstro  (1883). 


Handel. 

By  John  F.  Runciman. 

IF  Handel  cannot  be  called  the  greatest  of  the  musicians,  he  is  without 
doubt  the  greatest  man  who  ever  wrote  music.  The  resource  and 
energy  of  the  man  and  the  splendour  of  his  personality  altogether  threw 
into  the  shade  the  magnificence  of  his  music.  The  man  eclipses  the  music  as 
the  sun  eclipses  the  moon  j   the  music  indeed  seems  merely  to  reflect  a  small 


546  THE    MUSICAL    GUIDE 

part  of  the  light  issuing  from  that  miraculous  sun,  the  man.      Had  he  devoted 
the  whole   of  his  life    to   music,    his    music  would   have   been   a  wonderful 
achievement  ;    had    he    devoted    his    whole   life    to    his    business    enterprises 
and  to  fighting  the   aristocracy,  it  would  still   seem  a  life  wonderfully  and 
greatly  lived  ;  and  when  one  remembers  that  he  wrote  most  of  the  glorious 
music  the  same  time  that  he  was  fighting  aristocracy  and  trying  to  run  opera 
in  England,  he  does  indeed  appear  as  one  of  the  most  astounding  phenomena 
the  world  has  produced  and  stared  at.      ^  Born  in  Germany  towards  the  end 
of  the  seventeenth  century  (1685),  he  promptly  entered    upon  an   infantile 
struggle  on   the  question  of  whether  or  not  he   should  become  a  musician. 
His    father,  a  doctor,   thought   it    a   more    honourable — it    was    everywhere 
thought    a   more   respectable — proceeding   to   earn   a   livelihood    by  sending 
people  slowly  or  swiftly  to  the  next  world  than  by  making  them  miserable  in 
this,  through  playing  on  instruments  tuned  according  to   the  old  "  natural  " 
temperament.      The  fact  that  the  child  Handel  found  a  means  of  carrying  his 
point,  is  characteristic  of  the  man.      He  was  apprenticed  after  the  old-world 
German  fashion  to  an  old-world  German  organist,  Zachau,  and  learned  to 
play  the  organ  and  a  few  other  instruments,  studied  all  the  music   in  use  at! 
his  master's  church  or  known  to  his  master,  and  was  taught  to  write  anthems! 
at  a  moment's  nodce.      When  he  considered  the  time  ripe  he  set  out  on  his; 
travels  to  learn  all   that  could  be   learned  elsewhere.      He  was   for  a  timcj 
attached  to  an  opera-house  ;   he  visited    Italy,  and  finally  came   to   England  i 
He  returned   to   Germany  for   a   short   time  after  his  first   English  trip,  bu 
returned  and  made  England  his  permanent  home.      ^  He  acquired  the  con- 
trol of  opera,  at  first  having   the   aristocracy  at  his   back.      The  aristocracy 
quarrelled  with  him  and  tried   to   crush  him.      They  started  a  rival  opera 
house  ;  and  the  result  was  that  the  two  enterprises  failed  for  want  of  sufficien 
support.      Handel   became   bankrupt  and   lost  his   health.      He  took  a  tri' 
abroad  and  returned  to  try  his  luck  with  opera  once  more.      His  aristocrati; 
rivals  never   tried    again.      They  were  wise.      Even  Handel,  without  comj 
petitors,  was  not   able  to   succeed.      '*  The   Beggar'' s    Opera^^  was  all  th; 
rage.      All  the  world  rushed  night  after  night  to  hear  it.      Italian  opera  (olc^ 
fashioned  Italian  opera,  of  course)  was  in  pretty  much  the  same  condition  i' 
London,   as    Middle- Victorian   Italian   opera   is   in   to-day   in    London   ani 
America.      People  were  sick  of  its  inanities  and  went  to  something  not,  pe:i 
haps,  much  more  reasonable,  but  at  any  rate  more  interesting  and  intelligibl<: 
**  The  Beggar'' s  Opera  "  was  not  a  very  stimuladng  concoction  ;    but  con' 
pare  the  libretto  with  the  perfectly  idiotic  drivel   that   Handel   had  to  set-; 
drivel  of  which  the  bulk  of  his  audiences  understood  nothing  save  that  it  w 
drivel — and   one   can  easily  see  why  all   the  world  gave  it   the  preferenc: 
So  Handel,  beaten,  not  by  the  aristocracy,  but  by  the  changing  taste  of  t' 


DICTIONARY  OF  MUSICIANS 


547 


time,  reluctantly  relinquished  opera,  and,  going  in  for  oratorio,  immediately 
became  once  again  a  popular  favourite  and  made  a  fortune,  ^[  It  is  neces- 
sary to  consider  these  roughly  selected  details  of  his  life.  As  has  been 
indicated,  no  estimate  of  Handel  can  afford  to  leave  out  the  man.  Moreover 
his  purely  artistic  development  is  very  hard  to  understand  if  we  forget  the 
life  led  by  the  man  as  apart  from  the  life  led  by  the  composer.  In  his  youth 
he  acquired  the  German  technique  of  his  day.  The  same  technique  as  John 
Sebastian  Bach  acquired.  That  is  the  foundation  of  all  his  art.  But  whereas 
Bach  remained  in  Germany,  an  obscure  and  all  but  unknown  schoolmaster 
and  organist,  and  evolved  his  perfected  mode  of  expression  out  of  the  German 
technique,  Handel  immediately  went  to  Italy  and  learned  something  that 
could  be  added  to  it.  He  learned,  that  is,  the  value  of  Italian  song  ;  and 
the  lesson  immediately  bore  splendid  fruit.  ^  No  one  ever  wrote  more 
magnificently  for  the  voice  than  Bach  ;  but  Handel  learned  to  write  beauti- 
fully, simply^  plausibly.  His  first  Italian  operas  are  full  of  wonderful  tunes. 
Italian  melodic  outlines  grafted  on  German  harmony,  and  shaped  so  as  to 
become  infinitely  more  dignified  and  expressive  than  any  Italian  music  save 
Palestrina's  had  ever  been.  Then  he  came  to  London,  where  Purcell's 
music  was  all  the  vogue,  and  it  was  from  Purcell  that  he  learned  the  art  of 
handling  the  chorus  and  of  writing  picturesque  music  for  chorus  or  solo  voice 
Dr  orchestra.  ^  Had  he  never  come  to  England,  had  he  never  known  Pur- 
rell's  music,  his  name  might  indeed  have  lived  as  the  author  of  a  few  divinely 
nspired  songs,  but  it  is  safe  to  say  that  Handel,  the  gigantic  chorus  writer, 
ivould  never  have  been  heard  of  ^]  There  is  scarcely  a  thing  in  the  later 
Handel,  in  the  Handel  all  England  knows  and  adores,  that  does  not  derive 
rom  Purcell.  His  method  of  painting  musical  pictures,  as  used  throughout 
;uch  portions  of  *'  Israel  in  Egypt  "  as  are  his  own,  as  used  in  such  "  Mes- 
lah''''  choruses  as  *'  All  zve  like  sheep  have  gone  astray,''''  is  simply  a  more 
elaborate  development  of  Purcell's  plan  of  writing  a  chorus.  His  trick, 
tlways  certain  of  its  effect,  of  hurling  enormous  tone-masses  at  his  hearers  had 
ilso  been  extensively  used  by  Purcell.  ^[  His  music  may  be  said  to  be  made 
ip  of  the  old  German  technique  or  trickery  in  writing  flowing  parts,  of  Italian 
ingable  melody,  of  Purcell,  and  of  Handel.  Not  that — apart  from  his 
indeniable  thefts — he  can  be  called  a  thief  These  thefts — after  all,  only  so- 
alled — need  not  detain  us  more  than  a  moment.  ^  All  his  life,  as  has  been 
)ointed  out,  Handel  was  greatly  occupied  by  other  matters  than  the  writing 
t  music  ;  he  had  again  and  again  to  throw  together  an  oratorio  at  a  few  days' 
lotice  ;  he  did  it  and  probably  never  thought  of  "  immortality  "  or  any  of 
•^i  pieces  d^ occasion  being  regarded  a  century  later  as  masterpieces.  If  in  his 
lurry  he  put  in  a  few  choruses  by  this,  that,  or  the  other  German  or  Italian 
jrgotten  no-  or  little-  body,  he  did  it  quite  openly.     Of  course,  as  Handel 


548 


THE  MUSICAL  GUIDE 


has  turned  out  to  be  so  much  vaster  a  genius  than  he  himself  suspected,  it  is 
well  that  we  should  know  precisely  how  much  of  his  music  really  is  his  ;  and 
now  that  Dr.  Chrysander  has  finally  settled  the  whole  question  it  might  be 
dropped.      ^  Handel  never  stole.      What  he  learned  from  Italv  he  assimi- 
lated and  made  his  own  ;  he  assimilated  and  made  his  own  Purcell's  methods ; 
and  what  he  brought  into  music  was  a  very  notable  thing.     It  was  a  splendid 
radiant  spiritual  robustness,  a  magnificent  sense  of  the  sublime,  and  a  tender-  : 
ness   that  is  not   surpassed   even  bv  the  tenderness  of  Mozart,  Beethoven,  or  j 
Wagner.      There  is  also  a  quality  of  electric  speed  in  many  of  his  choruses,  j 
and  a  power  of  heaping  climax  on  cHmax  until  one's  very  nerves  yield  to  the  j 
strain   put  on  them.      Two  very  familiar  choruses,  "  For  u?ito  us  a  child  is  \ 
born''''  and  "  Worthy  is  the  Lamb,^''  exemplify  this  power  in  an  astounding! 
way.      His  tenderness,  his  sheer  strength,  his  sublimity,  may  all  be  found  in  f 
the  well-known  oratorio.      ^  But  one  cannot  but  believe  that  in  the  long  runji 
Handel  will  be  better  known  by  his  songs  than  by  anything  else.      It  was  in  j 
the  writing  of  these  songs — of  strings  of  them  called  Italian  operas — that  hej 
found  his  most  congenial   occupation,  and   he  only  gave  it  up  when   he  wasj 
fairlv  driven  out  of  it.      Great  as  his  choruses  are,  they  are  not  greater  than}; 
his  songs.      There  are  hundreds  of  them  only  waiting  to  be  sung  once  again 
to  be  appreciated.      Beyond  what  may  be  called  the  strictly  personal  qualities 
that    Handel    brought   to   music,  Handel  added   nothing.      Consequently  he 
left  no    field  unworked   for   any   successors.       Consequently,    also,    English,  < 
musicians  ever  since  have  gone  on  imitating  his  successes  without  any  success 
whatever.      He  killed  for  many  generations  any  chance  there  ever  was  of  ar 
Englishman  becoming  an  original   composer.      Nevertheless,  he  was  a  great 
man  and  even  an  Englishman  may  forgive  him.  ; 


Handle,  Robert  de,  Engl,  theorist  of  1S12 — 1892;    organist,   teacher  am 

14th  century.  composer. 

Handrock,  Julius,    Naumburg,  1830  Hanke     (hank'-e),    K.,     Rosswalde 

— Halle,  1S94  ;  teacher  and  compos-  Schleswig,    1754— Hamburg,     1S35 

er.  conductor  and  composer. 

Hanel  von  Cronenthal   (ha'-nel   fon  Hans'com,  E.  W.,b.  Durham,  Maim 

kro'-nen-tal),   Julia,  b.    Graz,  1839  ;  U.    S.    A.,    Dec.    28,    1848  ;  studie      , 

wife  of  the  Marquis  d'Hericourt  de  there    and   in    London,    Berlin,  an      j 

Valincourt ;  studied    in    Paris ;    c.    4  Vienna;    organist    and    composer  :      \ 

symphonies,  22  pf. -sonatas,  etc.  Auburn,  Maine.                                         j 

Hanfstangel  (hanf'-shteng-el),  Marie  Kanslick     (hans'-llk),      Eduard,     I, 

(nee    Schroder),    b.    Breslau,    April  Prague,     Sept.     11,     1825  ;     emine: 

30,  1848;  soprano  ;  pupil  of  Viardot-  critic   and   writer;  Dr.    Jur.,    i84ci 

Garcia  ;  debut,    1S67,  Paris  ;  studied  studied  piano   under   Tomaschek    i 

1878  with  Vannucini ;  1882-97  Stadt-  Prague  1S4S-49  ;  critic  for  the  Wie\ 

theatre,  Frankfort.  er  Zeitung ;  among  his  many  boo; 

Hanisch   (ha'-ntsh),    Jos.,    Ratisbon,  his  first  is  most  famous,  "  Vom  M' 


\ 


DICTIONARY  OF  MUSICIANS   549 


pkiiS 


Mniid 
dtoi 
Mi 
;oanfj 
U 

itwaii 

-ui 

1  lie« 
mi 
nee  J 


invsuca 
ivaiof' 


Rossi 

botg, 

IJ48 
Berk 
comix* 


Edtati, 


(ortte» 


jtiaZ/j-c/^-A-Z/tJ^^w  "(Leipzig,  1854);  a 
somewhat  biassed,  yet  impressive  plea 
for  absolute  music  as  opposed  to  pro- 
gramme (v.  D.  D.)  or  fallaciously 
sentimental  music ;  he  has  been  a 
bitter  opponent  of  all  Wagnerianism 
and  an  ardent  Brahmsite  ;  1855-64 
mus.  ed'ilor  /'rt's St' ;  since,  of  the  Alette 
freie  Presse ;  lecturer  on  mus.  hist, 
and  aesthetics  Vienna  Univ.;  1861 
prof,  extraordinary,  1870  full  prof. ; 
1895  retired. 

Hanssens  (hiins'-sens),  (i)  Chas.  L. 
Jos.  (aine),  Ghent,  1777 — Brussels, 
1852  ;  conductor  and  composer.  (2) 
Chas.  L.  (cadet),  Ghent,  1802 — 
Brussels,  1S71  ;  conductor,  professor, 
'cellist  and  composer. 

d'Hardelot  (ge-dard'-l6),  Guy  (Mrs. 
Rhodes),  b.  Chateau  d'Hardelot, 
near  Boulogne,  France  ;  lives  in  Lon- 
don ;  c.  operetta  "  Elle  et  Lui  "  and 
many  pop.  songs. 

Har'ington,  Henry,  Kelston,  Eng- 
land, 1727— 1816;  composer. 

Hark'nes.     Vide  senkrah. 

Harms'ton,  J.  Wm.,  London,  1823 — 
Liibeck,  1881  ;  teacher  and  compos- 
er. 

Harp'er,  (i)  Thos.,  Worcester,  1787— 
London,  1853  ;  trumpet  virtuoso. 
His  3  sons  were  (2)  Thomas,  his 
successor.  (3)  Charles,  horn-player. 
(4)  Edward,  pianist. 

Har'raden,  Samuel,  Cambridge, 
Engl.,  1821  (?) — Hampstead,  Lon- 
don, 1897  ;  org. -professor. 

Harriers-Wippern  (har'-r!-ers  vtp'- 
pern),  Louise  (nee  Wippern),  Hil- 
desheim,  1837 — Grobersdorf,  Silesia, 
1878  ;  soprano. 

Har'ris,  (i)  Jos.  M.,  London,  1799 — 
Manchester,  1869  ;  organist  and  com- 
poser. (2)  Augustus  (Sir),  Paris, 
1852 — Folkestone,  Engl.,  June  22, 
1896  ;  an  actor,  debut  as  Macbeth  in 
Manchester,  1873  ;  then  stage  man- 
ager ;  1879  leased  Drury  Lane  Th. 
for  spectacle  ;  1887  he  took  up 
opera  and  controlled  successively  H. 
M.'s  Th.,  the  Olympia,  etc.,  finally 
Covent  Garden.    (3)  (Wm.)  Victor, 


b.  New  York,  April  27,  1869  ;  pupil 
of  Charles  Blum  (pf.),  Wm.  Court- 
ney (voice),  Fredk.  Schilling  (harm, 
and  comp.),  Anton  Seidl  (cond.)  ; 
1889-95  org.  various  churches;  1892- 
95  r/petiteiir  and  coach  at  Met. 
Op.;  1893-94  cond.  Utica  Choral 
Union  ;  1895-96  asst.-cond.  to  Seidl, 
Brighton  Beach  Concerts  ;  now  lives 
as  vocal  teacher  and  accompanist, 
N.  v.;  c.  a  pf.-suite,  a  cantata,  an 
operetta  ''Mile.  Mai  et  M.  de  Sem- 
bre"  songs,  etc.  (4)  Chas.  Albert 
Edw.,  b.  London,  Dec.  15,  1862 ; 
(son  and  pupil  of  (5)  Edwin  H.,  or- 
ganist) ;  Ouseley  scholar  St.  Michael's 
Coll.,  Tenbury,  1875  ;  1881  private 
organist  to  the  Earl  of  Powis  ;  since 
1883  he  lives  with  his  father  at  Mon- 
treal, Canada,  as  organist  ;  c.  an  op- 
era, a  cantata,  etc. 

Harrison,  (i)  Wm.,  London,  1813 — 
London,  1868  ;  tenor.  (2)  Annie 
Fortescue  (wife  of  Lord  Arthur 
Wm.  Hill),  contemporary  English 
composer  ;  c.  operetta  (London, 
1SS4),  a  cantata,  songs,  etc. 

Hart,  (i)  James,  d.  1718  ;  Engl,  bass 
and  composer.  (2)  Philip,  d.  ca. 
1749;  Gentleman  of  Chapel  Royal; 
son  of  above  (?)  ;  organist  and  com- 
poser ;  wrote  music  for  "  The  A/orn- 
iiig  Hyniin  "  from  Book  V.  of  Milton's 
''Paradise  Lost."  (3)  J.  Thos., 
1805 — London,  1874  ;  vln.  maker. 
(4)  George,  London,  1839 — 1891  ; 
son  of  above  ;  writer. 

Hartel  (her'-tel),  (i)  Vide  breitkopf 
UND  HARTEL.  (2)  G.  Ad.,  Leipzig, 
1836 — Homburg,  1876  ;  violinist, 
conductor  and  dram,  composer.  (3) 
Benno,  b.  Jauer,  Silesia,  May  i, 
1846  ;  pupil  of  Hoppe  (pf.),  Jappsen 
(vln.),  Kiel  (comp.)  ;  1870  teacher  of 
theory,  Berlin  Royal  High  Sch.  for 
Music  ;  c.  an  opera,  over  300  canons, 
etc.  (4)  Luise  (nee  Hauffe),  Dtiben, 
1837 — Leipzig,  1882  ;  pianist  ;  wife 
of  (5)  Hermann  H.  Vide  breit- 
kopf. 

Hart'mann,  (i)  Johan  Peder  Emili- 
us,     Copenhagen,    May    14,   1805 — 


5SO 


THE    MUSICAL    GUIDE 


Copenhagen,  March  lo,  igoo ;  or- 
ganist and  dram,  composer ;  grand- 
son of  a  German  court-cond.  (d. 
1763)  ;  son  of  an  organist  at  Copen- 
hagen. (2)  Emil  (jr.)  Copenhagen, 
1836 — 189S  ;  son  and  pupil  of  above, 
ajid  court-organist ;  composer.  (3) 
Ludwig,  b.  Xeuss-on-Rhine,  1836  ; 
pianist,  composer  and  critic  (son  and 
pupil  of  (4)  Friedrich,  song-com- 
poser, b.  1805)  ;  also  studied  at  Leip- 
zig Cons,  and  with  Liszt  ;  lives  in 
Dresden  ;  prominent  Wagnerian 
champion ;  c.  an  opera,  etc.  (5) 
Arthur,  b.  Philadelphia,  July  23, 
1SS2 ;  violinist.  (6)  Ferdinand, 
clarinettist ;  lives  in  Munich  as  court- 
musician.  (7)  Peter,  Franciscan 
monk  of  Hochbrunn-on-the-Lahn, 
prod.  succ.  oratorio  "  S:7nii  Fran- 
ziskus"  (Munich,  1902). 

flar  tog,  (i)  Edouard  de,  b.  Amster- 
dam, Aug.  15,  1S26  ;  pupil  of  Hoch, 
Bartelmann,  Litolff,  etc.;  1S52  in  Paris 
as  teacher  of  pf.,  comp.,  and  harm.  ; 
decorated  with  the  orders  of  Leopold 
and  the  Oaken  Crown  ;  c.  operas,  the 
43rJ  psalm  with  orch.,  etc.  (2) 
Jacques,  b.  Zalt-Bommel,  Holland, 
Oct.  24,  1S37  ;  pupil  of  Wilhelm  and 
Fd.  Hiller ;  prof.  Amsterdam  Sch. 
of  Music. 

Hartvigson  (hart'-vlkh-z6n),  (i)  Frits, 
b.  Grenaa,  Jutland,  May  31,  1841  ; 
pianist ;  pupil  of  Gade,  Gebauer, 
Ree,  and  von  Billow;  since  1864, 
London  ;  1873  pianist  to  the  Princess 
of  Wales  ;  1875  prof,  at  the  Norwood 
Coll.  for  the  Blind  ;  1887  pf.-prof. 
Crystal  Palace.  (2)  Anton,  b.  Aar- 
hus,  Oct.  16,  1S45  ;  bro.  of  above  ; 
pianist  ;  pupil  of  Tausig  and  Xeu- 
pert :   lives  in  London. 

Har'wood,  Edw.,  Hoddleson,  1707 — 
Liverpool,    17S7  ;   composer. 

Hase  (Dr.),  Oskar  von.     Vide  brkit- 

KOPF    U\D    HARTEL. 

Haser  (ha'-zer),  (i)  Aug.  Fd.,  Leip- 
zig, 1779 — Weimar,  1844;  theorist, 
conductor,  writer  and  composer.  (2) 
Charlotte  Henriette,  b.  Leipzig, 
1784;  sister  of  above;  singer;  m.  a 


lawyer  Vera.  (3)  Heinrich,  b.  Rome, 
Oct.  15,  1811  ;  bro.  of  above  ;  prof, 
of  med.  at  Jena  ;  writer. 

Hasert  (ha  -zert),  Rudolf,  b.  Greifs- 
wiild,  Feb.  4,  1826  ;  studied  with  KuU 
lack  (pf.),  and  Dehn  (comp.);  i860 
Berlin  as  teacher ;  1873  pastor  at 
Gristow. 

Has(s)ler  (has'-ler),  (i)  Hans  Leo' 
von,  Xiirnberg,  1564  —  Frankfort, 
June  5,  1612  ;  the  eldest  of  3  sons  of 
((2)  Isaac  H.,  town-mus.,  XUrnberg) ; 
pupil  of  his  father  ;  organist  and  com- 
poser. (3)  Jakob,  Nurnberg,  1566 
— Ilechingen  (?),  1601  ;  bro.  of  (i),; 
conductor,  organ  virtuoso  and  com-, 
poser.  (4)  Kaspar,  Xiirnberg,  i57Ci 
— 1618  ;  bro.  of  above  ;  organist.       \ 

Haslinger  (has'-llng-er),  (i)  Tobias; 
Zell,  Upper  Austria,  1787 — Viennaj 
1842  ;  conductor  and  publisher.  (2j 
Karl,  Vienna,  18 16 — 1868  ;  son  an, 
successor  of  above ;  pianist ;  (■ 
opera  "  IFanda,"  etc.  j 

Hasse   (has'-se),    (i)    Nikolaus,    c: 
1650  ;  organist    and    writer   at    Ro' 
tock.     (2)    Jn.  Ad.,  Bergedorf,   ne:' 
Hamburg,  March    25,  1699 — Venicj 
Dec.  16,  17S3  ;  famous  tenor  and    j 
succ.  operatic  cond. ;  rival  of  Porpon' 
0.  over  100  operas,  etc.   (3)  FaustiiJ 
(nee  Bordoni),  Venice,  1693  (1700)1 
1783 ;    of    noble   birth ;    one   of  t 
most    cultivated    mezzo  -  sopr.  ;     1 
the  above   1730,  a  happy  union,  s 
collaborating    in    his    success.       1 
Gustav,  b.  Peitz,  Brandenburg,  Ser 
4,  1S34  ;  studied  Leipzig  Cons.,  aft, 
ward     with      Kiel    and     F.     Krc 
settled  in  Berlin  as  teacher  and  co- 
poser. 

Has'selbeck,  Rosa.     Vide  sucher 

Hasselt-Barth  (has'-selt-bart),  An 
Maria  Wilhelmine  (nee  van  H.- 
selt),  b.  Amsterdam,  July  15,  18:'; 
soprano;  debut  Trieste  (1S31).      , 

Hassler  (hes  -ler),  (i)  Jn.  Wm.,  > 
furt,  March  29,  1747  —  Mosc% 
March  25  (29?),  1S22  ;  organist  'd 
composer ;  important  link  betwn 
Bach  and  Beethoven.  (2)  Sopl!| 
wife  of  above  ;  singer. 


I 


DICTIONARY  OF  MUSICIANS 


551 


msli 

Frankfct 


[andtd 
ra.  ol  (i 

SHil 


•.rani,M 


Hasslinger-Hassingen  (hiis'-llng-er 
has'-slng-en),  Jos,,  "  Hofrath  "  Frei- 
herr  von  Vienna,  1822 — 1898  ;  dram, 
composer.  Used  pen-name  "Jos. 
Hager." 

Hastings,  Thos.,  Washington, 
Conn.,  1787  —  New  York,  1S72  ; 
editor  and  composer. 

Hastreiter  (hast'-rl-ter),  Helene,  b. 
Louisville,  Ky.,  Nov.  14,  1S58  ;  op- 
eratic contralto,  popular  in  Italy ; 
pupil  of  Lamperti,  Milan  ;  m.  Dr. 
Burgunzio  ;  lives  in  Genoa. 

Hatto.     Vide  frere. 

Hat'ton,  J.  Liphot,  Liverpool,  Oct. 
20,  1809 — Margate,  Sept.  20,  1886  ; 
cond.  and  dram,  composer. 

Hattstadt  (hat'-shtet),  J.  J,,  h.  Mon- 
roe, Mich.,  Dec.  29,  185 1;  studied  in 
Germany  ;  pf.-teacher  and  writer  in 
Detroit,  St.  Louis,  and  for  11  years, 
Chicago  Coll.  of  Mus.;  1886,  dir. 
Amer.  Cons.,  Chicago. 

Hau(c)k  (howk),  Minnie,  b.  New 
York,  Nov.  16,  1852  (53  ?)  ;  notable 
soprano  ;  pupil  of  Errani  and  Moritz 
Strakosch ;  debut  1869,  N.  Y.,  as 
"Norma";  1S68-72  Vienna  ct-opera; 
1875,  Berlin  ;  has  sung  with  great 
succ.  in  Europe  and  America.  She 
is  court-singer  in  Prussia,  Ofiflcier 
d'Academie,  Paris,  and  member  of 
the  Roman  I\Ius.  Academy. 

Hauer  (how'-er),  K.  H.  Ernst,  Hal- 
berstadt,  182S — Berlin,  1892  ;  organ- 
ist and  composer. 

Hauff  (howf),  Jn,  Chr,,  Frankfort, 
181 1 — 1 89 1  ;  founder  and  prof., 
Frankfort  School  of  Music ;  writer 
and  composer. 

Hauffe  (howf'-fe),  Luise.     Vide  har- 

TEL,    LUISE. 

Haupt  (howpt),  K.  Aug.,  b.  Kunern, 
Silesia,  Aug.  25,  18 10 — Berlin,  July 
4,  1891;  pupil  of  A.  W.  Bach,  Klein, 
and  Dehn  ;  famous  as  organist  and 
teacher  at  Berlin  ;  composer. 

Hauptmann  (howpt'-man),  Moritz, 
Dresden,  Oct.  13,  1792 — Leipzig, 
Jan.  3,  i863  ;  violinist  ;  pupil  of 
Spohr  ;  famous  as  theorist  and  teach- 
er;     from    1S42    prof,    of    cpt.    and 


comp.  Leipzig  Cons.,  and  dir.  Tho- 
masschule.  His  canon  was  "unity 
of  idea  and  perfection  of  form," 
exemplified  in  his  comps.,  enforced 
upon  his  many  eminent  pupils 
and  exploited  in  many  essays  and 
standard  works,  incl.  "  £>h'  A^attir 
dcr  Harmoiiik  unci  Met?-ik"  {i%2>3)  \ 
the  posthumous,  "  Die  Lehre  von  der 
Harmoiiik"  1868,  etc.,  c.  opera, 
''  Mathilde"  (Cassel,  1826);  quar- 
tets, masses,  etc. 

Hauptner  (howpt'-ner),  Thuiskon, 
Berlin,  1825 — 1889  ;  conductor  and 
composer. 

Hauschka  (howsh'-ka),Vincenz,  Mies, 
Bohemia,  1766 — Vienna,  1840;  'cel- 
list and  barytone  player  ;   composer. 

Hause  (how'-ze),  Wenzel,  b.  Bohe- 
mia, ca.  1796  ;  prof,  of  double-bass, 
Prague  Cons.;  writer. 

Hausegger(hows'-eg-ger),  (i)Fr.  von, 
b.  Vienna,  April  26,  1837  ;  pupil  of 
Salzmann  and  Dessoff ;  barrister  at 
Graz  ;  1872  teacher  of  history  and 
theory,  LTniv.  of  Graz  ;  writer.  (2) 
Siegmund  von,  German  composer  of 
notable  symphony  ''  Barbarossa" 
(Munich,  1900)  ;  2d  cond.  Munich 
Kaim  orch.;  1902,  cond.  Frankfort 
Museum  (vice  Kogel)  ,  1903,  ist 
cond.  Munich  Kaim  orch. 

Hauser  (how'-zer),  (i)  Fz.,  b.  Craso- 
witz,  near  Prague,  1794 — F'reiburg, 
Baden,  1S70  ;  bass-barytone  ;  teach- 
er. (2)  Miska  (Michael),  Press- 
burg,  Hungary,  1S22 — Vienna,  1887; 
vln. -virtuoso  ;  composer. 

Hauser  (hi'-zer),  Jn.  Ernst,  b.  Dit- 
tchenroda,  near  Quedlinburg,  1803  ; 
teacher,  Q.  Gymnasium  ;  writer. 

Hausmann  (hows'-man),  Valentin, 
the  name  of  five  generations,  (i)  V. 
I.,  b.  Nilrnberg,  1484;  a  friend  of 
Luther  ;  composer  and  conductor. 
His  son  (2)  V.  II.,  organist  and 
composer.  His  son  (3)  V.  III.,  or- 
ganist at  Lobejiin,  expert  in  org.- 
building.  His  son  (4)  V.  IV.,  or- 
ganist and  court-conductor  at  Koth- 
en  ;  writer.  His  son  (5)  V.  V.  Vide 
BARTHOLOMAUS ;      Lobejun,     1678— 


ss^ 


THE    MUSICAL    GUIDE 


Lauchstadt,  after  1740  ;  cath.  organ- 
ist and  theorist.  (6)  Robt.,  b.  Rot- 
tleberode,  Harz  Mts.,  Aug.  13,  1S52  ; 
'cellist  ;  pupil  of  Th.  Miiller,  and 
Piatti  in  London ;  teacher,  Berlin 
Royal  "  Hochschule "  ;  since  1879, 
member  Joachim  quartet. 

Hau(l)tin  (o-tah).  P.,  La  Rochelle, 
ca.  1500 — Paris,  1580  ;  first  French 
founder  of  musical  types. 

Hav  ergal,  Rev.  Wm.  H.,  Bucking- 
hamshire, 1793 — 1S70  ;  composer. 

Haweis  (ho.-.),  Rev.  H.  R.,  Egham, 
Surrey,  1838 — London,  Jan.  30,  1901; 
amateur  violinist  and  popular  writer 
on  music. 

Hawes  (hoz),  Wm.,  Engl.,  London, 
17S5 — 1846  ;  conductor  and  com- 
poser. 

Hawkins   (Sir),   J.,    London,    March 

30,  1719 — Spa,  May  14,  1789  ;  an  at- 
torney ;  eminent  historian  of  music  ; 
knighted,  1772. 

Hawley,  Chas.  B.,  b. Brookfield,  Con- 
necticut, U.  S.  A.,  Feb.  14,  1858; 
organist  at  13  there  ;  studied  with  G. 
J.  Webb,  Revarde,  Dudley  Buck, 
Mosenthal,  etc.,  N.  Y.;  bass  singer, 
organist  and  composer  of  e.xcellent 
songs.  New  York. 

Hay'den,  Geo.,  Engl.,  organist  and 
composer,  1723. 

Haydn  (hid'-'n),  (2)  (Fz.)  Josef,  Roh- 
rau-on-Leitha,  Lower  Austria,  March 

31,  1732 — Vienna,  May  31,  1S09  ;  sec- 
ond son  of  a  wheelwright  who  was  the 
sexton  and  organist  of  the  village 
church,  and  a  fine  tenor,  and  whose 
wife,  Maria  Koler,  had  ser\-ed  as 
cook  for  Count  Harrach.  She  sang 
in  the  choir.  At  5,  H.  was  taken  to 
the  home  of  a  paternal  cousin,  Frankh, 
who  taught  him  Latin,  singing,  the 
vln.  and  other  instrs.  He  was  en- 
gaged as  a  chorister  for  St.  Stephen's, 
and  taught  by  Reutter  the  cond.,  who 
gave  him  no  encouragement  and  dis- 
missed him  in  1748.  At  8,  he  went 
to  Vienna,  and  studied  singing,  vln. 
and  clavier,  with  Finsterbusch  and 
Gegenbauer.  He  studied  harmony 
chiefly  from  Fux' '' Gradus ad Parnas- 


suin"  and  Mattheson's  "  Volkomme- 
tier  Kappelli/ieister."  At  13  he  c.  a 
mass.  He  obtained  a  few  pupils, 
and  a  Viennese  tradesman  lent  him 
150  florins,  with  which  he  rented  an 
attic-room  and  an  old  harpsichord.  He 
practised  C.  P.  Bach's  first  6  sonatas 
and  the  vln. ;  Metastasio  taught  him 
Italian,  and  recommended  him  to  a 
Spanish  family  as  teacher  for  their 
daughter,  who  was  studying  with 
Porpora.  From  Porpora,  in  return 
for  menial  attentions,  H.  received 
some  instruction  in  comp.  and  a  rec- 
ommendation to  the  Venetian  ambas- 
sador for  a  stipend  of  50  francs  a 
month.  At  20,  he  had  c.  6  trios, 
sonatas,  his  first  mass,  and  a  comic 
opera  ''  Der  iieiie  krumme  Teufel" 
(Stadttheater,  1752),  a  satire  on  the 
lame  baron  Affligi  the  ct. -opera  dir.; 
this  work  was  suppressed  but  revived 
afterwards,  and  he  received  24  ducats 
for  it.  He  began  to  make  powerful 
friends,  and  became  Musikdirektor 
and  Kammercompositeur  to  Count 
Fd.  Maximilian  Morzin.  1759  Prince 
Paul  Anton  Esterhazy  heard  his  ist 
symph.  and  1760  took  him  into  his 
service  as  2d  (later  ist)  conductor  ;  the 
same  year  H.  m.  Maria  Anna,  the 
elder  sister  of  the  girl  whom  he  loved 
and  who  had  entered  a  convent.' 
This  marriage  was  as  unhappy  as' 
one  would  expect.  Prince  Nikolaus 
Esterhazy,  who  succeeded  his  bro.  inj 
1762,  retained  H.  as  conductor  and! 
in  his  service  H.  c.  30  symphonies,) 
40  quartets,  a  concerto  for  French 
horn,  12  minuets,  most  of  his  operas 
etc.  He  was  soon  verj'  pop.  through 
Europe,  and  royalty  sent  him  gifts 
1 78 5  commissioned  to  write  a  mass 
"  The  Seven  Words  on  the  Cross,' 
for  the  Cath.  of  Cadiz  ;  in  I79( 
Prince  Nikolaus  was  succeeded  by  hi;, 
son  Anton,  who  kept  H.  as  cond 
and  increased  his  stipend  of  1,000  fio 
rins  to  1,400.  In  179 1  on  a  pressing 
invitation  brought  by  Salomon,  hi 
went  to  England  and  was  for  i! 
months  the  lion  of  the  season.     Ox 


I 


J 


3  k 
«•  pap^ 
km  la 
realed 
mii 
'jsoi 

4i 

'm  to: 
iortlu 


anamM 
,  bts 
c.  fitrii 
iacoi 


DICTIONARY  OF  MUSICIANS    553 


ford  made  him  Mus.  Doc;  and  he  c. 
the  so-called  "  Salomon  Symphonies,'" 
for  his  concerts.  On  his  way  home, 
he  visited  his  native  place  to  witness 
the  unveiling  of  a  monument  erected 
in  his  honour  by  Count  Harrach.  In 
this  year  Beethoven  became  his  pu 
pil.  1794,  he  revisited  London,  with 
renewed  triumph,  the  King  urging 
him  to  stay,  but,  at  the  invitation  of 
a  new  Prince  Esterhazy,  he  returned. 
1797,  he  c.  the  Austrian  national 
Anthem.  At  65,  he  prod,  his  great 
oratorio  "'The  Creatio)i"  {''Die 
Sckopfung")  ;  in  1801  "  The  Sea- 
sons" {''Die  Juhreszeilen  ").  His 
health  failing  he  went  into  retire- 
ment, appearing  in  public  only  once 
in  1808,  when  he  was  carried  in  a 
chair  to  hear  a  special  performance 
of  the  "  Creation."  His  agitation 
was  so  great  that  he  had  to  be  taken 
away  after  the  first  half ;  the  throng 
giving  him  a  sad  farewell,  and  Beet- 
hoven bending  to  kiss  his  hands  and 
forehead.  In  1S09,  his  death  was 
hastened  by  the  shock  of  the  bom- 
bardment of  Vienna  by  the  French. 
His  astounding  list  of  works  in- 
cludes besides   those    mentioned,  125 


symphonies  and  overtures,  incl.  the 
"  Farewell "  ("  Abschiedssymphonie" 
1772),  the  "  Fire  S."  ("  Fiiersymph., 
1774).  the  "Toy  S."  {'•  Kinder- 
syiiiph.),  "La  Chasse"  (1870),  the 
"Oxford'  (1788),  the  "Surprise" 
("  5".  7ni/  dtni  Pankenschlag"  1791)  ; 
"  S.  Ti'ith  the  drum-roll"  {"  S.  viit 
dem  Fauken-ivirbel"  1795);  51  con- 
certos for  harpsichord,  vln.,  'cello, 
lyre,  barytone,  double-bass,  flute  and 
horn;  77  string-quartets;  175  num- 
bers for  barytone  ;  4  vln. -sonatas  ; 
38  pf.-trios  ;  53  sonatas  and  diverti- 
menti ;  an  oratorio  ' '  //  Ritorno  di 
Tobia  ";  14  masses ;  4  operas  ;  4 
Italian  comedies ;  14  Ital.  opere 
buffe,  and  5  marionette-operas  ;  mu- 
sic to  plays  ;  22  arias  ;  cantatas,  incl. 
"  Ariana  a  Naxos"  "  Deutschlands 
Klage  auf  den  Tod  Friedrichs  des 
Grossen"  "  The  10  Coniiiiandiuents" 
in  canon-form  ;  36  German  songs ; 
collections  of  Scotch  and  Welsh  folk- 
songs, etc.  Biog.  by  S.  Mayr,  1809; 
K.  F.  Pohl  (Leipzig,  1875,  1882 ; 
completed  by  E.  von  Mandyczewski). 
Haydn's  diary  is  quoted  from  ex- 
tensively in  Krehbiel's  "Music  and 
Manners  "  (New  York,  1S98). 


fflliel 


iW 


HILE   the  relative  station  in  musical  history  of  Bach,   Handel, 
Gluck,  Mozart,  and  Beethoven  is  universally  and  definitely  agreed 
upon,  various  opinions  may  still  be  entertained  of  the  merits  and 
lusii|i!     ibsequent  influence  of  Joseph  Haydn's  work  as  a  composer.      ^  This  is  all 
e  more  remarkable  as  he  never  met  with  much  opposition.      Only  at  one  time 
uring  his  life,  a  k\w  rather  inferior  critics  earnestly  tried  to  belittle  him;  bow- 
lder, these  were  insignificant  attempts,  wholly  unworthy  of  the  closer  attention 


0 


Joseph  Haydn. 

By  August  Spanuth. 


,  ia  f  the  historian.  Nowhere  has  the  musical  public  been  slow  in  acknowledg- 
jbW|  ig  Haydn's  genius.  Even  at  the  dme  when  he  was  Kapellmeister  in  the  remote 
A\i»  town  of  Eisenstadt,  his  fame  spread  all  ever  Europe,  and  his  compositions 

gipiC  'cre  loved,  played,  and  sung  in  all  the  big  and  small  cides.  Nor  has  there  even 
:en  a  violent  pardsanship  pro  and  contra  Haydn.  All  of  which  is  easy  enough  to 
)mprehend,  inasmuch  as  he  did  not  offend  anybody's  taste,  even  where  he  was 


554  THE  MUSICAL  GUIDE 

most  progressive  in  his  compositions,  and  remained  with  his  feet  on  the  grounc 
when  his  ideals  were  ever  so  lofty.    ^]  The  source  of  his  musical  inventions  wa 
the  song  and  the  dance  of  the  people,  yes,  one  might  say,  the  children's  song 
and  his  artistic  development  was  as  slow  as  it  was  steady,  thus  allowing  hi 
admirers  time  to  grow  with  him.     Even  where  he  reaches  the  very  summit  o  , 
his  art,  his  melodic  invention  bears  the  ear-mark  of  childlike  naivete.     ^  Anc  '' 
yet  it  seems  impossible  to  have   any  two  musicians   determine   the  value 
Joseph  Haydn  for  the  development  of  music,  both  entirely  alike.     Was  he  ;  ; 
reformer?      The  one  will  answer,  *'Yes,"  and  point  out  that  there  was  n( 
real   symphony  before  Haydn  ;   that  the  old  Italian  symphony  was  nothinjij 
else  but  an  introduction  to,  or  an  interlude  during,  the  opera  ;  that  what  then  if 
was  of  instrumental  music  before  Haydn,  was  either  in  the  way  of  fugues,  anc.  ^ 
in  the  style  of  the  concerto,  or  purely  descriptive  music.      He  will,  further    i 
more,  assert   that   Haydn   created  a   thoroughly  novel  oratorio,  doing  awa;   ;; 
almost  entirely  with  the  old  Italian  st\Ie,  and  holding  up  his  individuality  ii    i 
spite  of  the  tremendous  influence  of  the  Handel  oratorio.      ^[  The  other  on    \ 
will   deny  him   the  exalted   title  of  a  reformer,  and,  while  he  may  readil;   tj 
admit  that  Haydn  has  added  the  JVIenuetto  to  the  symphony,  and  fortunatel;  -■{ 
got  rid  of  the  clavicembalo,  that  he,  moreover,  succeeded  in  giving  the  solo 
sonata  and  the  string-quartette  a  concise  and  plastic  shape,  he  will  probabl; 
insist  that  Haydn  has  done  only  very  little  that  was  essentially  new,  and  that 
in   musical   history,  he  can  only  rank  as  the  man  who  paved  the  way  for  th 
giant  Beethoven.      ^[  But  no  matter  how  opinions  may  differ  on  this  point 
one  must  own  of  Haydn,  that  he  was  the  first  great  musician  to  introduce  a 
element  of  subjectiveness  into  instrumental  music.      And  in  so  far  one  cannc 
deny  him  the  instinct  of  a  reformer,  though  he  hardly  was  conscious  of  it 
He  never  abandoned  traditions  just  because  he  had  decided  to  create  a  ne\' 
musical  language;  he  simply  followed  the  inner  voice  of  his  genius.     •[  An 
he  could  do  so  all  the  more  freely,  since  he  had  never  enjoyed  a  thorough  an 
severe  musical  education.      He  learned  from  here  and  there,  he  had  mode 
like  Philipp  Emanuel  Bach,  or  Porpora,  and  Handel,  etc.,  but  he  follower 
none  of  them  so  closely  as  to  restrict  his  own  individuality  in  the  least.      O. 
the  other  hand,  there  was  no  trace  of  the  spirit  of  revolt  in  his  system.      H 
very  life  is  a  strong  proof  for  his  peaceful  and  benevolent  nature.      When  h 
sweetheart  took  the  veil,    he  allowed  himself  to  be  persuaded  to  marry  hi 
older  sister,  who  was  three  years  his  senior,  and  a  Xantippe.      This,  and  tl 
fact  that  he  lived  with  her  for  more  than  forty  years,  stamps  the  man  as  of  £ 
almost  angelic  character. 


Haydn  (hid'-'n),  (2)  Jn.  Michael,  Roh-  chorister,  with  compass  of  3  octave 

rau,  Sept.  14,   1737 — Salzburg:,   Au?.  at  St.  Stephen's,  Vienna,  replacing h 

10,    tSo6  ;    bio.    of    above;    sjprano  brother  Josef.      Studied   \dn.  and  0 


i 


DICTIONARY  OF  MUSICIANS  555 


:  vaiiic 
Waik 

rewai 
1;  notli 
•iviattl 

;  tkS 

iJualiii 
■otkn 
;ay  ra 

jsksi 

!1  prals    rj 
■,aD(li! 


■Ml} 


gan,  and  became  asst.  -  organist  ; 
1757,  cond.  at  Grosswardein  ;  1762, 
dir.  to  Archbishop  Sigismund,  Salz- 
burg; 1777,  organist  of  the  Cath. 
and  St.  Paul's  Ch.  He  m.  Maria 
Magdalena  Lipp,  an  excellent  sopra- 
no ;  iSSo  he  lost  his  property,  by  the 
French  occupation,  but  was  aided  by 
his  bro.  and  2  others,  and  the  Em- 
press Maria  Theresa  rewarded  him 
for  a  mass  c.  at  her  command,  in 
which  she  sang  the  soprano  solos.  He 
founded  a  school  of  composition,  and 
had  many  pupils,  inch  Reicha  and 
Weber.  Frince  Esterhazy  twice 
offered  to  make  him  vice-cond.;  but 
H.  refused,  hoping  to  reorganise  the 
Salzburg  Chapel.  His  best  works 
were  sacred  music,  which  his  brother 
esteemed  above  his  own.  He  declined 
publication,  however  ;  c.  360  church- 
comps.,  inch  oratorios,  masses,  etc., 
30  symphonies  ;  operas,  etc.  Biog. 
by  .Schinn  and  Otter  (Salzburg,  iSoS). 
ayes(haz),  (r)  Wm.,  Hanbury,  Wor- 
cestershire, Dec,  1706— Oxford,  July 
27,  1777  ;  organist,  conductor  and 
writer.  (2)  Philip,  Oxford,  April,  1738 
—London,  March  ig,  1797  ;  son  and 
pupil  of  ab(ive,  and  his  successor  as 
Univ.  Prof,  of  Mus.  at  Oxford  ;  also 
organist  there;  c.  oratorio  ;  a  masque; 
6  concertos,  etc.  (3)  Catherine, 
Ireland, 1S25  (or6) — S3^denham,  1861; 
singer. 

Haym  (him),  (i)  (or  Hennius),  Gilles, 
Belgian  composer  i6th  cent.  (2) 
Italian  composer,  Aimo  (a  -e-mo),  (3) 
Niccolo  Franc,  Rome,  ca.  167Q — 
London,  1729  ;   'cellist  and  librettist. 

Haynes,  Walter  B.,  b.  Kempsey, 
Engl.,  1859;  studied  Leipzig  Cons.  ; 
organist  various  churches  ;  prof. 
of  harm,  and  comp.,  R.  A.  M. 
iays,  Wm.  Shakespeare,  b.  Louis- 
ville, Ky.,  July  19,  1837;  pub.  nearly 
300  pop.  songs. 

eap,  Chas.  Swinnerton,  Birming- 
ham, Engl.,  April  10,  1S47 — June  11, 
1900  ;  won  the  Mendelssohn  scholar- 
ship and  studied  at  Leipzig  Cons. ;  also 
organ   with    Best  ;   Mus.    Doc.    Cam- 


bridge, 1872 ;  cond.  Birmingham 
PhiL  (1870-86),  and  other  societies  ; 
c.  an  oratorio  "  7yie  Captivity  "y  can- 
tatas, etc. 

Hebenstreit  (hab'-'n-shtrit),  Pantale- 
on,  Eisleben,  1660  (9?) — Dresden, 
1750;  conductor;  improved  the  dul- 
cimer as  the  "  Pantalon  "  (v.  D.  D.). 

Hecht  (hekht),  Ed.,  Durkheim,  Rhine 
Palatinate,  1832  —  Didsbury,  near 
Manchester,  1887  ;  pianist  ;  prof, 
and  composer. 

Heckel  (hek'-el),  Wolf,  lutenist  at 
.Strassburg,  i6th  cent. 

Heckmann  (hek'-man),  (i)  G.  Julius 
Robt.,  ^Lannheim,  1848 — Glasgow, 
189 1  ;  violinist.  His  wife  (2)  Marie 
(nee  Hartwig),  Greiz,  1843 — Co- 
logne,  1S90  ;  pianist. 

Hedge  land,  Wm.,  organ  -  builder, 
London,  1851. 

Hedouin  (ad-wah),  P.,  Boulogne, 
1789 — Paris,  1868  ;  lawyer,  writer, 
librettist  and  composer. 

Heermann  (har'-man),  Hugo,  b.  Heil- 
bronn,  March  3,  1844;  violinist; 
studied  with  J.  Meerts  Brussels  Cons, 
since  1865  ;  lives  in  Frankfort  as  so- 
loist and  teacher  at  the  Hoch  Cons. 

Heerimgen  (ha'-rlng-en),  Ernst  von, 
Grossmehlza,  near  Sondershausen, 
1810 — Washington,  U.  S.  A.,  1855  ; 
unsuccessful  innovator  in  notation 
and  scoring. 

Hegar  (ha'-gar),  (i)  Fr.,  b.  Basel, 
Oct.  II,  1841;  studied  Leipzig  Cons., 
1861  ;  from  1863  cond.  Subscription 
Concerts,  and  of  the  Choral  Soc, 
Zurich ;  1875  founded  Cons,  at 
Ziirich  ;  c.  vln. -concerto  in  D  ;  succ, 
dram,  poem,  "  Manasse"  for  soli, 
chorus  and  orch.;  ''  Festouvertiire" 
etc.  (2)  Emil,  b.  Basel,  Jan.  3,  1843; 
bro.  of  above  ;  pupil,  later  'cello- 
teacher  at  Leipzig  Cons. ,  and  ist 
'cello  Gewandhaus  Orch.  ;  then  stud- 
ied singing,  now  vocal-teacher  Basel 
Sch.  of  Mus.  (3)  Julius,  bro.  of 
above  ;  'cellist  at  Zurich. 

Hegedus  (heg-e-dush),  Ferencz,  b. 
Hungary,  1872  (?) ;  vioHnist ;  succ, 
debut,  London,  1901. 


S5(> 


THE   MUSICAL   GUIDE 


Hegner  (hakh'-n^r),  (i)  Anton,  b. 
Copenhagen,  March  2,  iS6i  ;  'ceUist; 
studied  Copenh.  Cons.  ;  at  14  played 
with  great  succ;  now  teacher  N.  Y.; 
c.  4  quartets  ;  2  concertos  for  'cello, 
etc.  (2)  Otto,  b.  Basel,  Nov.  18, 
1876  ;  pianist ;  pupil  of  Fricker,  Ru- 
ber, and  Glaus ;  made  debut  very 
early  at  Basel  (1S88),  England  and 
America,  at  the  Gewandhaus,  Leip- 
zig, 1890  ;  c.  pf.-pcs. 

Heide,  von  der.     Vide  von  der  h. 

Heidingsfeld  (hi'-dings-felt),  L.,  b. 
Jauer,  Prussia,  March  24,  1854;  pu- 
pil, later  teacher  Stern  Cons.,  Berlin; 
composer. 

Height  ington,  Musgrave,  i63o  — 
Dundee,  1774  ;  organist  and  com- 
poser. 

Heinefetter  (hl'-ne-fet-ter),  (i)  Sa- 
bine, Mayence,  1805  (iSog?) — (in- 
sane) lUenau,  1872  ;  noted  soprano  ; 
m.  Marquet;  her  five  sisters  also  sang 
with  succ.  :  (2)  Clara  (Mme.  Stock- 
el),  Mayence,  1S16 — (insane), Vienna, 
1857.  (3)  Kathinka,  1S20 — 1858. 
(4)  Fatima,  m.  a  nobleman,  Miklo- 
witz.  (5)  Eva,  and  (6)  Nan- 
ette. 

Heinemeyer  (hl'-ne-mi-er),  (i)  Chr. 
H,,  1796 — 1872;  flutist  at  Hanover; 
composer.  (2)  Ernst  Wm,,  Han- 
over, 1S27 — Vienna,  1869  ;  son  of 
above  ;  flutist  and  composer. 

Heinichen  (hl'-nlkh-en),  Jn.  D.,  Kros- 
suln,  near  Weissenfels,  1683 — Dres- 
den, 1729 ;  dram,  composer  and 
writer. 

Heinrich  (hin'-rlkh),  (i)  Jn.  G., 
Steinsdorf  (Silesia),  1807  —  Sorau, 
18S2  ;  organist,  writer  and  composer. 
(2)  Heinrich  XXIV.,  Prince  Reuss 
j.  L.,  b.  Dec.  8,  1S55  ;  pianist  ;  c.  a 
symphonv,  a  pf.-sonata,  etc. 

Heinrichs'  (h!n'-rlkhs),  (i)  Jn.  Chr., 
b.  Hamburg,  1760;  lives  in  St.  Pet- 
ersburg; writer  on  Russian  music. 
(2)  Anton  Ph.,  Schonbiichel,  Bohe- 
mia, 1781 — New  York,  1S61  ;  known 
as  "  Father  H."  ;  composer. 

Heinroth  (hin'-rot),  (i)  Chp.  GL,  for 
62  years  organist  at  Xordhausen.   (2) 


Jn.  Aug.  Giinther,  Nordhausen, 
1780 — Gottingen,  1846;  son  c 
above  ;  director  and  composer. 

Heintz  (hints),  Albert,  b.  Eberswaldfl 
Prussia,  March  21,  1882  ;  organis! 
"  Petrikirche,"  Berlin;  writer  oj 
Wagner  ;  composer.  I 

Heinze  (hints  -e),  (i)  Wm.  H.  H.,  H 
1790  ;  clarinettist  in  the  Gewandhaij 
Orch.  (2)  Gv.  Ad.,  b.  Leipzig,  Oci 
I,  1820  ;  son  and  pupil  of  above  ;  :; 
15  clarinettist  in  the  Gewandhausj 
1844,  2d  cond.  Breslau  Th.,  an, 
prod.  2  operas  (of  which  his  wi)| 
wrote  the  libretti)  ;  1S50,  Amsterda: 
as  cond. ;  c.  5  oratorios,  3  masses, 
overtures,  etc.  (3)  Sarah  (nee  Maj 
nus),  b.  Stockholm,  1839 ;  pianisf 
pupil  of  KuUak,  Al.  Dreyschock,  ai 
Liszt  ;  lives  in  Dresden. 

Heise  (hi  -ze),  Peder  Arnold,  Cope! 
hagen,  1830  —  1S79  't  teacher  aij 
dram,  composer. 

Heiser  (hi'-zer),  Wm.,  Berlin,  iSifr 
Friedenau,  1S97;  singer,  bandmastc 
and  composer.  ! 

Hek  king,  Anton,  'cello  virtuoso  aij 
teacher  at  the  Stern  Cons.  i 

Heller,  Stephen,  Pesth,  May  i| 
1S15 — Paris,  Jan.  14,  1SS8  ;  notat} 
composer  who,  like  Chopin,  confinj 
his  abilities  to  the  pf.  Lacking  t| 
breadth,  passion  and  colour  of  Ch; 
pin's,  his  music  has  a  candour  a.., 
vivacity  and  a  fascinating  quaintm 
that  give  it  peculiar  charm ;  ] 
etudes,  simpler  than  Chopin's,  are  j 
well  imbued  with  art  and  person/ 
ity.  Studied  piano  with  F.  Brauf' 
at  9  played  in  pub.  with  succ.  ;  ttt 
studied  with  Czerny  and  Halm ; ; 
12,  gave  concerts  in  Vienna,  a'. 
toured  ;  at  Pesth  studied  a  lit} 
harmony  with  Czibulka  ;  at  Au:» 
burg,  fell  ill,  and  was  adopted  b)f 
wealthy  family,  who  aided  his  studi; 
1838,  Paris.  Schumann  praised  i 
first  comp.  highly.  1S49,  Lond<^ 
he  played  with  succ.  though  inf,» 
quently  because  of  ner\^ousne; 
thereafter  lived  in  Paris.  C.  sevel 
hundred  pf.-pcs.,  incl.  4  sonatas  ii 


r- 


4" 


_        DICTIONARY  OF  MUSICIANS   557 


I  abow; 
Ewandl 
Tl 
a  his 
.•teai 

]W 


ail,  18 


the   famous   fitudes.     Biogr.  by    H. 
Barbadette  (1876;. 

Hellmesberger  (hel'-mes-berkh-er), 
(i)  G,  (Sr.),  Vienna, -iSoo — Neuwal- 
degg,  1873  ;  violinist,  conductor  and 
composer.  (2)  G.  (Jr.),  Vienna, 
1830 — Hanover,  1852  ;  son  and  pupil 
of  above  ;  violinist  and  dram,  com- 
poser. (3)  Rosa,  daughter  of  (2), 
was  a  singer,  debut  1SS3,  ct. -opera, 
Vienna.  (4)  Jos.  (Sr.),  Vienna,  1829 
— 1893  ;  son  of  (i)  ;  conductor,  vio- 
linist and  professor.  (5)  Jos.  (Jr.), 
b.  Vienna,  April  9,  1855  ;  son  of  (4); 
violinist  and  composer  of  operettas, 
ballets,  etc.  1902,  cond.  Vienna 
Philh.  Orch.  (6)  Fd,,  b.  Vienna, 
Jan.  24,  1863  ;  bro.  of  above  ;  'cellist 
in  ct. -orch.  from  1879;  from  1883  with 
his  father's  quartet ;  1S85  teacher  at 
the  Cons. ;  1886,  solo  'cellist,  ct. -opera. 

lellwig  (hel'-vlkh),  K,  Fr.  L.,  Kli- 
nersdorf,  1733 — Berlin,  1838;  con- 
ductor and  dram,  composer. 
elm,  Theodor,  b.  Vienna,  April  9, 
1843 ;  studied  law,  entered  govt, 
service ;  since  1867  critic  for  various 
Ti  journals,  and  writer;  1874,  teacher  of 
mus.  hist,  and  testhetics,  Morale's 
School  of  Music. 

ielmholtz  (helm'-holts),  Hermann  L. 
Fd.,  Potsdam,  Aug.  31,  1S21  — 
Charlottenburg,  Sept.  8,  1894  ;  emi- 
nent scientist ;  pub.  famous  treatises 
such  as  "  Sensations  of  Tone  as  a 
Physiological  Basis  for  the  Theory  of 
Music  "  {Lehre  von  den  Tonempfin- 
dungen  als  physiologische  Griindlage 
fiir  die  Theorie  dcr  Musik)  (Bruns- 
wick, 1863  ;  English  trans,  by  Ellis, 
1S75)  ;  this  work,  the  result  of  much 
e.xperiment,  is  the  very  foundation  of 
modern  acoustics,  though  Riemann, 
who  was  in  some  opposition  to  H., 
says  his  conclusions  are  not  infallible, 
and  attacks  are  increasing  upon  him. 
H.  inv.  also  a  double  harmonium 
with  24  vibrators  to  the  octave  ;  this 
lacks  the  dissonant  3rds  and  6ths  of 
equal  temperament  (v.  D.  D.)  and 
permits  the  same  modulation  into  ail 
keys. 


Hel'more,  Rev.  Thos.,  b.  Kidder- 
minster, May  7,  1811  ;  composer. 

Henderson,  Wm.  Jas.,  b.  New- 
ark, N.  J.,  Dec.  4,  1855  ;  prom- 
inent  American  critic  and  writer ; 
graduated  Princeton  Univ.,  1876; 
mainly  self-taught  in  music  ;  1883  re- 
porter, from  1887  critic,  N.  V.  Times; 
lecturer  on  mus.  hist.  N.  Y.  Coll.  of 
Mus.;  c.  various  light  operas,  songs, 
etc.;  pub.  a  "  Story  of  Music,"'"' Prel- 
tides  and  Studies,"  "  What  is  Good 
Music?"'  (1898),  ''How  Music  De- 
veloped" (New  York,  1899),  "  The 
Orchestra  and  Orchestral  Music" 
(1899),  "  Wagner  "  (1902). 

Henkel  (henk'-el),  (i)  Michael, 
Fulda,  1780 — 1851  ;  composer.  (2) 
G.  Andreas,  Fulda,  1805 — 1871  ; 
organist  and  composer.  (3)  H.,  b. 
Fulda,  Feb.  14,  1822  ;  son  and  pupil 
of  (i),  also  studied  with  Aloys 
Schmitt,  and  theory  with  Kessler  and 
Anton  Andre  ;  1849,  teacher,  etc., 
Frankfort.  (4)  K.,  son  of  (3)  ;  stud- 
ied in  Berlin  Hochschule ;  lives  in 
London,  as  violinist. 

Henley,  Rev.  Phocion,  Wooten  Ab- 
bots, 1728 — 1764  ;  English  composer. 

Henneberg(hen'-ne-berkh),  Jn.Bapt., 
Vienna,  1768 — 1822  ;  organist,  con- 
ductor and  composer. 

Hen'nen,  (i)  Arnold,  b.  Heerlen,  Hol- 
land, 1820  ;  pianist ;  1845  took  first 
pf. -prize,  Liege  Cons.;  lives  at  Heer- 
len ;  composer.  (2)  Fr.,  b.  Heerlen, 
Jan.  25,  1830;  bro.  of  above  ;  1846 
took  first  vln. -prize  Liege  Cons.; 
1847,  medal  1850-71,  soloist  in  va- 
rious London  orchestras ;  then  re- 
tired to  Strythagen,  near  Heerlen  ; 
composer.  (3)  Chas.,  b.  Dec.  3, 
1861  ;  son  of  (2) ;  violinist  at  Ant- 
werp. (4)  Mathias,  b.  Heerlen, 
1828  ;  bro.  of  (i) ;  1852,  first  pf.- 
prize  Liege  Cons.;  since  1S60  teacher 
at  Antwerp,  and  prof,  at  the  Cons.  ; 
composer,  etc. 

Hennes  (h^n'-nes),  (i)  Aloys,  b.  Aix- 
la-Chapelle,  1827  —  Berlin,  1889; 
pf. -teacher  at  various  places  ;  com- 
poser.   (2)  Therese,  his  daughter,  b. 


558 


THE    MUSICAL    GUIDE 


Dec.  21,  iS6i  ;  pianist  ;  studied  with 
KuUak. 

Hennig  (hen'-nikh),  (i)  K.,  Berlin,  1S19 
— 1S73  organist,  dir.  and  composer. 
(2)  K.  Rafael,  b.  Jan.  4,  1845  ;  son 
of  above  ;  pupil  of  Richter  and  Kiel; 
1869-75,  organist  Posen  ;  1873, 
founder  of  "Hennig"  Vocal  Soc; 
1883,  Royal  Mus.  Dir.  ;  1S92,  R. 
Prof.  ;  composer  and  writer. 

Hen'nius.     Vide  haym,  gilles. 

Henschel  (hen'-shel),  (i)  (Isidor) 
Georg,  b.  Breslau,  Feb.  18,  1850; 
jiromineat  barytone,  pianist,  and 
teacher  ;  pupil  of  Wandelt  and 
Schaeffer,  Breslau  ;  of  Leipzig  Cons, 
also  Kiel  and  Ad.  Schulze  (singing); 
Berlin  ;  1877-S0,  lived  in  London ; 
1881-84,  cond.  Boston  (U.  S.  A.) 
Symph.  Orch. ;  since  1885,  London  ; 
founded  the  "  London  Symphony 
Concerts"  ;  1886-88,  prof,  of  singing 
R.  C.  Mus.;  c.  operas,  ''' Friedrich  der 
Schone"  and  "A^ndia";  operetta,  "A 
Sea  Change,  or  Love's  Castaway  "/ 
an  oratorio,  etc.  (2)  Lillian  (nee 
Bailey),  Columbus,  Ohio,  Jan.,  1S60 
— London,  Nov.  4,  1901  ;  pupil  and 
188 1  wife  of  above  ;  also  studied 
with  C.  Hayden  and  Viardot-Garcia  ; 
concert-soprano  ;  she  and  her  hus- 
band gave  recitals  with  great  art  and 
success.  (3)  Helen  ;  daughter  of 
above,  soprano  ;  sang  N.  Y.  1902. 

Hensel  (hen'-zel),  (1)  Fanny  Cacilia 
(nee  Mendelssohn),  Hamburg,  Nov. 
14,  1805 — Berlin,  .May  14,  1847  ; 
eldest  sister  of  feli.n:  m.,  whose  de- 
voted companion  she  was,  and  who 
died  six  months  after  her  sudden 
death.  He  said  she  was  a  better 
pianist  than  he,  and  six  of  her  songs 
are  pub.  under  his  name  :  viz.,  his  op. 
8  (Nos.  2,  3,  12),  and  op.  9  (7,  10, 
12);  she  pub:  under  her  own  name 
"  Gartenliedef-,'"  part-songs  and 
songs;  0.  also  pf. -trios  and  pes.  (2) 
Octavia.     Vide  fonda. 

Henselt  (hen'-zelt).  Ad.  von.  Schwa- 
bach,  Bavaria,  May  12,  18 14 — ^Warm- 
brunn,  Silesia,  Oct.  10,  1889  ;  eminent 
pianist  who  played  with  remarkable 


sonority  and  emotion  ;  to  obtain  his 
remarkable  reach  he  c.  and  prac- 
tised incessantly  very  difficult  studies; 
he  c.  a  famous  pf. -concerto,  etudes, 
etc. 

Hentschel  (hent-shel),  (i)  Ernst  Ju- 
lius,  Langenwaldau,  1804 — Weissen- 
fels,  1875.  (2)  Fz.,  Berlin,  1814— 
1 889  ;  teacher  and  dram,  composer. 
(3)  Theodor,  Schirgiswalde,  Upper 
Lusatia,  1S30 — Hamburg,  1892; 
conductor,  pianist  and  dram,  cotn-j 
poser. 

Herbart   (her'-bart),  Jn.   Fr.,    Olden- 
burg, 1776 — Gottingen,  1841;  writer. 

Herbeck  (her'-bek),  Jn.  Fz,'  von,  Vi-( 
enna,  Dec.  25,  1831 — Oct.  28,  1877 
important  cond.,  mainly  self-taught ; 
dir.    1866,    ct.-cond.    at  Vienna   and 
prof,  at  the  Cons. 

Herbert,  Victor,  b.  Dublin,  Ireland, 
Feb.  r,  1S59  ;  a  grandson  of  Samuel 
Lover,  the  novelist ;  at  7,  sent  tc 
Germany  to  study  music ;  ist  'cellc 
ct.-orch.  Stuttgart,  and  elsewhere 
1886  solo  'cellist,  Metropolitan  Orch 
New  York  ;  later  Theodore  Thomas 
and  Seidl's  orchs.  (also  associate 
cond.)  ;  1894,  bandm.  22d  Regt.,.vic' 
Gilmore  ;  1898,  cond.  of  Pittsburg 
(Pa.)  Orch.  (70  performers);  c.  spiritei 
pes.  for  orch.  and  'cello ;  a  'cello, 
concerto  ;  an  oratorio,  "  The  Cap. 
tive  "  (Worcester  Festival)  ;  and  nt" 
merous  comic  operas,  incl.  "  Prim' 
Ananias,"  a  failure,  "  The  IVizar, 
of  the  Nile"  v.  succ,  "  The  Ser,. 
nade"  "  The  IdoVs  Eye"  "  Tt 
Fortune  Teller"  and  '■'The  Singir^ 
Girl"  all  v.  succ,  in  which  the  ui 
usual  combination  of  Irish  music: 
humour  and  German  scholarlines 
iustifies  their  great  success.  ; 

Hering  (ha -ring),  (i)  K.  GL,  Scha:' 
dau,  Saxony,  1765 — Zittau,  1853; 
teacher,  editor  and  composer.  ( 
K.  E.,  b.  Oschatz,  Saxony,  iSog* 
Bautzen,  1879  i  son  and  pupil 
above  and  successor  as  editor  ;  al 
dram,  composer.  (3)  K.  Fr.  Aug 
Berlin,  1819 — Burg,  near  Magdebui 
if'^o  :  violinist  and  composer. 


I 


DICTIONARY  OF  MUSICIANS    559 


erion   (ha'-ri-6n),  Abraham  Adam, 

Schonau,  Odenwald,  1807 — Dresden, 
1S93  ;  pf. -teacher. 

eritte  -  Viardot  (ur-Gt-v'yar-du), 
Louise  Pauline  Marie,  b.  Paris, 
Dec.  14,  1 84 1  ;  daughter  of  Viardot- 
tkircia  ;  vocal-teacher  St.  Petersburg 
Cons.;  later  at  F'rankfort,  and  Ber- 
lin ;  m.  Consul-Cleneral  Ileritte  ;  c. 
opera  '' L'uulora"  (Weimar,  1879), 
and  cantatas. 

ermann    (her'-man),  (i)    Matthias, 

called   Verrecoiensis,   or  Verreco- 

rensis,  from  his  supposed  birthplace, 

Warkenz     or    Vs'arkoing,     Holland  ; 

Netherland    cptist.     i6th    cent.     (2) 

Jn.   D.,    (iermany,  ca.    1760 — Paris, 

1846 ;      pianist    and     composer.     (3) 

Jn,  Gf.  Jakob,  Leipzig,  1772 — 1848  ; 

writer.      (4)  Fr.,  b.  Frankfort,  Feb. 

I,    1S28  ;    pupil    of     Leipzig    Cons.; 

1846-75,    viola-plaj'er,     Gewandhaus 

and  theatre  orchs.;    1848,  vln. -teacher 

at  the  Cons. ;  1883  Royal  Saxon  Prof.; 

c.  symphony,  etc.;    editor  and  coDec- 

tor.     (5)  Rheinhold    L.,   b.    Prenz- 

lau,    Brandenburg,    Sept.    21,    1849  ; 

pupil  of  Stern  Cons.,  Berlin  ;  187S-81 

;lir.    of    it ;     1871-78    singing-teacher 

and    cond.    New   York  ;    1884,    cond. 

N.  Y.  "  Liederkranz  "  ;     1887,    prof. 

f  sacred  history  at  the  Theol.-  Semi- 

ary  ;  1898,  cond.  ILandeland  Haydn 

Boston  ;   1900  returned  to  Ber- 

c.    4    operas     incl.     '' Viiteta" 

Breslau,  1895),  and  "  Wulfrin'  (Co- 

ogne,  1896)  ;    5  cantatas,   overtures, 

;tc.      (6)  Robt.,    b.    Bern,    Switzer- 

nd,  April  29,  1869  ;   studied  Frank- 

ort  Cons  ;  previously   self-taught    in 

ither,  pf.,  comp.   and    had   c.  works 

»f  much   originality  in  which  Grieg 

tncouraged    him  ;  1893,  studied  with 

iumperdinck,  then    went  to  Leipzig 

md    Berhn,   where    (1895)    his    sym- 

hony,  and    a    concert-overture   were 

irod.  at  the  Philh.,  provoking   much 

ritical    controversy ;    now    lives    in 

"■'     'g ;    c.  also  ''Petites  variations 

our   rire"   for   pf.    and    vln.;    etc. 

J7)  Hans,  b.  Leipzig,  Aug.  17,  1870; 

ntrabassist   and   composer  ;  left  an 


orphan,  he  had  a  struggle  with  pov- 
erty ;  studied  with  Rust,  Kretz,  Scho- 
ner  and  von  Herzogenberg  ;  lives  in 
Berlin,  and  c.  string-quartets,  pf.- 
pcs.,  etc.,  and  many  notable  songs. 
(S)    J.    Z.     Yide    zennkr.     (9)  Vide 

HERRMANN. 

Herman'nus  (called  Contractus  or 
"  der  Lahme,"  for  his  lameness), 
Graf  von  Vehrihgen,  Sulgau,  Swabia, 
July  iS,  1013 — Alleshausen,  near  Bi- 
"bcrach,  Sept.  24,  1054 ;  important 
w  riter  and  theorist. 

Hermes  (her'-mes),  Ed.,  b.  Memel, 
I\Iay  15  (?),  1818  ;  merchant,  and  com- 
poser in  Konigsberg,  Prussia. 

Hermesdorff(her'-mes-d6rf),  Michael, 
Trier  (Treves),  1833 — 1885  ;  organ- 
ist, composer  and  editor. 

Hermstedt  (herm'-shtet),  Jn.  Simon, 
Langensalza,  near  Dresden,  1778— 
Sondershausen,  1S46  ;  composer. 

Hernandez  (er-nan'-dcth),  Pablo,  b. 
Saragossa.  Jan.  25,  1S34  ;  pupil  of 
Madrid  Cons.;  organist  and  (1863) 
auxiliary  prof,  there;  c.  zarzuelas ; 
a  mass,  symphony,  etc. 

Hernando  (er-nan-do),  Rafael  Jos6 
M.,  b.  jNIadrid,  May  31,  1822  ;  pu- 
pil of  R.  Carnicer,  Madrid  Cons., 
1848-53,  he  prod,  several  succ.  zar- 
zuelas, some  in  collab.;  later  dir. 
and  composer  to  Th.  des  Varietes ; 
1852,  secretary,  later  prof,  of  harm., 
Madrid  Cons.;  founded  a  Mutual 
Aid  Mus.  Soc. 

Herold  (a-rol),  (i)  Louis  Jos.  Fd., 
Paris,  Jan.  28,  1791 — (of  consumption) 
Themes,  near  Paris,  Jan.  19,  1833  ; 
son  of  (2)  Fran,  Jos.  H.  (d.  1802  ; 
pf. -teacher  and  composer,  pupil  of 
P.  E.  Bach),  who  opposed  his  study- 
ing music,  though  Fetis  taught  him 
solfege  and  L.  Adam,  pf.  After  his 
father's  death  (1802),  he  studied  piano 
with  Louis  Adam,  Paris  Cons,  (first 
prize,  18 10)  ;  harmony  with  Catel 
and  (from  1811)  comp.  with  Mehul ; 
[812  won  the  Prix  de  Rome,  with 
cantata  "Mile,  de  la  Valliere" ; 
studied  at  Rome  and  Naples,  where 
he    was    pianist   to   Queen    Caroline, 


560 


THE    MUSICAL    GUIDE 


and  prod,  opera  "Za  Giovcntu  di 
Enrico  Quinfo  "  (iSls)  ;  Paris,  1815, 
finished  Boieldieu's  "  Charles  de 
France"  (prod,  with  succ.  1816,  Op. 
Com.);  "Z^j  Rosieres"  and  "Za 
Clochette"  followed  1817,  both  v. 
succ;  others  followed;  the  last  (1S20) 
failing,  he  imitated  Rossini  in  several 
operas,  but  recovered  himself  in  the 
succ.  "i]/(7r?V"  (1826)  ;  1824,  pianist, 
later  chorusm.  at  the  Ital.  Opera, 
but  soon  relinquished.  1827  Chef  du 
Chant,  at  the  Gr.  Opera,  for  which 
he  wrote  several  succ.  ballets,  inch 
"  La  So7nnambule"  which  gave  a 
suggestion  to  Bellini  ;  1828,  Legion  of 
Honour.  ^'Zampa"  (1831)  gave  him 
European  rank  and  is  considered  his 
best  work  by  all  e.xcept  the  French, 
who  prefer  his  last  work  "  Le  Pre 
aiix  Clercs"  (1832)  ;  he  prod,  also 
'"  LAuberge  d'Airey"  (1830)  (with 
Carafa),  "  Za  Marquise  de  Brinvil- 
liers"  (1831),  with  Auber,  Boieldieu, 
Cherubini,  and  5  others;  and  "Za 
Mt'dicine  sans  MJdecin  "  (1832) ;  he 
left  '"Liidovic"  unfinished,  to  be  com- 
pleted by  Halevy  with  succ.  ;  c.  also 
much  pf.-mus.  Biogr.  by  Jouvin 
(Paris,  1868). 

Herrmann  (her'-man),  (1)  Gf.,Sonders- 
hausen,  1808 — Llibeck,  1878;  violin- 
ist, pianist,  organist  and  dram,  com- 
poser. (2)  K.,  d.  Stuttgart,  1S94.; 
'cellist.  (3)  Klara,  daughter  of  (2)  ; 
pupil  of  Leipzig  Cons.;  pianist ;  lives 
in  Llibeck. 

Herschel  (her-shel),  Fr.  Wm.  (Angli- 
cised, Sir  William  Herschel,  K.C. 
H.,D.C.L.),  Hanover,  1738 — Slough, 
near  Windsor,  1S22  ;  oboist ;  organ- 
ist at  Bath  ;  astronomy,  in  which  he 
won  such  fame,  was  till  17S1  only  his 
diversion. 

Hertel  (her'-t'l),  (i)  Jn.  Chr.,  Oetting- 
en,  Swabia,  1699 — Strelitz,  1754 ;  sing- 
er, viola  da  gambist,  violinist  and 
composer.  (2)  Jn.  Wm.,  Eisenach, 
1727 — Schwerin,  1789;  son  and  pu- 
pil of  above  ;  violinist,  conductor 
and  composer.  (3)  K.,  1784-1868 ; 
violinist.      (4)    Peter    L.,     Berlin, 


1817 — 1899;    son    of    above;    com- 
poser. 

Herther  (her'-ter),  F.,  pen-name  of 
H.  Gunther. 

Hertz  (hertz),  Alfred,  b.  Frankfort-on- 
ALiin,  July  15,  1872 ;  studied  Raff 
Cons.;  from  1895  2d-cond.  various 
cities;  1S99  cond.  city  theatre  Breslau;i 
1S99  London  ;  1902  Met.  Op.,  N.  Y.: 

Hertzberg  (herts'-berkh),  Rudolph 
von,  Berlin,  1S18 — 1893;  conductot: 
and  editor.  | 

Herv6  (rightly  Florimond  Rongeji 
(er-va  or  roh-zha),  Houdain,  neai 
Arras,  June  30,  1825 — Paris,  Nov.  4 
1892;  singer,  then  organist,  con 
ductor ;  in  Paris  acting  as  librettist 
composer  and  actor,  and  producinj 
flippant  but  ingenious  little  works  ii 
which  French  operetta  finds  a  rea 
origin ;  c.  over  50  operettas,  als« 
heroic  symphony  "  The  Ashank 
War"  and  ballets.  (2)  Gardel,  so 
of  above,  prod.  1871  operetta  "A", 
«?',  c'est  fini." 

Hervey  (har'-vK),  Arthur,  b.  of  Iris 
parents,  Paris,  Jan.  26,  1855  ;  pup 
of  B.  Tours  (harm.)  and  Ed.  Mario 
(instr.)  ;  intended  for  the  diplomat 
service,  till  1880  ;  critic  of  "  Vanii 
Fair"  ;  from  1892,  London  "  Post' 
c.  a  i-act  opera,  a  dram,  overtu; 
"  Love  and  Fate"  etc. 

Herz(hertsorers),  (i)  Jacques  Simo]; 
Frankfort,  Dec.  31,  1794  —  Nic 
Jan.  27,  1880;  of  Jewish  parentag( 
studied  at  Paris  Cons,  with  Pradhe; 
pianist  and  teacher  in  Paris ;  thi 
London;  1857,  acting-prof.  Pai 
Cons.;  c.  vln. -sonatas,  etc.  ( 
Henri,  Vienna,  Jan.  6,  1S06 — Par 
Jan.  5,  1888 ;  ist  prize  pf.-pu] 
Paris  Cons. ;  very  popular  as  touri: 
pianist ;  succ.  as  mfr.  of  pianos  ;  c 
tained  extravagant  prices  for  1 
comps. ;  prof,  at  the  Cons.  ;  writer 

Herzberg  (herts'-berkh),  Anton, 
Tarnow,  Galicia,  June  4,  1825  ;  p 
nist;  pupil  of  Bocklet  and  Preyi 
Vienna  ;  toured  Europe,  and  receivi 
many  decorations ;  1866,  pf.-tead 
Moscow ;  composer. 


1 


II      DICTIONARY  OF  MUSICIANS  561 


lerzog    (her'-tsokh),    (i)  Jn.    G.,    b. 

Schmolz,  Bavaria,  Sept.  6,  1822 ; 
pupil  of  Bodenschatz,  and  at  Altdorf 
Seminary  ;  1842,  organist  at  Munich  ; 
1S48,  cantor  ;  1S50,  organ  -  prof, 
at  the  Cons.;  1854,  mus.  dir.  Er- 
langen  Univ.;  1S66,  Dr.  Phil.; 
later  prof.  ;  retired  188S  ;  lives  in 
Munich;  composer.  (2)  Emilie,  b. 
Diessenhofen,  Thurgau,  ca.  1S60 ; 
soubrette  coloratura  -  singer  ;  pupil 
;  Zurich  Sch.  of  Mus.,  then  of  Glogg- 
ner,  and  Ad.  Schimon,  Munich  ;  de- 
but, Munich  (1879?);  1889,  Berlin 
ct. -opera. 

erzogenberg  (her'-ts6kh-en-berkh), 
(i)  H.  von,  Graz,  Styria,  June  10, 
1843 — Wiesbaden,  1900;  prof,  at 
Berlin,  etc. ;  director,  professor  and 
composer.  (2)  Elizabeth  (ne'e  von 
Stockhausen)  (?)  1848— San  Remo, 
1892  ;  pianist,  wife  of  above. 
f't  ies'eltine,  Jas.,  d.  1763;  English  or- 
''"     Iganist  and  composer. 

less,  (i)  Joachim,  organist,  writer  and 
carillonneur,    Gouda,    Holland,  from 
1766 — 1810.   (2)  A.  H.,  organ-builder 
at  Gouda  ;  bro.  of  above.   (3)  Willy, 
b.  Mannheim,  July  14,    1859  !  violin- 
ist, pupil  of  his  father  and   Joachim  ; 
it    ig    Konzertmeister  at  Frankfort, 
1SS6  at    Rotterdam,  then    England  ; 
1895    rst   vln.-prof.    Cologne    Cons., 
■      md  1st  vln.  Glirzenich  Quartet. 
l;sse     (hes'-se),    (i)     Ernst    Chr., 
jrossen-Gottern,    Thuringia,    1676 — 
Darmstadt,    1762  ;  viola-da-gambist, 
:onductor.     (2)   Ad.   (Fr.),   Breslau, 
[809 — 1863  ;  org. -virtuoso  and  com- 
poser.   (3)  Julius,  Hamburg,  1823 — 
'     3erlin,  188 1  ;  introduced  the  present 
neasurement  for  pf.-keys  ;  and  pub. 
.  method.       (4)    Max,    b.   Sonders- 
lausen,  Feb.  18,  1S58  ;  1880  founded 
,aus.  pub.  house  in  Leipzig ;  in  1883, 
■}.\'     bunded  H.  und  Becker. 
.WH  Htsch  (hetsh),  K.  Fr.  L.,  Stuttgart, 
'■:■     '806  —  Mannheim,     1872;      pianist, 
iolinist  and  dram,  composer. 
Fuberger    (hoi'-berkh-er),    Richard 
•"z.  Jos.,  b.  Graz,  Styria,   June    18, 
^50;  a  civil  engineer ;  in  1876  took 

36 


up  music,  which  he'  had  previously 
studied;  chorusm.,  Vienna  academi- 
cal Gesangverein;  1878  cond.  Sing- 
akademie ;  c.  operas  "  Abenteuer 
einer  Ncttjahrsnacht "  (Leipzig, 
1886);  ''Manuel  Venegas"  {Ao.,  1889), 
remodelled  as  "  Mirjam  "  (Vienna, 
'94)  ;  2  operettas  ;  overture  to  Byron's 
"  Cain,"  etc. 

Heubner  (hoip'-ner),  Konrad,  b. 
Dresden,  i860;  pupil  of  the  "  Kreuz- 
schule"  there;  1878-79,  at  Leipzig 
Cons,  and  writer  ;  with  Riemann,  lat- 
er Nottebohm,  Vienna ;  Wiillner, 
Nicode  and  Blassmann,  Dresden ; 
1882,  cond.  Leipzig  Singakademie ; 
1884,  asst.  cond.  Berlin  Singakade- 
mie ;  1890,  dir.  Coblenz  Cons,  and 
Mus.  Soc. ;  c.  a  symphony,  overtures, 
etc. 

Heugel  (u-zhel),  Jacques  Ld.,  La 
Rochelle,  1815 — Paris,  1883;  editor 
and  publisher. 

Heumann  (hoi-man),  Hans,  b.  Leip- 
zig, Aug.  17,  1870 ;  at  18,  double- 
bass  in  orch.  at  Cassel ;  studied  with 
W.  Rust,  at  Leipzig  Cons,  and 
Kretschmer  at  Dresden ;  later  with 
von  Herzogenberg  at  Berlin  ;  lives  in 
Berlin  ;  pub.  a  suite  in  sonata-form 
for  vln.  and  pf.;  over  100  songs  of 
all  kinds,  etc. 

Hew'itt,  J.  H.,  b.  New  York,  1801; 
from  1845  lived  in  Baltimore ;  c. 
oratorios,  incl.  '' Jepktha"  operas, 
etc. 

Hey  (hi),  Julius,  b.  Irmelshause, 
Lower  Franconia,  April  29,  1832  ; 
studied  with  Lachner  (harm,  and 
cpt.),  and  F.  Schmitt  (singing)  ;  later 
with  von  Billow  at  the  Munich  Sch. 
of  Mus.  (estab.  by  King  Ludwig 
n.  on  Wagner's  plans);  attempted  a 
reform  in  the  cultivation  of  singing, 
but  resigned  at  Wagner's  death 
(1883),  and  pub.  important  vocal 
method,  ''  Deutscher  Gesangsiinter- 
richt"  (4  parts,  1886),  exploiting 
Wagner's  views.  Wagner  called  him 
"the  chief  of  all  singing-teachers." 
1887,  Berlin;  later  Munich;  com- 
poser. 


562 


THE    MUSICAL    GUIDE 


Heyberger  (hi-berkh-er),  Jos.,  Hett- 
stadt,  Alsatia,  1831— Paris,  1892  ; 
organist,  composer  and  conductor. 

Heyden  (hi'-d'n),  (r)  Sebald,  Xurn- 
berg,  1498  (1494?) — 1561;  cantor, 
writer.  (2)  Hans,  Xurnberg,  1540 — 
1613  ;  son  of  above  ;  organist ;  inv. 
the  "  Geigenclavicimbal." 

Heydrich  (hi'-drlkh),  Bruno,  b.  Leu- 
ben,  near  Lommatzsch,  Saxony, 1865; 
pupil  of  Dresden  Cons.;  1879-82, 
took  prizes  as  double-bass  player, 
pianist  and  coniposer ;  for  a  year  in 
von  Billow's  Weimar  orch.;  4  years 
Dresden  ct.-orch.;  also  studied  sing- 
ing with  Scharfe,  Hey  and  v.  Milde  ; 
succ.  debut  as  tenor  at  Sonders- 
hausen  theatre  ;  prod.  v.  succ.  i-act 
opera-drama,  with  pantomimic  pro- 
logue, ''Amen"  Cologne,  1895;  c. 
songs. 

Heyniann  (hl'-man),  (i)  Karl,  pianist, 
b.  Filehna,  Posen,  Oct.  6,  1854.  Son 
of  (2)  Isaac  H.  (cantor)  ;  pupil  of 
Hiller,  Gernsheim,  Breunung  and 
Cologne  Cons,  and  of  Kiel ;  ill-health 
ended  his  promising  career  as  virtu- 
oso ;  till  1S22,  mus.  dir.  at  Bingen  ; 
court-pianist  to  the  Landgrave  of 
Hesse,  1877-80,  Hoch  Cons.,  Frank- 
fort;  c.  concerto  ''  ElfcnspicV 
"  .ITuinmeiischanz"  "  Phantasie- 

stiicke,"  etc.,  for  piano. 

Heymann-Rheineck  (hl'-man-rl'-nek) 
(K.  Au^.  Heymann),  b.  Burg-Rhei- 
neck  on  Rhine,  Nov.  24,  1852  ;  pian- 
ist;  pupil  Cologne  Cons.,  and  R. 
Hochsc'iule,  Berlin;  since  1S75, 
teacher  there  ;  composer. 

Hayne  VanGhizeghem  (also  Hayne, 
or  Ayne,  "Henry");  Netherland 
contrapuntist  and  court-singer,  ca. 
145s. 

Hiebsch  (hepsh),  Josef,  Tyssa,  Bohe- 
mia, 1854— Carlsbad,  1S97;  teacher 
aid  writer  in  Vienna. 

Hiedler  (het'-ler),  Ida,  b.  Vienna, 
Aug.  25,  1S67;  soprano  ;  studied  with 
Ress  ;  debut,  Berlin  ct. -opera,  1887. 

Kientzsch  (hentsh),  Jn.  Gf.,  Mo- 
krehna,  near  Torgau,  17S7 — Berlin, 
1856  ;  teacher,  composer  and  writer. 


Hieron'ymus  de  Morvia,  ca.  1260, 
Dominican  friar,  Paris;  writer. 

Hignard  (en-yar)  (J.  L.),  Aristide, 
Nantes,  1822 — Vernon,  1S98  ;  the 
preface  to  his  "Hamlet"  writter 
1868,  not  prod,  till  Nantes,  1888 
shows  him  to  have  attempted  a  new 
and  serious  manner,  but  he  founc 
production  only  for  comic  opera; 
which  were  usuallv  succ. 

Hildach  (hll'-dakh),'  (i)  Eugen,  b.  Wit 
tenberg-on-the-Elbe.  Nov.  20,  1849!, 
barytone  ;  pupil  of  Frau  Prof.  El' 
Dre'yschock.  (2)  Anna  (nee  Schi 
bert,  b.  Konigsberg,  Prussia,  Oct.  5 
1852;  wife  of  above;  mezzo-sopranc! 
teacher  Dresden  Cons.,  1880-86. 

Hildebrand  (hel'-de-brJint),  (i)  Z 
charias,  Saxony,  1680 — 1743  ;  org. 
builder.  His  son,  (2)  Jn.  Gf.,  w 
equally  eminent. 

Hiles  (hilz),  (i)  J.,  Shrewsbury,  18 
— London,  1882 ;  organist, 
and  composer.  (2)  H.,  b.  Shre 
bury,  Dec.  31,  1826;  bro.  and  pU] 
of  above  ;  organist  various  church( 
1867,  Mus.  Doc.  Oxon  ;  1876,  lecl 
urer ;  later,  prof.  R.  Manchest' 
Coll.  of  Music ;  1885,  editor  ai 
writer ;  c.  2  oratorios,  3  cantatas, : 
historic  opera,  etc.  1 

Hilf  (helf),  (i)  Arno,  b.  Bad  Elsbl 
Saxony,  March  14,  1858  ;  vln.-virli 
oso  ;  son  and  pupil  of  (2)  Wm.  CI' 
H.  ;  from  1872  he  also  studied  vr 
David.  Rontgen,  and  Schradie( 
Leipzig  Cons.;  second  concertr 
1878,  and  teacher  at  Moscow  Con 
(i883)  Sondershausen ;  1878,  leac 
Gewandhaus  orch. ,  Leipzig  ;  1st  v 
prof,  at  the  Conservatorium. 

Hill,  (i)  Wm.,  London,  iSoo— i8-l 
org.-builder.  (2)  Wm,  Ebswor, 
London,  1817 — Hanlev,  t>-q5  :  vl- 
maker.  (3)  Thos.  H'.  Weist,  L.- 
don,  1828 — iSgi;  \nolinist.  cond- 
tor  and  composer.  (4)  Uroli  *i 
New  York,  1S02  (?)— 1875  ;  violini- 
(5)  Wm.,  b.  Fulda,  March  28,  iSJ; 
pianist ;  pupil  of  H.  Henkel  Id 
Hauff  ;  since  1S54  lives  in  Frankf-', 
c.   prize-opera   "  Alona";   vln.-s(^= 


J 


DICTIONARY  OF  MUSICIANS    563 


tas,  etc.  (())  Junius  Welch,  b. 
Hingham,  Mass.,  Nov.  iS,  1S40;  pu- 
pil of  J.  C.  D.  Parker,  Boston,  and 
of  Leipzig  Cons.;  organist  various 
churches  ;  till  1S97,  prof,  of  Mus. 
at  Wellesley  Coll. ;  now  teacher  and 
editor.  (7)  K.,  Idstein,  Nassau, 
1840 — insane  asylum,  Sachsenberg, 
Mecklenburg,  1S93  ;  barytone  ;  cre- 
ated "  Alberich"  at  Bayreuth. 

:Hille  (hll-le),  (i)  Ed.,  Wahlhausen, 
Hanover,  1822 — Gottingen,  1891  ; 
cond.  and  teacher,  (c)  Gv.,  b.  Jeri- 
chow-on-EIbe,  near  Berlin,  May  31, 
1S51;  violinist;  pupil  of  R.  Wiierst 
(theory),  KuUak's  Acad.,  1869-74  w. 
Joachim  (vln.)  ;  lives  in  Berlin,  as  a 
solo -player;  1879,  invited  to  the 
-Mendelssohn  Quintet  Club,  Boston, 
Mass.;  toured;  then  teacher  at  Mus. 
Acad.,  Phila.;  c.  5  vln. -concertos 
with  orch.,  etc. 

Hillenmacher  (hH'-len-makh-er,  or  el- 
ah-ma-sha),  two  brothers,  (i)  Paul 
Jos.  Wm.,  b.  Paris,  Nov.  25,  1852. 
(2)  Lucien  Jos,  Ed.,  b.  Paris,  June 
10,  1S60  ;  both  studied  at  the  Cons., 
and  took  the  first  Grand  Prix  de 
Rome,  (i)  in  1876  ;  (2)  in  1880. 
They  write  all  their  scores  in  collab- 
oration. C.  symph.  legend  ''  Lore- 
/v"(i882,  City  of  Paris  prize)  ;  succ. 
opera  "  St.  Megrin  "  (Brussels, 
1SS6),  etc.;  "  Orso/a"  (Gr.  Opera, 
Paris,  1902). 

filler  (Hiiller)  (hll'-ler),  (i)  Jn. 
Adam,  Wendisch-Ossig,  near  Gor- 
litz,  Dec.  25,  1728— Leipzig,  June 
16,  1S04  ;  pupil  of  Hornilius  (Kreuz- 
schule)  and  U.  of  Leipzig  ;  flutist  in 
concerts,  and  teacher;  1754  tutor  to 
the  son  of  Count  Briihl  ;  1758,  ac- 
companied him  to  Leipzig,  where  he 
lived  thereafter;  -^1763,  revived,  at 
his  own  expense,  the  subscription 
concerts,  which  developed  into  the 
famous  "Gewandhaus"  concerts,  of 
which  he  was  cond.;  1771,  founded  a 
singing-school  ;  1789-1801,  cantor 
and  dir.  Thomasschule.  He  founded 
the  "  Singspiel,''  from  which  German 
"  comedy-opera  "  developed,  contem- 


poraneously with  oprra  biiffa  and 
opi'ra  comiqiie.  In  his  dram,  works 
the  aristocratic  personages  sing  arias, 
while  the  peasants,  etc.,  sing  simple 
ballads,  etc.  His  Singspicle,  all 
prod,  at  Leipzig,  had  immense  vogue, 
some  of  the  songs  being  still  sung  ; 
1766-70,  he  wrote,  edited  collections, 
etc. ;  c.  also  a  Passion  cantata,  funer- 
al music  (in  honour  of  Hasse),  sym- 
phonies and  partitas,  the  looth 
Psalm,  etc.  Biog.  by  Carl  Peiser 
(Leipzig,  1895).  (2)  Fr.  Adam, 
Leipzig,  1768 — Konigsberg,  Nov.  23, 
1812  ;  violinist  and  tenor;  son  and 
pupil  of  above  ;  mus.  dir.  of  Schwe- 
rin  Th. ;  1803,  cond.  of  Konigsberg 
Th.;  c.  4  operettas,  etc.  (3)  Fd. 
von,  Frankfort,  Oct.  24,  181 1  — Co- 
logne, May  12,  1S85  ;  of  wealthy  Jew- 
ish parentage  ;  a  pupil  of  Hofmann 
(vln.),  Aloys  Schmitt  (pf.)  and  \'oll- 
weiler  (harm,  and  cpt.)  ;  at  10  played 
a  Mozart  concerto  in  public,  at  12 
began  comp. ;  from  1825  pupil  of 
Hummel  ;  at  16  his  string-quartet 
was  pub.  Vienna  ;  at  15,  he  saw  Beet- 
hoven on  his  death-bed;  1828-35, 
taught  Choron's  School,  Paris  ;  then 
independently  giving  occasional  con- 
certs ;  1836,  he  returned  to  F" rank- 
fort,  and  cond.  the  Cacilien-Verein  ; 
1S39,  prod.  succ.  opera  ''  Roinilda" 
at  Milan;  oratorio,  ''Die  Zerslor- 
ung  Jerusakms "  (Gewandhaus, 
1840) ;  1 84 1,  studied  church-music 
with  Baini,  Rome  ;  1843-44  he  cond. 
the  Gewandhaus  ;  prod,  at  Dresden, 
2  operas ;  1847,  municipal  cond.  at 
Di'isseldorf  ;  1850  at  Cologne,  where 
he  organised  the  Cons. ;  cond.  Giirze- 
nich  Concerts,  and  the  Lower  Rhine 
Festivals  ;  1852-53,  cond.  Opera  Ita- 
lien,  Paris ;  1868,  Dr.  Philh.  h.  c. 
Bonn  Univ.  ;  1884  he  retired.  He 
was  a  classicist  in  ideal  of  the  Men- 
delssohn type  and  his  comp.  are  of 
precise  form  and  great  clarity.  He 
was  also  a  lecturer  and  writer  on 
music.  Hec.  3  other  operas,  2  orato- 
rios, 6  cantatas,  3  overtures,  3  sym- 
phonies,   a  ballad   ''■Richard  Lowen^ 


564 


THE    MUSICAL    GUIDE 


herz"'  with  orch.  (1883),  etc.  (4) 
Paul,  b.  Seifersdorf,  near  Liegaitz, 
Nov.,  1830;  1870,  asst. -organist, 
and  since  1881  organist  St.  Maria- 
Magdalena,  Breslau  ;  composer.  (5) 
Emma,  b.  Ulm ;  studied  with  Sit- 
tard  and  Hromada  ;  court-singer  at 
Wiirtemberg. 

Hill  mer,  (i)  Fr.,  Berlin,  ca.  1762 — 
184.7  '>  viola-player  ;  a  son  of  his  (2) 
was  a  singing-teacher  in  Berlin. 

Hil'pert,  W.  Kasimir,  Fr.,  Nurn- 
berg,  1841  —  Munich,  1896  ;  "cellist. 

Hilton,  J.,  d.  1657  ;  English  organist 
and  composer. 

Him'mel,  Fr.  H.,  Treuenbrietzen, 
Brandenburg,  1765 — Berlin,  1814; 
court-cond.  and  dram,  composer. 

Hind'le,  J.,  Westminster,  1761 — 1796; 
composer. 

Hine,  Wm.,  Oxfordshire,  1687 — 1730; 
composer  and  organist. 

Hings'ton,  J.,  d.  1683  ;  Engl,  organ- 
ist to  Chas.  I.  ;  and  composer. 

Hinke  (Mnk'-g),  (i)  Gv.  Ad.,  Dresden, 
1844 — Leipzig,  1893  ;  oboist.  Son  of 
(2)  Gf.  H.,  d.  1851. 

Hinrichs  (hin'-rtkhs),  Fz.,  Halle-on- 
the-Saale,  ca.  1820 — Berlin,  1S92  ; 
composer  and  writer  on  music.  His 
sister  (2)  Maria,     Vide  franz. 

Hip  kins,  Alfred  Jas.,  b.  West- 
minster, June  17,  1S26  ;  writer  ;  an 
authority  on  ancient  instrs.,  etc.  ; 
was  for  a  time  in  business  with 
Broadwood  ;  wrote  many  articles  for 
the  "  Encyclofxvdia  Britaitnica"  and 
"  Grove's  Dictionary  of  Music ,"  also 
books  on  old  instr.  and  pitch. 

Hirn  (hern),  Gv.  Ad.,  Logelbach,  near 
Colmar(AIsatia),  i8i5^Colmar,  1890; 
writer. 

Hirsch  (hersh),  (i)  Dr.,  Rudolf,  Napa- 
gedl,  Moravia,  18 16 — Vienna,  1872  ; 
critic,  poet  and  composer.  (2)  Karl, 
b.  Wemding,  Bavaria,  March  17, 
1858  ;  studied  in  Munich  ;  1885-87, 
church  mus.-dir.,  Munich;  18S7-92, 
Mannheim ;  then  Cologne  ;  since 
1893,  dir.  various  societies,  etc.  ;  c. 
numerous  pop.  a  cappclla  choruses, 
cantatas  ;      "  Werinher^'    a     dram. 


poem   with    orchestration   (op.    119) 
etc. 

Hirschbach  (hersh'-bakh),  H.,  Berlin 
1S12— Gohlis,  1888  ;  editor  and  con- 
poser. 

Hirschfeld  (hersh'-felt),  Robt.,  b.  Mc 
ravia,  1S58  ;  studied  Vienna  Cons, 
later  lecturer  there  ;  1884  teacher  ( 
musical  :\;sthetics  ;  took  Dr.  Phi: 
with  dissertation  on  ''Johannes  i\ 
Maris  "/  he  wrote  a  pamphlet  again 
Hanslick  in  defence  of  ancient  a  cuj 
pella  music,  and  founded  the  "R 
naissance-Abende"  to  cultivate  it. 

Hitz'ler,  Daniel,  Haidenheim,  Wu 
tenberg,  1756 — Stuttgart,  1635;  write 

Hobrecht  (ho'-brekht)  (or  Obrech 
Obreht,  Ober'tus,  Hober'tus),  J 
kob,  Utrecht,  ca.  1430 — Antwer 
ca.  1506  ;  church  composer  of  gre 
historical  importance. 

Hobbs,  J.  Wm.,  Henley,  1799 — Crc 
don,  1877  ;  tenor  and  composer. 

Hochberg  (hokh'-berkh),  Bolko,  Gi 
von  (pseud.  J.  H.  Franz),  b.  Furste 
stein  Castle,  Silesia,  Jan.  23,  184' 
maintained  the  H.  quartet  at  Dresdt, 
1876  founded  the  Silesian  music  if- 
vals  ;  1886,  general  intendant  Pr 
sian  Ct.  Th.;  prod.  2  operas; 
symphonies,  etc. 

Hod  ges,  (i)  Edw.,  Bristol,  Engl.,  i;  1 
— Clifton,  1867  ;  organist  and  writ' 
(2)  Faustina  Hasse,  daughter  .• 
above,  d.  New  York,  Feb.,  iSr; 
organist  and  composer.  (3)  Rev.l 
Seb.  Bach,  D.D.,  son  of  abo- ; 
rector  St.  Paul's  Ch.,  Baltimore;  • 
ganist. 

Hoffmann  (hof'-man),  (i)  Euchari , 
b.  Heldburg,  Franconia,  cantor  t 
Stralsund  ;  writer  and  compo  . 
1577-84.  (2)  Ernst  Th.  (At; 
deus)  Wm.  (he  added  Amadeusfm 
love  of  Mozart),  Konigsberg,  177- 
BerUn,  1822;  gifted  poet,  caricatui;, 
and  dram,  composer.  (3)  H.  A> 
(called  H.  von  Fallersleben), '  i- 
lersleben,  Hanover,  1798  — Ca  e 
Korvei,  1874;  writer.  (4)  Richil. 
b.  Manchester,  Engl.,  May  24,  li  ; 
pianist   and   teacher  ;    pupil    of    s 


DICTIONARY  OF  MUSICIANS   565 


father,  and  de  Meyer,  Pleyel,  Mosch- 
eles,  Rubinstein,  Dohler,  Thalberg, 
and  Liszt;  since  1847,  New  York ; 
solo  pianist  witli  Jenny  Lind  on 
tours,  etc.;  also  with  von  Billow, 
in  N.  Y.  (1875) ;  c.  anthems,  pf.- 
pcs.,  etc.  (5)  Karl,  b.  Prague,  Dec. 
12,  1S72 ;  violinist ;  studied  Prague 
Cons.;  founder  and  ist  vln.  the  fa- 
mous "Bohemian  String-quartet." 
(6)  Baptist,  b.  Garitz,  July  9,  1S64  ; 
bar}'tone ;  studied  with  Tipka  and 
Stockhausen  ;  1888-94  at  Cologne  ; 
1897  ct. -opera,  Berlin. 
loffmeister  (hof'-ml-shter),  Fz,  An- 
ton, Rotenburg-on-Neckar,  1754  — 
Vienna,  1812  ;  conductor  and  dram, 
composer,  etc. 

Iofhaimer(h6f'-hT-mer)  (Hoffheimer, 
Hoffhaimer,  Hoff  haymer),  Paulus 
von,  Radstadt,  Salzburg,  1459 — Salz- 
burg, 1537  ;  eminent  organist  ;  luten- 
ist,  composer  and  teacher. 
i      [ofmann    (hof-man),    (i)   Chr.,    ca. 
1668 ;    cantor    at    Krossen  :    writer. 
(2)   H.  (K.    Jn.),    Berlin,    Jan.     13, 
1842 — July  19,  1902;  pupil  of  Wiirst, 
KuUak's   Academy ;    famous   pf. -vir- 
tuoso  and   teacher ;    prod.   succ.  op- 
eras    ''  Ca7-touche''      (Berlin,     1869) 
and  "  Donna  Diana"  and  4  others  ; 
and  succ.  orch.  works,  "'  Hmigarian 
Suite  "  (1873)  and  ''  Frithjof"  symph. 
(1874) ;  is  a  Prof.,  and  a  member  of 
the   Berlin    R.   Acad,  of   Arts  ;  c.  6 
other    operas,     "secular    oratorio" 
''Prometheus"     (1896);      cantatas; 
"  Sckauspier'   overture  ;    "  Trauer- 
marsch"  Qtc,    for   orch.;  a   vln.-so- 
':;:      nata,  etc.  (3)  Richard,  b.  Delitzsch, 
Prussian  Sa.Kony,  April  30,  1844  ;  son 
of     municipal     mus.-dir.;     pupil     of 
Ti      I  Dreyschock  and  Jadassohn  ;  lives  in 
Leipzig    as    teacher  ;     pub.    a   valu- 
able "  Praktische   Instrunientations- 
;,'.    \schide"  (Leipzig,  1893),  a  catechism 
j.jB.:     of  instrs.,  etc.     (4)  Casimir  (rightly 
■ile'jK     Wyszkowski)    (wesh-kof'-shkl),   b. 
-      Cracow,     1842  ;     pianist  ;    prof,     of 
harm,  and  comp.  at  Cons.,  and  cond. 
of  opera,    Warsaw.       (5)   Josef,    b. 
Cracow,    Jan.    20,    1S77.       Son   and 


(till  1892)  pupil  of  (4)  ;  at  6  played  in 
public  ;  at  9  toured  Europe  ;  at  10 
gave  52  concerts  in  America  ;  then 
studied  2  years  with  Rubinstein  and 
made  new  debut  in  Dresden,  1894,  and 
has  toured  Europe  since  and  (1899) 
America  ;  from  being  a  sensational 
prodigy,  he  has  developed  into  a  solid 
artist  of  great  power,  virtuosity  and 
charm  ;  lives  in  Berlin  ;  c.  concerto, 
etc. 

Hofmeister  (hof'-ml-shter),  (i)  Fr., 
17S1 — 1S64  ;  publisher;  his  son  and 
successor  (2)  Ad.  H,,  ca.  1818 — Leip- 
zig, 1S70  ;  was  succeeded  by  Albert 
Rothing,  b.  Leipzig,  Jan.  4,  1845. 

Ho'garth,  G.,  Carfrae  Mill,  near  Ox- 
ton,  Berwickshire,  1783 — London, 
1S70 ;  'cellist  and  composer;  his 
daughter  m.  Charles  Dickens. 

Hohlfeld  (hol'-felt),  Otto,  Zeulenroda, 
Voigtland,  1S54 — Darmstadt,  1895  ; 
vln. -virtuoso  and  composer. 

Hohnstock  (hon'-shtok),  Carl,  Bruns- 
wick, 1828 — 1889  ;  teacher,  violinist, 
pianist  and  composer. 

Hoi,  Richard,  b.  Amsterdam,  July  23, 
1S25  ;  pupil  Martens  (org.)  and  of 
Bertelman  (harm,  and  cpt.) ;  teacher 
at  Amsterdam  ;  1862,  city  mus.-dir., 
Utrecht ;  1S69,  cath. -organist ;  1875, 
dir.  Sch.  of  Mus.;  also  cond.  "  Dili- 
gentia  "  Concerts  at  The  Hague,  Clas- 
sical Concerts  at  Amsterdam;  1878, 
officer  of  the  French  Academy ;  c. 
oratorio  ''David"  (op.  81)  ;  2  operas  ; 
2  symphonies,  etc. 

Hoi'borne,  Antony  and  Wm.,  Eng- 
lish composers,  1597. 

Hol'combe,  (i)  H.,  Salisbury,  ca. 
1690 — ca.  1750  ;  singer,  teacher  and 
composer.  (2)  Josephine,  soprano, 
N.  Y.,  and  (3)  Philip  G.,  harp- 
maker,  London,  both  descendants 
of  (I). 

Hol'den,* Oliver,  Charlestown,  Mass.; 
before  1792,  publisher ;  composer, 
his  comp.  incl.  the  hymn-tune  "  Cor. 
onation." 

Holder,  (i)  Rev.  Wm.,  Nottingham- 
shire, ca.  1614 — Amen  Corner,  1697  ; 
writer,     editor    and    composer.       (2) 


566 


THE    MUSICAL    GUIDE 


Jos.  Wm.,  St.  John's  Clerkenwell, 
1764 — 1S23  ;    organist  and  composer. 

Holdrich,  Geo.  M.,  English  org.- 
builder,  183S. 

Hollander  (hol'-lant-er),  (i)  Jans  (de 
Hollandere),  or  Jean  de  Holland, 
Xetherland  contrapuntist  (1543-58). 
(2)  Chr.  Janszone,  Dordrecht  (?), 
Holland,  ca.  1520— Munich,  ca. 
1570  ;  son  of  above  ;  conductor  and 
composer. 

Hollander  (hoi -lent-er),  (i)  Alexis, 
1).  Katibor,  Silesia,  Feb.  25,  1840; 
pianist ;  pupil  of  Schnabel  and  Hesse 
at  Breslau  ;  cond.  of  the  Gymnasium 
Singing  Society;  1858-61,  studied 
with  Grell  and  A.  W.  Bach,  and  K. 
Bohmer,  Berlin,  R.  Akad.;  1861, 
teacher  at  Kullak's  Acad.;  1864, 
cond.;  1870,  cond.  the  "  Cacilien- 
verein";  188S,  professor;  c.  6  pf. 
Intermezzi  for  left  hand,  etc.  (2) 
Gv.,  b.  Leobschlitz,  Upper  Silesia, 
Feb.  15,  1855  ;  played  in  public  very 
early ;  pupil  of  David,  of  Joachim 
(vln.),  and  Kiel  (theory)  ;  1874,  prin- 
cipal teacher  Kullak's  Acad,  and 
royal  chamber-mus. ;  toured  Austria 
with  Carlotta  Patti ;  1S81,  teacher  at 
the  Cons.,  Cologne;  1884,  leader  at 
the  Stadttheater  ;  1894,  dir.  Stern 
Cons.,  Berlin;  1S96,  concertmeister 
of  a  new  orch.,  Hamburg;  c.  vln. 
and  pf.-pcs.  (3)  Victor,  b.  Leob- 
schiitz,  April  20,  1866  ;  pupil  of  Kul- 
lak ;  c.  the  succ.  i-act  comic  operas 
"  Carmosinella  "  (Frankf.  -on  -  M., 
1SS8)  ;  "  The  Bey  of  Morocco  "  (Lon- 
don, 1S94)  and  piano-pieces. 

Hollangue.     Vide  monton. 

Hollmann  (hol'-man),  Josef,  b.  Maes- 
tricht,  Holland,  Oct.  16,  1S52  ;  not- 
able 'cellist ;  studied  with  Gervais  ; 
toured  Europe,  England  and  Amer- 
ica;  court-mus. ,  Holland,  and  wears 
many  decorations.  • 

Holly,  Fz,  Andrs.,  Luba,  Bohemia, 
1747 — Breslau,  May  4,  1783;  dir. 
and  writer  at  various  theatres  ;  com- 
poser. 

Holmes  (homz),  (i)  Edw.,  near  Lon- 
don, 1797 — U.  S,,  1859  ;  pf.-teacher, 


editor  and  critic.  (2)  Wm.  H,, 
Sudbury,  Derbyshire,  1812 — London, 
1885  ;  pianist  and  professor.  (3] 
Alfred,  London,  1837 — Paris,  1876 
son  of  above  ;  dram,  composer.  (4] 
Hy.,  b.  London,  Nov.  7,  1839 ;  bro, 
of  above  ;  vln. -prof.  R.  C.  ^I.;  c.  4J 
symphonies,  etc. 

Holmes  (ol'-mes)  (rightly  Holmes) 
Augusta  Mary  Anne,  b.  (of  Iris? 
parents)  Paris,  Dec.  16,  1847 ;  a: 
first  a  pianist  ;  studied  comp.  witl 
Lambert,  Klose  and  Cesar  Franck 
1S73,  prod,  a  psalm,  "  In  Exiiu" 
1874,  a  i-act  symphony  "  Ht'ro  e 
Leandre "  (Chatelet) ;  the  sympho 
nies  "  LuUce"  and  "  Les  Argo 
nautes"  1883  ;  symph.  "  Irlande^ 
1885  ;  unsucc.  drama  "  La  Montagn 
Noire"  (Gr.  Opera),  1895  ;  symphoni< 
poems,  ''Roland,''  ''  Pologne"  "  Ai 
Fays  Bleu";  2  operas,  etc.;  sb 
sometimes  uses  pseud.  ''Herman, 
Zenta." 

Hoist  (hoist),  Edvard,  Copenhag( 
1S43— N.  Y.,  1899;  lived  in  N.  Y. 
was  an  actor,  stage-dancer,  dancing 
master  and  playwright  ;  also  com 
poser  of  pop.  song  and  pf.-pcs.,  ove 
2,000  works  in  all. 

Holstein  (hoi  -shtln),  Fz.  (Fr.)  voc 
Brunswick,  1826 — Leipzig,  1878 
dram,  composer. 

Holten  (hol'-ten),  K.  von,  b.  Hair 
burg,  July  26,  1836 ;  pianist ;  pup^ 
of  J.  Schmitt,  Ave-Lallemant 
Gradener,  and  at  Leipzig  Consi 
since  1874,  teacher  Hamburg  Cons| 
c.  a  Kindersvmphonie,  etc. 

Holy  (6'-le),  Alfred,  b.  Oporto,  Auj 
5,  1866 ;  harp-virtuoso  ;  son  and  pi 
pil  of  a  cond.  and  teacher  froi 
Prague  ;  studied  at  Prague  Cons 
and  lived  there  till  1896,  when  1 
went  to  the  Berlin  ct. -opera. 

Holyoke  (hdl'-ydk),  Samuel,  Bo: 
ford,  Mass.,  1771 — Concord,  N.  H, 
1S16  ;  teacher.  j 

Holz  (holts),  K.,  Vienna,  1798—185^=. 
violinist  and  composer. 

Holzbauer  (holts'-bow-er),  Ignaz,  \ 
enna,  1711— Mannheim,  1783:  com 


DICTIONARY  OF  MUSICIANS    567 


conductor  and  dram,  composer  ;  high- 
Iv  praised  by  Mozart, 
(dlzel  (hel'-tsel),  (i)  K.,  Linz-on- 
Donau,  iSoS — Pesth,  1S83;  composer. 
(2)  Gustav,  Pesth,  1813— Vienna, 
1SS3  ;  bass  and  composer. 
iolzl  (hel'-ts'l),  Fz.  Severin,  Malacz- 
ka,  Hungary,  iSoS — Funikirchen, 
1SS4;  conductor  and  composer. 
omeyer  (h5'-mi-er),  name  of  a  mu- 
sical family.  Tlie  most  prom,  of 
them  is  (r)  Paul  Joseph  M,,  b.  Os- 
terode,  Harz,  Oct.  26,  1S53  ;  famous 
organist  at  the  Gewandhaus,  and 
teacher  Leipzig  Cons.  (2)  Jn.  Just. 
Adam,  editor.  His  son  (3)  H.  H. 
(1S32 — 1S91),  was  organist  at  Lam- 
springe  ;  St.  Leipzig  Cons. ;  and  also 
with  his  uncle  (4)  J.  M.  H.  (d.  Oct.  5, 
1S94),  organist  at  Duderstadt. 
omilius  (ho-me'-li-oos),  Gf.  Aug., 
Rosenthal,  Saxony,  17 14 — Dresden, 
17S5  ;  eminent  organist  and  com- 
poser. 

ood,  Helen,  b.  Chelsea,  ]\Iass.,  June 
23,  1863  ;  pupil  of  B.  J.  Lang  (pf.) 
and  Chadwick  (comp.),  Boston  ;  and 
Moszkowski  (pf.) ;  lives  in  Boston; 
composer. 

00k,  Jas.,  Norwich,  1746 — Boulogne, 
1827  ;  organist  and  composer, 
oop'er,  Edmond,  Halberton,  De- 
von, ca.  1553 — 1621  ;  composer. 
ope'kirk,  Helen,  b.  near  Edinburgh; 
studied  with  Lichtenstein  and  A.  C. 
Mackenzie  ;  for  2  years  at  Leipzig, 
later  with  Leschetizky  ;  debut  as 
pianist  at  Gewandhaus,  Leipzig, 
1878  ;  gave  concerts  in  Great  Britain 
and  (1883-84)  U.  S.;  1897-igoi, 
teacher  N.  E.  Cons.;  now  private 
teacher,  Boston,  Mass.;  c.  Concert- 
stuck  for  pf.  and  orch.;  1894,  orch. 
pes.;  a  pf. -concerto  ;  sonata  for  pf. 
and  vln.,  and  songs. 
opffer(h6p'-fer),  L.  Bd.,  Berlin,  1840 
— Xiederwald,  near  Rudesheim,  1S77; 
Iram.  composer. 

op  kins,  (i)  Edw.  J.,  Westminster, 
June  30,  iSiS— London,  Feb.  4, 
1901  ;  self-taught  organist  at  various 
churches;   1843-1898,  to  the  Temple 


Ch.,  London;  wrote  "  The  Organ  ; 
its  History  ami  Construction  "  (Rim- 
bault)  ;  contributed  to  Grove's  Diet, 
of  Mus.  ;  c.  3  prize  anthems,  hymn- 
tunes,   chants   and    church  -  services. 

(2)  Edw.  Jerome,  Burlington,  Vt., 
1S36— Athenia,  N.  J.,  1898;  self- 
taught  in  harmony  ;  began  composing 
at    4  ;    organist,   editor  and    lecturer. 

(3)  Harry  Patterson,  b.  Baltimore ; 
graduated  Feabody  Inst..  i8g6 ; 
studied  with  Dvorak  in  Bohemia  ; 
lives  in  New  York  ;  c.  a  symphony, 
songs,  etc. 

Hoplit.     Vide  pohl,  r. 

Horak  (ho'-rak),  (i)  Wenzel  (Vaclav) 
Emanuel,  Mscheno-Lobes,  Bohe- 
mia, iSoo — Prague,  1871  ;  organist, 
teacher  and  composer.  (2)  Ed.,  Ho- 
litz,  Bohemia,  1S39 — Riva,  Lake  of 
Garda,  1892  ;  teacher  and  writer.  (3) 
Ad.,  b.  Jankovic,  Bohemia,  Feb. 
IS,  1850  ;  bro.  of  above  and  co- 
founder,  "Horak"  Pf.-School,  V^i- 
enna  ;  writer. 

Horn,  (i)  K.  Fr.,  Nordhausen,  Saxony, 
1762 — Windsor,  Engl.,  1830  ;  organ- 
ist, writer  and  theorist.  (2)  Chas. 
Edw.,  London,  17S6  —  Boston, 
Mass.,  1849;  son  of  above;  singer, 
teacher,  cond.,  and  composer.  (3) 
Aug.,  Freiberg,  Saxony,  1825  — 
Leipzig,    1893  ;  dram,  composer. 

Horneman  (h6r'-ne-man\  (i)  Johan 
Ole  Emil,  Copenhagen,  1S09 — 1870; 
composer.  (2)  Chr.  F.  Emil,  b. 
Copenhagen,  Dec.  17,  1841  ;  son  and 
pupil  of  above  ;  studied  at  Leipzig 
Cons. ;  dir.  of  sch.  of  mus.  in  Copen- 
hagen ;  covertures  "  A  iaddin"  and 
''  HelLicnleben"  ftXc. 

Hornstein  (hom'-shtln),  Robt.  von, 
Stuttgart,  1833  —  Munich,  1890; 
dram,  composer. 

Hors'ley,  (i)  Wm.,  London,  1774  — 
1858  ;  organist,  theorist  and  com- 
poser. (2)  Chas.  Edw.,  London, 
1822 — New  York,  1876  ;  son  and  pu- 
pil of  above  ;  organist,  writer  and 
composer. 

Horwitz  (hor'-vlts),  Benno,  b.  Berlin.. 
March  17,  1855  ;  violinist    and    com' 


568 


THE    MUSICAL    GUIDE 


poser ;  pupil  of  the  Rl.  Hochschule, 
and  of  Kiel  and  Albert  Becker  ;  c. 
symph.  poem  ''  Dionysos"  etc. 

Hostinsky  (ho-shten'-shkt),  Ottokar, 
b.  Martinoves,  Bohemia,  Jan.  2, 
1847;   Dr.  Phil.,  Prague;   writer. 

Hoth'by  (or  Hothobus,  Otteby,  Fra 
Ottobi),  John  (or  Johannes),  d. 
London,  Nov.,  14S7;  English  Carmel- 
ite monk  ;  famous  for  science. 

Hotteterre  (6t'-tar),  (i)  Henri,  d. 
1683  ;  instr. -maker,  musette  player, 
ct. -musician.  (2)  Louis  (called  "  Le 
Remain,"  having  lived  in  Rome)  ; 
son  of  above ;  notable  flutist  and 
writer.  (3)  Nicolas,  d.  1695  ;  noted 
bassoonist  and  oboist ;  bro.  of  (2). 

Ho'ven,  J.,  pen  -  name  of  V.  von 
Putt-Lingen, 

Howard,  (i)  Samuel,  1710 — 1782  ; 
English  organist  and  composer.  (2) 
G.  H.,  b.  Norton,  Mass.,  Nov.  12, 
1843  >  pupil  of  J.  Tufts  (theory),  and 
B.  F.  Baker  (singing),  also  at  Leip- 
zig Cons.;  teacher  in  Boston;  1891, 
founder  and  dir.  School  for  Teach- 
ers ;  composer. 

How'ell,  (i)  Jas.,  b.  Plymouth,  Eng- 
land, d.  1879  ;  singer  and  double-bass 
player.  His  2  sons  :  (2)  Arthur,  d. 
1885  ;  double-bass  player  and  bass 
singer.     (3)  Edw.,  'cellist. 

How'gill,  Wm.,  Engl,  organist  and 
composer,  1794. 

Hoy'land,  (i)  J.,  Shefheld,  1783— 1827  ; 
organist  and  composer.  (2)  Wm.,  d. 
1857  ;  son  of  above  ;  organist. 

Hrimaly  (h'rlm'-ii-le),  Adalbert,  b. 
Pilsen,  Bohemia,  July  30,  1842  ;  vio- 
linist ;  pupil  of  Mildner,  Prague 
Cons.,  1861;  cond.  Gothenburg orch., 
1868;  National  Th.,  Prague;  at  the 
German  Th.,  there  in  1873,  and 
at  Czernov^ritz,  Bukowina,  in  1875  ; 
his  succ.  opera  ''  Der  Verzaiibcrte 
Prinz "  (1871)  is  still  played  at 
Prague. 

Hromada  (h'ra'-mii-du),  A.,  Kladno, 
Bohemia,  Dec.  23,  1841 — 1901  ;  not- 
able bass-barytone  ;  pupil  of  Pivoda, 
Stockhausen  and  Fra  Lamperti;  debut 
Ct.-opera,  Stuttgart,   1866 ;  has  sung 


there  since ;    has  also  toured  and  is( 
heavily  decorated. 

Hubay  (hoo'-ba-e)  (or  Huber),  (i) 
K.,  Varjas,  Hungary,  1828— Pesth,| 
18S5  ;  vln.-prof. ,  Pesth  Cons.;  con- 
ductor and  dram,  composer.  (2) 
Jend  (known  as  Eugen  Huber  iri 
Germany),  b.  Budapesth,  Sept.  15,^ 
1858  ;  vioUnist  ;  son  and  pupil  ol: 
above,  and  1886  his  successor  as 
prof.;  also  studied  with  Joachim 
gave  succ.  concerts  in  Hungar)' 
and  at  Paris ;  1882  principal  vln, 
prof.,  Brussels  Cons.;  1894,  m. 
Countess  Rosa  Cebrian ;  c.  succ, 
opera  ' '  Der  Geigettmacher  von  Cre 
w^««"  (Pesth,  1893);  opera  "Alie- 
nor" (Pesth,  1S92)  ;  succ.  Hungariai 
opera  "  A  Falu  Rossza  "  (The  Town 
loafer)  (Budapesth,  1896) ;  a  sym 
phony,  etc. 

Huber  (hoo'-ber),  (i)  F.,  d.  Berne 
Feb.  23,  18  ro;  poet  and  song-com 
poser.  (2)  Fd.,  1791 — St.  Gallen 
1863 ;  Swiss  song-writer.  (3)  K 
Vide  HUB.w.  (4)jos.,  Sigmaringen 
1837 — Stuttgart,  1886  ;  violinist  ano 
dram,  composer.  (5)  Hans 
.Schonewerd,  Switzerland,  June  28 
1852;  pupil  Leipzig  Cons.;  teache 
at  Wesserling  for  2  years,  then 
Thann  (Alsatia),  later  Basel  Musi 
School  ;  1892,  Dr.  Phil.  h.  c, 
Univ.  ;  1896,  dir.  of  the  Mus.  Sch. 
c.  succ.  operas  "  Weltfriihling 
(Basel,  1894)  ;  and  "  Gudrun 
(Basel,  1896) ;  cantatas,  sonatas 
concertos,  overtures  ''  Lnsispiel, 
symph.    "  Tell"   etc.      (6)    Eugen; 

Vide  HUBAY,   JENO. 

Hu  bermann,  Bronislaw,  PoHsh  vie 
linist ;  succ.  debut  as  prodigy ;  re 
tired  for  five  years'  study  ;  reap 
peared,  Bucharest,  1902. 

Hubert  (hoo'-bert),  Nikolai  Alberto 
vitch,  1840 — 1888  ;  prof,  and  writei 
at  Moscow. 

Huberti  (u-ber'-te),  L6on  Gve.,  t 
Brussels,  April  14,  1843  ;  pupil  Brui 
sels  Cons.  ;  1865,  won  Pri.x  de  Romt 
1874-78,  dir.  of  Mons.  Cons.  ;  i88c 
89,  Antwerp  ;  since  prof,  at  Brusse 


^ 


DICTIONARY  OF  MUSICIANS   569 


Cons.,  and  dir.  of  the  Mus. -School  of 
St.  Josse  -  ten  -  Noode  -  Schaerbeek  ; 
1891,  member  of  the  Belgian  Aca- 
demy ;  1893,  chevalier  of  ■  the 
Legion  of  Honour.  C.  3  oratorios, 
the  dram,  poem  "  Ver/ichditg" 
("  Fiat  lux  "),  with  orch. ;  symphonic 
poem  "  Kinderlust  en  Leed"  chorus 
and  orch.,  etc.;  symphonie  funebre, 
festival  marches,  etc. 
iucbald  (hook'-balt,  oriik-bal)  (Hug- 
baldus,  Ubal  dus,  Uchuijaldus) 
deS.Amand(o),  ca.  S40 — St.  Amand, 
near  Tournay,  June  25  (or  Oct.  21), 
930  (or  June  20,  932).  He  is  perhaps 
credited  with  some  works  belonging 
to  a  monk  of  the  same  name  living  a 
century  later ,  pupil  of  his  uncle, 
Milo,  a  mus. -dir.,  whose  jealousy 
drove  him  to  Nevers,  where  he  taught 
singing  ;  S72  he  succeeded  his  uncle  ; 
ca.  893,  the  Archbishop  of  Rheims 
invited  him  to  reform  the  music  of 
the  diocese.  His  works  (Gerbert) 
contain  the  first  known  notation 
showing  difference  of  pitch  on  lines. 
iudson,  (i)  Robt.,  1731  —  Eton, 
1815  ;  singer,  organist  and  composer. 
(2)  Mary,  daughter  of  above  ;  organ- 
ist and  composer,  1801. 
ilue  (ii),  Georges  Ad.,  b.  Versailles, 
\  May  6,  1858;  pupil  of  Paris  Cons., 
;  took  1st  Grand  pri.x  de  Rome  ;  later 
Prix  Cressent ;  1.  Paris  as  teacher  ; 
c.  op.  com.  '' Les  Pantins"  (Op.- 
Com.,  1881) ;  "■Rubcza/il"  symphonic 
legend  in  3  parts  ("  Concerts  Co- 
lonne,"  1S86) ;  succ.  "  Feerie  drama- 
tique  "  "Z<7  Belle  au  Bois  Dormant" 
(Paris,  1894);  "episode  sacre " 
,  "Ressttrrection''  ;  a  symphony,  a 
symphonic  overture  ;  2  operas  "  Va- 
zanftr,"  and  "  Le  Roi  de  Paris  "  (not 
prod.),  etc. 
jlueffer  (hlif'-fer),  Francis,  Munster, 
I  1843 — London,  Jan.  ig,  1899;  1869, 
■  lived  in  London  ;  from  1878,  critic  of 

TJu  Times  ;  librettist  and  writer. 
lugo  von   Reutlingen   (hoo'-go  fon 
roit'-llng-en)   (called   "  Spechzhart  "), 
1285  (1286?)— 1359  (1360?)  ;  writer. 
luguenet  (ug-na).    Vide  girard. 


Huhn  (hoon),  Charlotte,  b.  Liineburg, 
Sept.  15,  1 868  ;  alto  ;  studied  with 
Hoppe,  Hey,  and  Marianne  Brandt  ; 
sang  2  years  at  the  New  York  Opera, 
then  at  Cologne;  1895  Dresden;  1900 
Vienna  ct. -opera. 

Hul  lah,  John  Pyke,  Worcester,  June 
27,  1812 — London,  Feb.  21,  18S4  ; 
professor,  conductor,  writer  and 
dram,  composer. 

Hiiller,  J.  A,     Vide  hiixer. 

Hiillmandel  (hll'-mant-'l),  (i)  Nicho- 
las Jos.,  Strassburg,  1751  —  Lon- 
don, 1823  ;  pianist  and  harmonica- 
player.  (2)  Rodolphe,  famous  horn- 
virtuoso  and  composer ,  uncle  of 
above. 

Hullweck  (hll'-vek),  (i)  Fd.,  Dessau. 
1824 — Blasewitz,  1887  ;  concert-vio- 
linist and  composer.  (2)  K.,  b.  Dres- 
den, April  15,  1852  ;  son  of  above  ; 
pupil  of  Fr.  Grutzmacher  ('cello)  ; 
Reichel  and  Merkel  (harm,  and  cpt.); 
1877-82  'cellist  Dresden  ct.-orch.  ; 
'cello-teacher,  Dresden  Cons.  ;  com- 
poser. 

Hiilskamp  (htls'-kamp),  Henry  (or 
Gv.  Heinrich),  b.  Westphalia  ;  1850 
established  a  factory  at  Troy,  N.  Y. ; 
1866,   N.  Y. 

Hume,  Lobias,  Engl,  viol  da  gambist, 
etc.,  17th  cent. 

Hum'frey  (Humphrey,  Humphrys), 
Pelham,  London,  1647 — Windsor, 
July  14,  1674  ;  important  English 
composer.  Charles  IL  sent  him  to 
Paris  to  study  with  Lully  ;  1672 
master  Chapel  Royal  children  and 
with  Purcell  ct. -composer. 

Hummel  (hoom'-mel),  (i)  Jos.,  music- 
master  Wartberg  Military  Acad.  ; 
1786,  conductor  at  Vienna.  (2)  Jn. 
Nepomuk,  Pressburg,  Nov.  14,  1778 
— Weimar,  Oct.  17,  1837;  son  of  above; 
a  famous  pianist  and  improviser,  and 
a  composer  of  once  popular  pieces  in 
which  ornament  outweighs  matter  ; 
and  form,  interest  ;  protege  of  Mo- 
zart ;  debut  1787  ;  toured  Europe  fre- 
quently; 1793  studied  with  Albrechts. 
berger  ;  asst.-cond.  to  Haydn,  1804- 
l\  \   1830  and   1833   cond.    German 


J70 


THE  MUSICAL  GUIDE 


opera  in  London  ;  c.  operas,  canta- 
tas, ballets,  3  masses,  sonatas;  he  pub. 
a  notable  pf. -method  ;  c.  dram,  pes., 
concertos,  sonatas,  septet  in  D  minor, 
etc.  (3)  Elisabeth  (nee  Rockl), 
1783 — Weimar,  1S83  ;  wife  of  above; 
opera-singer.  (4)  Jos.  Fr.,  b.  Inns- 
bruclc,  Aug.  14,  1841  ;  pupil  Munich 
Cons.,  1861-80  ;  th.-cond.  Vienna, 
since  1880  dir.  Mozarteum  at  Salz- 
burg, and  cond.  Liedertafel.  (5) 
Fd.,  b.  Berlin,  Sept.  6,  1855  ;  son 
and  pupil  of  a  musician  ;  at  7  a  harp 
virtuoso;  1864-67  toured  Europe, 
and  received  a  royal  grant  for  study 
at  Kullak's  Akademie,  Berlin  ;  187 1- 
75,  studied  R.  High  Sch.  of  Mus., 
then  at  Akademie;  c.  succ.  operas, 
''Mara"  (Berlin,  1893);  '' Ein 
Treuer  Schelm "  (Prague,  1894)  ; 
"  Assar/>(7i"  (Gotha.,  1898);  a  sym- 
phony, sonatas,  etc. 
Humperdinck  (hoom'-pgr-dlnk),  En- 
gelbert,  b.  Siegburg,  near  Bonn, 
Sept.  I,  1854  ;  studied  architecture, 
Cologne,  then  mus.  at  the  Cons.  ; 
won  Mozart  scholarship  at  Frank- 
fort ;  studied  2  years  with  Franz 
Lachner,  Munich,  also  with  Rhein- 
berger  and  Barmann  at  the  Cons.  ; 
pub.  Humoreske  for  orch.  and  "  Z)/> 
Wallfahrt  nach  Kevclaar"  for  cho- 
rus ;  1S78  won  the  Mendelssohn 
prize  (3,000  marks),  1880  the  Meyer- 
beer prize  (7,600  marks)  ;  1885-86, 
prof.  Barcelona  Cons.;  1881-82,  a 
special  protege  of  R.  Wagner  in  Bay- 
reuth  ;  made  pf. -scores,  and  aided  in 
the  preparation  of  "  Parsifal^  Re- 
turned to  Cologne,  1887,  went  to 
Mayence  in  the  employ  of  Schott  & 
Co.  ;  1890  teacher  Hoch  Cons., 
Frankfort.  Critic  on  the  Frankfort 
Zeitung,  since  lives  at  Boppard-on- 
Rhine.  His  first  international  succ. 
was  the  graceful  2-act  fairy-opera 
"  Hiinsel  tind  Gretel"  Munich, 
1893  (prod,  at  Milan,  1897,  as  Miuo 
e  Rita);  c.  also  ''  Doniroschen" ; 
''Die'  Konigskinder  "  (1896);  "  Saint- 
Cyr  ,-"  "  Die  7  Geieslein  "  ("  March- 
enspiel    fur  die    Kleinen  ")  ;   symph. 


incid.    mus.,    "  Moorish   Rhapsodie" 
for  orch.,  etc. 

Huneker  (hu'-nek-er),  Jas.  (Gibbons), 
b.  Philadelphia,  Jan.  31,  i860; 
prominent  critic  and  writer ;  at  first 
intended  for  the  priesthood  ;  pupil  of 
Michael  Cross  (pf.)  at  Philadelphia, 
1878,  with  Th.  Ritter  and  Ld.  Dou- 
treleau,  Paris ;  since  1888  lives  in 
New  York  as  pf. -teacher  at  the  Nat. 
Cons. ;  for  some  time  mus.  and  dram, 
critic  of  the  Com/nercial  Advertise* 
and  The  Recorder;  1901  of  the  N.  Y. 
Sun  ;  has  for  many  years  written  the 
brilliant  "  Raconteur"  department  of 
the  Mus.  Courier.  Many  of  his  es- 
says were  reprinted  with  gieat  succ 
3iS  "  Afezzotints  in  Modern  Music' 
(New  York,  1899)  ;  his  biogr.  anc 
critical  "Chopin,  the  Man  and  his 
Music"  (N.  Y.,  1900)  is  an  impor- 
tant book  ;  and  his  "  Melonianiacs'" 
(1901),  studies  of  musical  personalities 
and  moods  in  the  form  of  short  sto- 
ries, is  a  work  of  unique  insight  and 
ingenuity.  He  is  preparing  a  life  of 
Liszt. 

Hungar  (hoong'-ar),  Ernst,  b.  Schon- 
bach,  Aug.  5,  1854  ;  barytone  ;  pupil 
of  Stockhausen  ;  teacher  at  Dresden 
and  Cologne  Cons.;  sangat  Schwerin 
ct. -opera  ;   lives  in  Leipzig.  ; 

HunkS  (hoon'-ke),  Jos.,  josephstadt,; 
Bohemia,  1801 — St.  Petersburg,  1883;' 
choirm.  Russian  ct. -chapel  ;  com-, 
poser.  1 

Hunten  (htn'-ten),  (i)  Fz.,  Coblenz.. 
1793 — 1S78  ;  c.  pop.  pf.-pcs. ,  etc 
His  brothers,  (2)  Wm.,  pf. -teacher! 
Coblenz,  and  (3)  Peter  Ernst,  aj 
Duisburg,  also  c.  pop.  pieces. 

Hurel  de  Lamare  (u'-rel-dCi-la-mar)! 
Jacques  Michel,  Paris,  1772 — Caen' 
1S23  ;  'cellist  and  composer;  hi 
friend  Auber  pub.  some  comp.  unde 
H.'s  name. 

Huss  (hoos),  (i)  G.  J.,  b.  Roth,  nea' 
Niirnberg,  Sept.  25,  1S2S  ;  son  am 
pupil  of  (2)  Jn.  Michael  (pianist) 
also  studied  org.  with  Lambrecht 
1848,  America  as  organist  variou 
churches.      1S56,  New  York,  org.  pf. 


DICTIONARY  OF  MUSICIANS    571 


teacher  and  composer.  (3)  H.  Hold- 
en,  b.  Newark,  N.  J.,  June  21,  1S62  ; 
concert-pianist  and  teacher  ;  son  and 
pupil  of  (i)  ;  studied  with  O.  B. 
Boise  (cpt.  and  comp.),  also  at  Mu- 
nich Cons.;  lives  in  N.  Y.  as  teacher 
of  pf.,  comp.  and  instr. ;  pub.  pf.- 
concerto,  ballade  '"  Haidenrdslein,'' 
etc.;  he  has  also  works  in  MS.,  but 
performed  with  succ. :  rhapsody  for 
pf.  and  orch. ,  ''Festival  Sanctiis" 
for  chorus  and  organ,  with  orch. ;  a 
vln.-concerto  ;  romanze  and  polonaise 
for  vln.  with  orch.;  a  pf.-trio,  ''Cleo- 
patra's Death"  etc. 
lutch  inson,  (1)  J.,  organist  and  com- 
poser Durham  cath.,  17th  cent.  (2) 
I  Francis,  English  composer  under 
(  pseudon\'m        ' '  Francis       Ireland, " 

\  i-ni. 

lutschenruijter  (hoot'-shen-roi-ter), 
(i)Willem,  Rotterdam,  1796 — 1878  ; 
horn-  and  trumpet-virtuoso  ;  profess- 
or, conductor,  director  and  dram, 
composer.  (2)  Willem,  b.  March 
22,  1828  ;  son  of  above  ;  horn-virtu- 
oso. 

Bttenbrenner  (htt'  -  ten  -  bren  -  ner), 
Anselm,  Graz,  Styria,  1794 — Ober- 
Andritz,  1868  ;  pianist,  conductor 
and  dram,  composer. 

lykaert  (or  Ycaert)  (e-kart),  Bd., 
cantor  in  Belgium,  ca.  1480  ;  theorist 
and  composer. 

lyllested  (hfd'-le-stadh),  Aug.,  b.  (of 
Danish  parents)  Stockholm,  June  17, 
185S  ;  violinist ;  at  5  played"  in  pub- 
lic ;  studied  with  Holger  Dahl  till 
1869,  and  then  made  succ.  tour 
through  Scandinavia  ;  entered  the 
Royal  Cons,  at  Copenhagen  ;  1876, 
organist  of  the  Cath.,  and  dir.  of  a 
mus.  soc;  1879,  studied  with  Kullak, 
Kiel,  and  later  Liszt  ;  1885,  toured  U. 
S.;  1886-91,  asst.-dir.  Chicago  Mus. 
Coll.;  1891-94,  Gottschalk  Lyric 
Sch.;  1S94-97,  toured  Europe  ;  prod, 
in  London,  symph.  poem  "  Eliza- 
hcth"  with  double  chorus ;  1897, 
Chicago;  c.  romantic  play  "Die 
Rheinnixe"     orch.     "suite     roman- 

I  tique,''  etc. 


/ 


Ibach  (e-bJikh),  (i)  Jns.  Ad.,  1766— 
1848;  pf.  and  organ-builder.  His  son 
(2)  C.  Rudolf  (d.  1862),  and  (3) 
Richard,  joined  the  firm  ;  a  third 
son  (4)  Gustav  J.,  founded  another 
business  1869.  (5)  Rudolf  (d.  Herren- 
alb,  Black  Forest,  July,  1892),  son  of 
(2),  continued  the  pf. -factory,  and 
Richard,  the  organ-factory. 

Iliffe  (I'-llf),  Fr.,  b.  Smeeton-Westerby, 
Leicester,  Engl. ,  Feb.  21,  1847;  since 
1883,  organist  and  choirm.  St.  John's 
Coll.,  Oxford  ;  cond.  of  Queen's 
Coll.  Mus.  Soc.  1873,  Mus.  Bac. 
Oxon. ;  wrote  "Critical  Analysis  of 
BacJCs  Clavichord"  (London,  1896  ; 
4  parts)  ;  c.  oratorio,  "  The  Visions 
of  St.  John  the  Divine";  cantata 
with  orch.  "  Lara"  etc. 

Ilinski  (e-lln'-shkl).  Count  Jan  Stanis- 
law,  b.  Castle  Romanov,  1795  ; 
composer. 

Im'myns,  (i)  J.,  1700  (?)— London, 
1764;  lutenist.  (2)  J.,  d.  1794;  son 
of  above  ;  organist. 

Incledon,  Chas.,  Bery  St.  Kevern, 
Cornwall,  1763— 1826  ;  tenor,  called 
"  The  Wandering  Melodiste." 

Indy  (daii-de),  Paul  M.  Th.  V.  d*, 
b.  Paris,  March  27,  1851;  pupil  of 
Cesar  Franck  (comp.)  and  at  the 
Cons.,  1875,  chorusm.  with  Co- 
lonne  ;  played  drum-parts  for  3  years 
to  learn  instrumentation  ;  he  is  pres. 
of  various  concert-societies;  mus.- 
inspector  of  Paris  schools  ;  chev.  of 
the  Legion  of  Honour  ;  c.  a  3-part 
symph.  poem  "  Wallenstein"  (Part 
IL,  "/  Piccoloinini"  ^xoA.  1874  by 
Pasdeloup)  ;  symphonies  (i)  "On  a 
French  fuountaineer-song"  and  (2) 
"Jean  Htinyadi"  symphonic  legend 
"La  forct  enchante'e" ;  overture  to 
"Antony  and  Cleopatra" ;  "La  Che- 
vauche'e  du  Cid"  for  orch.  ;  sym- 
phonic pf. -concerto  ;  prod,  i-act  com- 
ic opera,  "Attendez-nioi  sous  VOrme" 
(Op. -com.,  1882);  c.  te.xt  and  mus.; 
succ.  mus.  drama,  "  Fervaal"  (Brus- 
sels, 1897);  "VEtranger"  (do.  1902). 


572 


THE    MUSICAL    GUIDE 


Ingegneri  (en-gan-ya'-re),  Marco  A., 
Venice  (or  Cremona),  ca.  1540 — Fer- 
rara  (?),  1603  ;  conductor,  composer 
and  publisher. 

Ing'lott,  Wm.,  1544  —  1621  ;  Eng. 
organist. 

Insanguine  (en-san-gwe'-na),  Giaco- 
mo  (called  Monopoli),  Monopilo, 
1744 — Naples,  1795  ;  teacher  and 
dram,  composer. 

Ireland,  Francis.  Pen  name  of  Hutch- 
inson (2). 

Irgang(er'-gang),Fr.  Wm.,b.  Hirsch- 
berg,  Schleswig,  Feb.  23,  1836 ;  pu- 
pil of  Grell  and  A.  W.  Bach,  R. 
.\cad.,  Berlin,  1856-59;  then  teacher 
in  Proksch's  Sch.,  Prague;  1863, 
founded  sch.  at  Gorlitz  ;  also  organ 
composer. 

Isaak  (e'-zak),  H.  (or  Isaac,  Izak, 
Yzac,  Ysack  ;  in  Italy  Arrigo  Te- 
desco,  Henry  the  derman  ;  Low; 
Lat.  Arrighus),  ca.  1450 — ca.  1517 
famous  contrapuntist  doubtless  of 
Netherlandish  birth ;  conductor  and 
organist. 

I'sham,  J.,  d.  London,  1726;  organist 
and  composer. 

Isido'rus  (Hispalen'sis),  Saint,  Car- 
tagena,ca.  570 — 636;  writer (Gerbert). 

Isnardi  (es-nar'-de),  Paolo,  b.  Ferrara, 
ca.  1525  ;  conductor  and  composer. 

Isouard  (e-zoo-ar),  Niccolo  (called 
Niccolo  de  Malte),  Malta,  1775 — 
Paris,  March  23,  1S18  ;  pupil  of 
Amendola,  Sala,  and  Guglelmi  ;  or- 
ganist, conductor  and  prolific  dram, 
composer. 

Israel  (es'-ra-el),  K.,  Heiligenrode, 
Electoral  Hesse,  1841 — Frankfort- 
on-M.,  188 1;  critic  and  bibliographer. 

I'van(h)off,  Nicholas,  b.  1809 ;  Rus- 
sian tenor. 

Ives,  Simon,  d.  London,  1662  ;  Engl, 
singer  and  composer. 

Ivry  (dev-re),  Paul  Xavier  Desire, 
Marquis  Richard  d',  b.  Beaune, 
Cote  D'Or,  Feb.  4,  1829  ;  pupil  of 
A.  Hignard  and  Leborne  ;  since  1854 
lives  in  Paris  as  amateur  ;  c.  operas, 
"  Fatma;'  "  Qiientin  Metzys^  "  (1854). 
"  Z<7   Maisoii   da   Docteur"  (Dijon, 


1855),  "  Omphale  et  Pt'ne'lop^"  ''Les 
Amants  de  Ve'rone''  (1S67),  under 
the  pen-name  "Richard  Irvid;" 
revised  as  "Romeo  et  Juliette," 
1878;  ''Perseverance  U  Amour" 
(MS.)  ;  concert-overture,  songs,  etc. 
Izac.     Vide  isaak. 


Jachet.     Vide  berchem. 
Jachmann-Wagner  (yakh'-man).  Vide 

WAGNER,  JOHANNA. 

Jack'son,  (i)  Wm.,  Exeter,  1730— 
1803  ;  organist,  writer,  and  dram, 
composer.  (2)  Wm.,  Masham, 
Yorks,  Engl.,  1S15— Bradford,  1866; 
organist,  conductor,  writer  and  com- 
poser. (3)  Samuel  P.,  Manchester, 
Engl.,  1818— Brooklyn,  N.  Y.,  1885; 
composer ;  son  of  (4)  James  J.,  or- 
gan-builder. (5)  Edwin  W.,  Eng- 
lish justice  of  the  peace,  pub.  in 
German  (Leipzig,  1866)  a  valuable 
manual  of  finger-gymnastics.  (6)  J, 
P.,  English  writer ;  pub.  books  anc 
transl.  of  Wagner's  operas. 

Ja'cob,  (i)  Benj.,  London,  1778 — 1829 
organist,  conductor  and  composer. 
(2)    F.    A.    L.  ,  Vide  jakob. 

Jacobs  (zha-ko),  Edouard,b.  Hal,  Bel: 
gium,  1851  ;  pupil  of  Servais,  Brus- 
sels Cons.;  'cellist  Weimar  ct.  orch.. 
for  some  years;  1885  prof.  Brussel 
Cons. 

Jacobsohn  (yak'-6p-z6n),  Simon  E. 
b.  Mitau,  Kurland,  Dec.  24,  1839 
violinist  ;  pupil  Leipzig  Cons.  ;  i86i' 
leader  Bremen  orch.;  1872,  of  Theo 
dore  Thomas's  orch.,  N.  Y. ;  teache 
Cincinnati  Cons.,  then  Chicago. 

Jacobsthal  (yak'-6ps-tal),  Gv.,  b.  P} 
ritz,  Pomerania,  March  14,  1845 
1872,  lecturer  on  music  Strassbur 
Univ.;  1875  professor  e.xtraordinar) 
writer. 

Jacotin  (rightly  Jacques  Godebrye 
(zhak-6-tan)  (or  god-bre),  ca.  1445" 
March  24,  1529;  famous  Flemif 
cptist.;  singer  and  composer  at  An 
werp. 


DICTIONARY  OF  MUSICIANS   573 


Jacquard    (zhak-kar),  Leon  J.,  Paris, 

1S26 — 1886  ;  'cellist  ;  composer. 
Jadassohn  (ya -das-z6n),  Salomon, 
Breslau,  Aug.  13, 1831 — Leipzig,  Feb. 
I,  1901  ;  eminent  theorist ;  pupil  of 
Hesse  (pf.),  Lustner  (vln.)  and  Bro- 
sig  (harm.) ;  later  Leipzig  Cons.,  then 
with  Liszt,  and  Hauptmann  (comp.); 
from  1852  lived  in  Leipzig  ;  1S66 
cond.  "  Balterion"  choral  soc;  1867- 
69  cond."  Euterpe";  from  1S71,  prof. 
of  pf.,  harm.,  cpt.,  com.p.  and  instru- 
mentation at  the  Cons.  1S77,  Dr. 
Phil.,  h.  c.\  1893  Royal  Prof.  He  m. 
a  singing-teacher.  Wrote  occasion- 
ally under  name  "  Liibenau  "  (lii'- 
be-no\v).  Pub.  very  succ.  text-books 
all  trans,  in  English.  '^  Harmonie- 
lehre"  (Leipzig,  1883);  ""  Kontra- 
punkf'  (1884)  ;  "  Kanon  unci  Fiige" 
(1884);  "■  Die  Formen  in  den  Werk- 
cu  de?-  Tonkitnst"  (1SS9)  ;  ''  Lehr- 
huch  der  Instrumentation  "  (18S9)  ; 
''  Allgemeine  Miisiklehre"  (1895). 
His  comps.  are  notable  for  form,  par- 
ticularly his  many  works  in  canon 
incl.  serenade  for  orch.  (op.  35),  and 
ballet-mus.;  which  have  won  him  the 
name  *'  Musical  Krupp  "  ;  c.  also 
4  symphonies ;  2  overtures  ;  a  pf.- 
concerto  ;  The  icx)th  Psalm,  for 
double  chorus  with  orchestration, 
etc. 

adin  (zha-dan),  (i)  Louis  Emman- 
uel, Versailles,  1768 — Paris,  1853  ; 
prof.,  conductor  and  dram,  compos- 
er. Son  and  pupil  of  (2)  Jean  J., 
violinist.  (3)  Hyacinthe,  Versailles, 
1769 — Paris,  1802  ;  prof,  and  com- 
poser ;  bro.  and  teacher  of  (i). 

aell  (yal),  (i)  Alfred,  Trieste,  March 
5,  1832— Paris,  Feb.  27,  18S2  ;  noted 
touring  pianist  and  composer,  son  of 
(2)  Eduard  J.  (d.  Vienna,  1849).  (3) 
Jaell-Trautmann,  Marie,  b.  Stein- 
seltz,  Alsatia,  1846;  wife  of  (i) ; 
pianist,  composer  and  writer. 

aff^  (yaf'-fa),  Moritz,  b.  Posen,  Jan. 
3.  1835;  violinist;  pupil  of  Ries  Boh- 
mer  (harm.),  of  Maurin  and  Massard, 
Laub,  Wuerst  and  Bussler ;  c.  ope- 
ras, etc. 


Jahn  (yan),  (i)  Otto,  Kiel,  June  16, 
1813  —  Gottingen,  Sept.  9,  1869; 
prof,  of  archreolog}',  Bonn  Univ.  ; 
wrote  a  model  biog.  of  Mozart  (1856- 
59,  4  vols.),  etc.,  also  composed.  (2) 
Wm.,  Hof,  Moravia,  Nov.  24,1835 — 
Vienna,  April  21,  1900  ;  1854  con- 
ductor ;  dir.  ct. -opera,  Vienna,  etc. 

Jahns  (yans),  Fr.  Wm.,  Beriin,  1S09 
— 1888  ;  singer,  composer  and  writer. 

Jakob  (ya-kop),  Fr.  Auff.  Lebe- 
recht,  Kroitzsch,  1803  —  Liegnitz, 
1S84  ;   collector. 

Jakubowski  (yak-oo-bof-shkl),  Sam- 
son, b.  Kowno,  iSoi  ;  Polish  com- 
poser; inv.  and  played  the  xylophone. 

James,  (i)  J.,  d.  1745  ;  Engl,  organ- 
ist and  composer.  (2)  W.  N.,  Eng. 
flutist  and  writer,  1824. 

Janiewiecz  (yan'-e-vech),  Felix,  Wil- 
na,  1762 — Edinburgh,  1S48  ;  violinist 
and  composer. 

Jan  (yan),  (i)  Maistre.  Vide  cal- 
lus,' J.  (2)  K.  von,  b.  Schweinfurt, 
1836  ;  Dr.  phil.,  Berlin,  1859  ;  writer. 

Jankd  (yang'-ko),  Paul  von,  b.  Totis, 
Hungary,  June  2,  1S56  ;  pupil  Poly- 
technic, Vienna,  and  at  the  Cons. 
with  Hans  Schmitt,  Krenn,  and 
Bruckner;  18S1-82,  mathematics  at 
Berlin  Univ.,  pf.  with  Ehrlich  ;  inv. 
in  1882  the  admirable  keyboard 
known  by  his  name  (v.  D.  D.)  ; 
taught  in  Leipzig  Cons.,  etc. 

Jan(n)akoni  (yan-na-ko'-ne),  Gius., 
Rome,  1741 — March  16,  i8r6  ;  emi- 
nent church-composer  ;  conductor  at 
St.  Peter's ;  pupil  of  Rinaldini  and 
Carpani. 

Jannequin  (or  Janequin,  Jennekin) 
(zhan-kari),  Clement,  a  French  (or 
Belgian)  contrapuntist  of  the  i6th 
cent.  ;  nothing  is  known  of  him  ex- 
cept that  he  lived  to  be  old  and  poor  ; 
c.  genuine  "  programme"  music. 

Janotha  (yri-no'-ta),  Nathalie,  b. 
Warsaw  ;  pupil  of  Joachim  and  Ru- 
dorff,  Clara  Schumann,  Brahms,  and 
Princess  Czartoryska,  F.  Weber 
(harm.)  and  Bargiel  ;  debut  at  the 
(iewandhaus,  Leipzig,  1874 ;  1885, 
ct. -pianist  to   the   German  Emperor, 


574 


THE  MUSICAL  GUIDE 


and  decorated  with  many  orders ; 
pub.  a  trans,  with  additions  of  Klec- 
zynski's  "  Chopin  ";  c.  "  Ave  Maria  " 
(dedicated  to  Pope  Leo),  ''Moun- 
tain Seems "  (to  Frau  Schumann), 
gavottes,  etc.,  for  piano. 

Janowka  (ya-nof  -ka),  Thos.  Baltha- 
sar,  b.  Kuttenberg,  Bohemia  ;  or- 
ganist and  writer  at  Prague  ca.  1660. 

Jansa  (yan'-sa),  Ld.,  Wildenschwert, 
Bohemia,  1794 — Vienna,  1875  ;  vio- 
linist, teacher  and  composer. 

Jansen  (yiin'-zen),  F.  Gv.,  b.  Jever, 
Hanover,  Dec.  15,  1831;  pupil  of 
Coccius  and  Riccius ;  teacher  at 
Gottingen ;  1855,  organist  Verden 
Cath.;  1861,  Royal  Mus.  Dir. ;  com- 
poser and  writer. 

Janssen  (yans'-zen),  (i)  N.  A.,  Car- 
thusian monk  ;  organist  and  writer  at 
Louvain,  1S45.  (2)  Julius,  b.  Ven- 
lo,  Holland,  June  4,  1852 ;  studied 
Cologne  Cons.;  1876,  cond.  Mus. 
.Soc,  Minden  ;  later  cond.  at  Dort- 
mund ;  1890,  city  mus.  dir. ;  cond. 
the  ist  and  2d  Westphalian  Mus. 
Festivals ;  pub.  songs. 

Janssens  (yans'-zens),  Jean  Fran. 
Jos.,  Antwerp,  iSoi — insane,  1835  ; 
dram,  composer. 

Januschowsky  (yan-oo-shof'-shkl), 
(Frau)  Georgine  von,  b.  Austria,  ca. 
1859;  1875,  soprano  in  operetta  at 
Sigmaringen  ;  1877,  soubrette,  Th. 
an  der  Wien,  Vienna  ;  1S79-S0,  Leip- 
zig ;  1880,  Germania  Th. ,  New  York  ; 
1892,  at  Mannheim  and  Wiesbaden  ; 
1893-95,  prima  donna,  Imp.  Opera, 
Vienna  ;  sang  Wagner,  etc.,  as  well 
as  leading  soubrette-roles  in  over  60 
comic  operas  and  operettas  ;  m.  Ad. 
Neuendorff. 

Japha  (ya'-fa),  (i)  G.  Jos.,  Konigs- 
berg,  1835— Cologne,  1892  ;  violin- 
ist. (2)  Louise,  b.  Hamburg,  Feb. 
2,  1826  ;  pianist  and  composer  ;  pu- 
pil of  Warendorf  (pf.).  Gross  and 
Grund  (comp.)  and  Robt.  and  Clara 
Schumann ;  1858,  she  m.  W.  Lang- 
hans,  with  whom  she  gave  v.  succ. 
concerts ;  since  1874,  Wiesbaden ; 
c.  an  opera,  etc. 


Jarnefelt, b.  Finland,  1869  ;  stud- 
ied with  Massenet,  Paris  ;   composer. 

Jaquet  (zha-ka).     Vide  Buus. 

Jarecki  (yji-rets'-ke),  Henri,  b.  War- 
saw, 1846  ;  dir.  at  Lemberg  ;  c. 
operas,  inch  "  IP'anda,"  etc. 

Jarnowic  (or  Giornovi(c)chi)  (yiir -no- 
vek,  or  j6r-no-ve'-ke),  Giov.  M.,  Pa- 
lermo, 1745 — St.  Petersburg,  J^ov. 
21,  1804;  violinist  and  composer; 
pupil  of  Sully  whose  intolerable  ec- 
centricities and  immorality,  as  well  as 
virtuosity,  he  adopted  with  disastrous 
results;  J.  B.  Cramer  challenged  him, 
but  he  would  not  tight. 

Jar  vis,  (i)  Stephen,  1834  ?— London, 
18S0;  composer.  (2)  Chas.  H.,j 
Philadelphia,  1837 — 1895  ;  pianist 
and  conductor. 

J3.y,  Jm  Esse.x,  1770 — London,  1849; 
violinist. 

Jean  le  Coq,  or  Jehan.     Vide  callus, 

JOHANNES. 

Jedliczka  (yat-lech'-ka),  Ernest,  b. 
Poltawa,  Russia,  June  5,  1855;  pia- 
nist ;  pupil  of  Moscow  Cons.;  teachei 
there  till  18S8,  then  teacher  Berlin 
Stein  Cons. 

Jefferies,  (i)  G.,  organist  to  Chas 
L,  1643.  Had  a  son  (2)  Chris 
topher,  organist  and  composer.  (3 
Stephen,  1660 — 17 12  ;  Engl,  organ 
ist  and  composer. 

J6hin  (zha-an),  L6on,  b.  Spa,  Bel 
gium,  July  17,  1853;  violinist;  pu 
pil  of  Leonard,  Brussels  Cons.;  cond 
at  Antwerp  and  Vau.xhall,  Brussels  j 
1879-89,  asst.-prof.  of  theory,  Bru=i 
sels  Cons.;  since  cond.  at  Monaco 
composer.  j 

Jehin  (J^hin-Prume)  (zha-ah-prtim' 
Fz.  H.,  Spa,  Belgium,  April  i^ 
1839 — ^iontreal,  May  29,  1899  ;  on 
of  the  most  eminent  violinists  of  Be 
gian  sch. ;  composer. 

Jelensperger    (ya'  -  len  -  shperkh 
Daniel,   near   Miihlhausen,    Alsatij 
1797 — 1831;  writer. 

Jelinek  (ye  -U-nek),  Fz.  X.,  b.  Kai 
rins,  Bohemia,  1S18— Salzburg,  iSSf 
oboist  and  composer. 

Jenk'ins,    (i)  J.,   Maidstone,     1592 


DICTIONARY  OF  MUSICIANS  575 


Kimberley,  Norfolk,  1678  ;  court-lu- 
tist  and  lyra-violist  to  Chas.  I.  and 
II.;  composed.  " /^  Sonatas  for  2 
Vlns.  and  a  Base,  with  a  Thorough 
Base  for  the  Organ  or  Theorbo"  the 
first  Engl.  comp.  of  the  sort ;  the 
pop.  "  The  Lady  Katherine  Aiidleys 
Bells,  or  The  Five  Bell  Consort" 
etc.  (2)  David,  b.  Trecastell,  Bre- 
con, Jan.  I,  1849;  pupil  of  Dr.  Jos. 
Parry;  1878,  Mus.  Bac.  Cantab.; 
1885,  cond.  America  ;  now  prof.  Univ. 
Coll.  of  Wales  ;  c.  operetta,  2  ora- 
torios, 3  cantatas,  A  Psalm  of  Life, 
etc. 

Jennekin    (zhen-kah).      Vide    j.'^nne- 

f     QUIN. 

Jensen  (yen'-sen),  (i)  Ad.,  Konigs- 
berg,  Jan.  12,  1837 — of  consumption, 
Baden-Baden,  Jan.  23,  1879  ;  one  of 
the  most  original  and  poetical  of  com- 
posers for  piano  and  voice  ;  his  pf.- 
pcs.  have  an  unexcelled  lyricism,  al- 
most an  elocution.  Self-taught,  but 
advised  by  L.  Ehlert  and  Fr.  Mar- 
burg ;  before  20  had  c.  overtures,  a 
string-quartet,  sonatas  and  songs. 
1856,  teacher  in  Russia  ;  then  studied 
with  Schumann  ;  1857,  cond.  Posen 
City  Th.;  1858-60,  studied  with 
Gade ;  i860,  returned  to  Konigs- 
berg ;  1866-68,  teacher  at  Tausig's 
Sch.  in  Berlin ;  compelled  by  ill- 
health  to  retire  to  Dresden,  1870  to 
Graz,  finally  to  Baden-Baden.  C. 
opera  '"  Tiirandot"  (finished  by 
Kienzl) ;  '^  Nonnengesang,"  and 
"  Braiitlicd"  for  solo  and  chorus  with 
2 horns,  harp  and  a  piano,  '\Jcphthas 
Techier"  and  ''  Adonis-Feier," 
"Donald  Caird  ist  ivieder  da," 
and  other  vocal  works  with  orch.; 
concert-overture  ;  "  Geistliches  Ton- 
slikk";  ''  Hochzcitsmusik,"  "■  Abe)id- 
miisik,"  "  Lebenshilder,"  6  ''  Si  I  ho  net- 
ten,"  and  "  LJindliche  Festninsik," 
for  pf.  (4  hands);  and  "  Lnnere  Stiin- 
men,"  ''  IVanderbilder,"  a.  sonata;  6 
German  Suites,  '' Idyllen,"  '' Eroti- 
kon "  (7  pes.),  a  scherzo,  "  Wald- 
Ldylle,"  op.  47,  ''Scenes  carnava- 
ksqiics,"   for  pf.-solo ;    and  160  solo 


songs.  Biog.  by  Niggli.  (2)  Gus- 
tav,  Konigsberg,  1843 — Cologne, 
1895  ;  pupil  of  Dehn  (comp.)  and 
Laub    and    Joachim    (vln.)  ;  violinist  | 

Konigsberg    Th.;    1872-75,   prof,   of  ' 

cpt.,  Cologne  Cons.;  c.  symphony, 
etc. 

Jewitt,  R.,  d.  1675  ;  Engl,  organist 
and  composer. 

Jimmerthal    (ytm'-mer-tal),   Hn.,  Ltt-  j 

beck,     1809 — 1886  ;     organist,    org.-  ] 

builder  and  writer.  : 

Joachim  (yo'-a  khem),  (i)  Jos.,  b. 
Kittsee,  near  Pressburg,  June  28, 
1831  ;    eminent  violinist  ;    studied   at  j 

5  with  Szervacinski,  Pesth,  with 
whom  he  appeared  in  public  at  7; 
from  1841,  at  Vienna  Cons,  with 
Bohm  ;  at  12,  played  in  Leipzig,  and 
soon  after  at  the  Gewandhaus,  with  | 

much  succ;  frequently   leader  of  the  ! 

Gewandhaus  Orchestra  ;  1844,  made 
his  first  of  many  appearances  in  Lon-  j 

don  ;  1849,  Concertmeister  of  the 
Weimar  orch.;   1854,  cond.  and  solo-  J 

violinist    to    the    King   of    Hanover ;  I 

1863  m.  Amalie  Weiss  (v.  infra);  1868  j 

head  of  the  new  "  Hochschule  fiir 
auslibende   Tonkunst,"   Berlin  ;  later  ; 

artistic  dir. ;  1895,  dir.;  1877,  Mus. 
Doc.  h.  c,  Cambridge  Univ.;  has 
had  many  degrees  from  German  Uni-  j 

versities,     and      various     orders     of  j 

knighthood  ;     holds    undisputed    pre-  < 

eminence  as  a  classicist  and  solo-per-  j 

former;  his  famous  J.  Quartet  includes 
De  Ahna,  Wirth  and  Hausmann.  He 
c.  the  notable  ' '  Hungarian  "  concerto, 
and  2  others,  and  famous  variations 
with  orch.,  also  overture  to  "//«;«- 
let";  4  overtures  incl.  '"  Dem  Anden-  j 

ken  Ivleists" ;  Hebrew   Melodies,  for  j 

via.  and  pf. ;  Op.  14,  '' Szene  der 
Marfa  "  (from  Schiller's  Demetrius'), 
for  contralto  solo  with  orch.;  three 
cadenzas  to  Beethoven's  vln.-concer-  j 

to,  etc.  (2)  Amalie  (nee  Weiss, 
rightly,  Schneeweiss),  Marburg, 
Styria,  May  10,  1839 — Berlin,  Feb. 
3,  1899;  eminent  concert  and  oper- 
atic soprano ;  then  contralto  and  \ 
teacher  ;  wife  of  above. 


576 


THE    MUSICAL    GUIDE 


Joao  IV.  (zhowfi),  King  of  Portugal, 
Villa-Vicosa,  1604 — Lisbon,  1656  ; 
theorist  and  composer. 

Jocher  (yekh'-er),  Chr.  Gk,  Leipzig, 
1694 — 175S  ;  professor  and  writer. 

Johannes,  (i)   Cotto.     Vide  lotto. 

(2)  Damasce  nus  (rightly  Jns.  Chry- 
sorrhoos),  of  Damascus,  ca.  700 — 
ca.  760;  composer,  editor  and  writer. 

(3)  De  Garlan  dia.  Vide  garlan- 
DiA.  (4)  De  Mu  ris.  Vide  muris. 
(5)  Callus.     Vide  gallus. 

Johns,  Clayton,  b.  New  Castle,  Del., 
Nov.  24,  1S57  ;  pupil  of  J.  K.  Paine, 
and  \V.  H.  Sherwood,  Boston  ;  later 
with  Kiel,  Grabow,  Raif,  and  Rum- 
mel  (pf.)  in  Berlin  ;  since  lives  in 
Boston,  Mass.,  as  a  concert-pianist 
and  teacher ;  c.  a  Berceuse  and 
Scherzino  for  string-orch.  (played  by 
Boston  Symph.  orch.)  ;  many  pop. 
songs,  etc. 

Johnson,  (i)  Edw.,  English  composer, 
1594.  (2)  Robert,  Engl.  i6th  cent, 
ecclesiastic  and  church  composer. 
(3)  Robert,  lutenist  and  prominent 
composer,  1573 — 1625. 

Jommelli  (yom-mel-ll),  Niccolo, 
Aversa,  near  Naples,  Sept.  11,  1714 
— Naples,  Aug.  28,  1774  ;  eminent 
operatic  and  church-composer  ;  pupil 
of  Canon  Mozzillo,  Durante,  Feo, 
Leo,  Prato  and  Mancini.  C.  ballets 
and  songs,  then  dram,  cantatas  ;  at 
23  prod,  opera  "  LErrore Amoroso" 
(Naples,  1737),  under  the  name 
"  Valentino  "  ;  its  succ.  relieved  his 
anxiety  and  removed  his  anonymity 
and  he  followed  it  with  other  succ. 
works  in  various  cities  under  various 
patronage.  He  was  made  Dir.  of 
the  Cons,  del  Ospedaletto,  Venice  ; 
174S-54  asst.  Maestro  at  St.  Peter's, 
Rome,  until  1754  ;  cond.  to  the  Duke 
of  Wlirtemberg.  Lived  in  Germany 
15  years  and  made  great  succ.  He 
profited  artistically  by  German  influ- 
ence, but  when  the  Stuttgart  opera 
was  disbanded  and  he  retired  to  Italy 
his  style  was  too  serious  and  perhaps 
his  best  works  '' ArmiJa  Ahbando- 
nata  "  (1770),  "  Dcmofodnte  "  (1770), 


z.n6.  '' IJigenia  in  Tauride"  {ijjj), 
were  failures  when  prod,  at  Naples. 
The  humiliation  after  such  long  tri- 
umph brought  on  apople.xy  (1773),; 
from  which  he  recovered  only  long|. 
enough  to  write  a  cantata  on  thei 
birth  of  a  prince,  and  his  masterpiece,' 
a.  '' Misere)-e."  The  King  of  Portu-^ 
gal  commissioned  him  to  write  2|. 
operas  and  a  cantata  ;  but  he  didnotj 
live  to  finish  them  ;  he  c.  over  5c 
known  operas  and  divertissements,! 
and  equally  fine  sacred  mus.,  incl.  41 
oratorios,  a  magnificat,  with  echo,  etc. : 

Jonas  (zh5-nas),  (i)  Emile,  b.  Paris,; 
March  5,  1827  ;  pupil  of  Carafa  at- 
the  Cons.  ;  from  1S47  teacher  there j 
also  mus. -dir.  Portuguese  synagogue; 
(2)  (ho'-nas),  Alberto,  b.'  Madrid! 
June  8,  1S68;  pf.  pupil  of  Olave  anc: 
Mendizabal ;  also  at  the  Cons.;  at  i{ 
with  Gevaert,  Brussels  Cons.;  woii 
1st  prize  for  pf. ,  and  later  2  firs} 
prizes  in  harm.  ;  debut,  Brussels] 
1880 ;  1890,  studied  St.  Petersburji 
Cons,  under  Rubinstein's  tuition  i 
since  toured  Europe  and  America  j 
1S94  head  of  the  pf.-dep.  Univ.  oj 
Michigan  ;  composer  and  writer.        ! 

Joncieres  (zhofi-sl-ars),  F.  Ludge.: 
Victorin  de,  b.  Paris,  April  12,  1839. 
studied  painting,  then  mus.  with  El; 
wart  at  the  Cons.;  an  ardent  Wagnej 
rian,  he  left  the  Cons,  because  of  El,: 
wart's  adverse  opinion  ;  he  is  pres: 
"  Soc.  des  Compositeurs  de  mu 
sique,"  Chev.  of  the  Legion  of  Hon 
our,  and  officer  of  public  instructior 
since  1871  critic  of  La  Liberie,  etc. 
prod.  4  operas,  incl.  ''  Le  Chevalie 
Jean"  (Op.-com.,  1885),  a  sympt 
ode,  "  La  Mer  "  y  a  "  Symphonie  n 
mantique" ;  '''Li  Tsiii,"  a  Chines! 
theme  for  soli  and  orch,  etc. 

Jones,  (i)  Robt.,  Engl,  lutenist  an.] 
composer,  1601-16;  one  of  his  sonj 
''Farewell  deere  love"  is  alluded 
in  "  T7velfth  Night."  (2)  Wff 
("  of  Nayland  "),  Lowick,  Northamp 
tonshire,  1726  —  Nayland,  SuflfoU' 
1800;  writer  and  composer.  (3)  J 
1728 — London,    1796  ;    organist  an 


i 
^ 


DICTIONARY  OF  MUSICIANS    577 


composer.  (4)  (Sir)  Wm.,  London, 
1746 — Calcutta,  1794;  writer.  (5) 
Edw.  ('*  Brady  Brenin  "),  Llander- 
fel,  Merionethshire,  April  18,  1752 — 
London,  April  18,  1S24  ;  Welsh 
harpist,  writer  and  composer.  (6) 
Griffith  Rhys  (or  Caradog),  b. 
Trecynon,  Wales,  Dec.  21,  1S34  ; 
Welsh  conductor ;  as  a  youth  cond. 
the  choir  "  Cor  Caradog,"  whence  his 
sobriquet ;  1872-73,  cond.  the  succ. 
choir  in  the  Crystal  Palace  competi- 
tions. (7)  GriMth,  British  writer, 
pub.  "  A  History  of  the  Origin  and 
Progress  of  Theoretical  and  Practi- 
cal Music,''  1819.  (8)  Arthur  Bar- 
clay, b.  London,  Dec.  16,  1869;  pupil 
of  Wingham  and  Banister ;  and  at 
Guildhall  Sch.  .of  Mus.,  won  a  schol- 
arship ;  1889,  Associate  ;  1892,  prof, 
of  pf.;  c.  symphony,  concert-over- 
ture, etc.  (g)  Sidney,  Engl,  compos- 
er of  the  succ.  operetta  "  The  Gaiety 
Girl"  (London,  1893);  ''An  Artist's 
Model"  (Daly's  Th.,  London,  1895); 
"  The  Geisha"  (ibid.,  1896),  etc. 

or'dan,  Jules,  b.  Willimantic,  Conn., 
Nov.  10,  1850  ;  studied  singing  with 
Osgood,  Boston,  Shakespeare,  Lon- 
don, and  Sbriglia,  Paris ;  for  13 
years  choirm.  of  Grace  Ch.,  Provi- 
dence ;  since  1880  cond.  Arion 
Club;  c.  comedy-opera  ''Rip  Van 
IVinkle"  (pub.  1898);  cantata  with 
orch. ;  songs,  etc. 

oseffy  (yo-zef'-fl),  Rafael,  b.  Mis- 
kolcz,  Hungary,  July  3,  1853  ;  emi- 
nent pianist  ;  pupil  of  Moscheles, 
Leipzig  Cons.,  and  Tausig  ;  toured 
Europe  with  succ;  lived  in  Vienna  ; 
for  many  years  at  New  York;  since, 
teacher  Nat.  Cons.;  c.  pf.-pcs. 

osquin.      Vide   dkspres. 

ouret  (zhoo-ra),  (i)  Th.,  Ath,  Belgi- 
um, 182 1 — Kissingen,  18S7;  critic  and 
dram,  composer.  (2)  L6on,  b.  Ath, 
Oct.  17,  1828  ;  bro.  of  above  ;  pupil 
Bnissel  Cons,  and  since  1874  vocal 
teacher  there  ;  c.  2  operas,  cantatas, 
etc. 

Durnet  (zhoor'-na),  Marcel,  b.  Paris, 
1869;  bass;  pupil  of  the  Cons.;  debut 

37 


Th.  de  la  Monnaie,  Brussels ;  has 
sung  often  at  Covent  Garden ;  and 
since  1900  at  Met.  Op.,  N.  Y. 

Jousse  (zhoos),  J,,  Orleans,  France, 
1760 — 1837  ;  teacher  and  writer. 

Judenkunig  (yoo'  -  den  -  koo  -  nikh), 
Hans,  b.  Schwabisch-Gmund  ;  luten- 
ist,  violist  and  composer  at  Vienna, 
1523. 

Jue  (zhii),  Edouard,  b.  Paris,  1794 
(?)  ;  violinist  and  writer. 

Jul(l)ien  (zhul-yah),  (r)  Marcel  Bd., 
Paris.  1798 — 1881  ;  writer.  (2)  Jean 
Lucien  Ad.,  b.  Paris,  June  i,  1845  ; 
son  of  above ;  prominent  critic  and 
writer.  (3)  Louis  Ant.,  Sisteron, 
Basses-Alpes,  April  23,  1S12  — insane, 
Paris,  March  14,  i860 ;  pop.  con- 
ductor and  composer  of  dance  music, 
etc.  (4)  Paul,  Brest,  France,  F'eb. 
12,  1841 — at  sea,  1866  ;  violinist  ; 
pupil  Paris  Cons.,  took  ist  prize  ; 
toured  America,  1853-66. 

Jumilhac  (zhii-mel-yak),  Dom  P.  Be- 
noit  de,  near  Limoges,  161  r — St.- 
Germain-des-Pres,   1682  ;  writer. 

Junck  (yoonk),  Benedetto,  b.  Turin, 
Aug.  24,  1852  ;  pupil  of  Bazzini  and 
Mazzucato  ;  lives  in  Milan  ;  c.  string- 
quartet,  etc. 

Jungmann  (yoong'-man),  (i)  Albert, 
Langensalza,  Prussia,  1824  —  Pan- 
dorf,  near  Vienna,  1892  ;  professor 
and  composer.  (2)  Ludwig  (or 
Louis),  Weimar,  1832 — 1892;  teacher 
and  composer. 

Jiingst  (ylnkst),  Hugo,  b.  Dresden, 
Feb.  26,'  1853  ;  studied  at  Cons,  there; 
founded  the  Julius  Otto  Soc;  and 
cond.  Male  Choral  Soc.  ;  1898  made 
prof,  by  King  of  Saxony  ;  c.  male 
choruses. 

Junker  (yoonk'-er),  K.  L.,  Ohringen, 
ca.  1740 — Kirchberg,  1797  ;  writer 
and  composer. 

Jupin  (zhii-paii),  Chas.  Fran.,  Cham- 
bery,  1805 — Paris,  1839;  violinist, 
professor,  conductor,  and  dram,  com- 
poser. 

JUrgenson  (ylir'-gen-z5n),  Peter,  b. 
Reval,  1836 ;  founded  mus. -pub. 
house,  Moscow,  1861. 


578 


THE    MUSICAL    GUIDE 


K 

Kaan  (kan)  ("Albest-Kahn  "),  H. 
von,  b.  Tarnopol,  G-ilicia.  May  29, 
1852  ;  pianist  ;  pupil  of  Bloiek  and 
Skuhersky,  Prague  ;  since  1S90,  prof, 
at  tlie  Cons,  tliere ;  c.  ballets,  sym- 
phonic poem  "  Sakuntala  "  ;  etc. 

Kade  (ka-de),  Otto,  Dresden,  1825— 
Schwerin,  1900;  ct. -conductor,  writer 
and  composer. 

Kaff'ka  (or  Kawka)  (kaf-ka).  Jn. 
Chr.,  b.  Ratisbon,  1759  ;  dram,  com- 
poser. 

Kafka  (kaf-ka),  Jn.  Nepomuk,  Neu- 
stadt,  Bohemia,  1819 — Vienna,  18S6; 
composer. 

Kahl  (kJil),  H.,  Munich,  1840— Ber- 
lin, 1S92  ;   conductor. 

Kahlert  (ka-lert),  K.  Aug.  Timo- 
theus,  Breslau,  1807 — 1864  ;  writer 
and  composer. 

Kahn  (kan),  Robt.,  b.  Mannheim, 
July  21,  1865  ;  pianist  ;  pupil  of 
Ernst  Frank  and  V.  Lachner,  Kiel, 
and  Jos.  Rheinberger  (Munich,  1885); 
1891  founded  Ladies'  Choral  Union, 
Leipzig ;  1S93  teacher  of  pf.  Berlin 
Hochschule  fiir  Musik  ;  c.  serenade 
for  orch.,  etc. 

Kahnt  (kant),  Chr.  Fr,,  1823— Leip- 
zig, 1897  ;  mus. -publisher. 

Kaiser  (kl-zer),  (i)  K.,  Leipa,  Bohe- 
mia, 1837 — Vienna,  1890  ;  founded 
sch.  continued  by  his  son  (2)  Rudolf. 
(3)  Fr.  Emil,  b.  Coburg,  Feb.  7, 
1850  ;  regimental  bandm.  Prague  ; 
prod.  5  operas,  incl.  "  Der  Trompeter 
von   Siikkingen"  (<d\vsv<.\\.7.,  1882). 

Kajanus  (ka-ya-noos),  Robt,,  con- 
temporary cond.  Philh.  Orch.  of  Hel- 
singfors,  Finland. 

Kal'beck,  Max,  b.  Breslau,  Jan.  4, 
1850  ;  studied  Munich  Sch.  of  Mus.  ; 
1875,  writer,  critic  at  Breslau  ;  now 
on  the  Wiener  Montags-Revue,  and 
the  ^Teues    Tageblatt. 

Kalisch  (ka-lTsh),  Paul,  b.  Berlin, 
Nov.  6,  1855  ;  tenor  ;  studied  with 
Leoni ;  sang  Berlin  ct. -opera  ;  m. 
Lilli  Lehmann  ;  sang  at  Cologne  and 
6  times  in  America. 


Kalischer  (kii'-llsh-er),  Alfred,  b. 
Thorn,  March  4,  1S42  ;  Dr.  Phil., 
Leipzig  U.  ;  studied  with  Blirgel  and 
Bohmer  ;  lives  in  Berlin,  as  a  writer 
and  teacher  ;  editor  N'eue  Berliner 
Mnsikzeitung ;  pub.  '' Lessing  ah 
Musikasthetiker"  ;  ^^  Musik  und 
Moral"  etc. 

Kalkbrenner(kalk'-brcn-ner),(i)Chr., 
Minden,  Hanover,  1755 — Paris,  1806; 
writer  and  dram,  composer.  (2)  Fr. 
Wm.  Michael,  b.  on  a  journey  from 
Cassel  to  Berlin,  178S — d.  of  cholera 
Enghien-les-Bains,  near  Paris,  June  I 
10,  1849;  son  and  pupil  of  above; 
very  succ.  pianist  and  teacher  ;  de- 
veloped modern  octave-playing,  left- 
hand  technique  and  pedalling  ;  wrote 
valuable  etudes  and  other  comps.; 
also  studied  Paris  Cons,  and  with 
Clementi  and  Albrechtsberger.  (3) 
Arthur,  d.  near  Paris,  1869  ;  son  of 
(2) ;  composer. 

Kalliwoda  (kal' -II- vo- da),  (i)  Jn.j 
Wenzel,  Prague,  1801 — Carlsruhe,] 
1866  ;  pianist,  conductor  and  dram.l 
composer.  (2)  Wm.,  Donaueschin- 
gen,  1827 — Carlsruhe,  1893  ;  son  and) 
pupil  of  above  ;  dir. ,  ct. -conductor, 
pianist  and  composer. 

Kallwitz,  or  Kalwitz.     Vide   calvi 

SlUS. 

Kaltenborn,  Fz.,  violinist,  conductor 
member  Seidl's  and  other  orchestra? 
at  New  York  ;  asst.-cond.  of  Seid 
Soc,  Brooklyn,  N.  Y.;  1894  foundecj 
Kaltenborn  quartet ;  1899  foundec? 
the  succ.  K.  orchestra,  which  giveij 
summer  concerts  in  N.  Y.  ^ 

Kamienski  (kam-I-en'-shkl),  Mathiasj 
Odenburg,  Hungary,  1734 — Warsaw? 
182 1  ;  teacher  and  composer  of  thj 
first  Polish  Opera  "  The  Wretche,\ 
Made  Happy"  (ipS),  etc. 

Kammerlander  (kam'-mer-lant-er),  K. 
Weissenhorn,  Swabia,  1828 — Augs 
burg,  1892;  conductor  and  composei 

Kandler  (kant'-ler),  Fz.  Sales,  Klos' 
terneuberg.  Lower  Austria,  1792- 
Baden,  1831  ;  writer. 

Kaps  (kaps),  Ernst,  Dobeln,  Saxon} 
1826  —  Dresden,    1887  ;     est.    pian 


fa 


DICTIONARY  OF  MUSICIANS    579 


factory,  Dresden,  1S59  ;  succeeded 
by  his  sons. 

Kapsberger  (kiips'  -  berkh  -  er),  Jn. 
Hieronymus  von,  b.  of  noble  Ger- 
man family,  d.  Rome,  ca.  1650  ; 
virtuoso  on  theorbo,  chitarrone,  lute, 
and  trumpet  ;  notable  composer. 

Karajan  (ka'-ra-yan),  Th.  G.  von, 
Vienna,  iSio — 1873  ;   writer. 

Karasowski  (ka-ra-shof'-shkl),  Mo- 
ritz,  Warsaw,  1823  — Dresden,  1892; 
'cellist,  writer  and  composer. 

Karganoff  (kar-gan-yof),  Genari, 
Kashetin,  Caucasus,  1858 — Rostroff- 
on-Don,  i8go  ;  pianist  and  composer. 

Karl,  Tom,  b.  Dublin,  Jan.  19,  1846 ; 
tenor;  studied  with  H.  Phillips,  San- 
giovanni  and  Trivulzi  ;  sang  in  Ital- 
ian opera  for  years,  went  to  .Vmerica 
with  Parepa-Rosa,  then  with  "  1  he 
Bostonians "  in  comic  opera  many 
years  ;  retired  1896 ;  now  vocal 
teacher,  N.  Y. 

Karow  (ka'-rof),  Karl,  Alt-Stettin, 
1790 — Bunzlau,  Silesia,  1863  ;  teach- 
er and  composer. 

Kaskel    (kas'-kel),    P>eiherr    K.    von, 

b.  Dresden,  Oct.  10,  1866 ;  studied 
law  at  Leipzig,  also  mus.  in  the  Cons, 
with  Reinecke  and  Jadassohn  (1S86- 
87),  and  later  with  Wullner  and  Jen- 
sen, Cologne  ;   now  lives  in  Dresden  ; 

c.  succ.  i-act  opera  "'  Hochzeitstnor- 
.^ch"  (Hamburg,  1893);  v.  succ. 
opera  "  SJuca"  (Cologne,  1895),  etc. 

Kassmeyer  (kes'-ml-er),  Moritz,  Vi- 
enna, 1831 — 1885  ;  violinist ;  c.  5 
string-quartets,  some  of  them  hu- 
morous. 

S<:astner  (kast'-ner),  (i)  Jn.  G.,  Strass- 
burg,  March  9,  18 10— Paris,  Dec.  19, 
1867;  pupil  of  Maurer  and  Romer : 
at  10,  organist;  at  20,  bandm.;  at 
25  had  prod.  4  operas,  and  was  sent 
by  the  town  council  to  Paris,  to  study 
with  Berton  and  Reicha  ;  1837, 
pub.  treatise  "  0;i  Instrttmentation''' 
among  others  ;  also  methods  adopted 
at  the  Paris  Cons.  ;  lived  there- 
after at  Paris  as  teacher  ;  wrote 
learned  essays  and  an  "  Eucvclopi'die 
de  la  mttsiijHe"     C.    3   later  operas, 


incl.  '■'■  Le  dernier  roi  de  Juda"  his 
masterpiece,  also  3  symphonies,  5 
overtures,  10  serenades  for  wind ; 
"  Livres-partitions  "  (symphony-can- 
tatas, prefaced  by  brilliant  historical 
essays,  inci.  ''  Les  dances  des  morti'), 
a  vol.  of  310  pages;  "Zrt  harpe 
d'e'ole  "  (1856)  ;  "  Les  voix  de  Paris" 
followed  by  "  Zfj  cris  de  Paris" 
grande  symphonic  humoristique  voc. 
et  instr.  (1857);  "  Z.-j  Sirenes" 
etc.  Biogr.  by  Jan  (Leipzig,  1886). 
(2)  G.  Fr.  Eugen,  Strassburg,  1852 
—  Bonn,  1882;  son  of  above;  inv. 
the  pyrophone  (v.  D.  I).),  and  pub. 
work  on  it.  (3)  Emmerich,  b.  Vi- 
enna, March  29,  1S47;  editor  and 
wrifer. 

Kate  (ka'-te),  Andrd  Ten,  Amster- 
dam, 1796— Haarlem,  1858  ;  'cellist 
and  dram,  composer. 

Katzmayr  (kats'-mir),  Marie,  b.  Vi- 
enna, March  6,  1869  ;  colorature  so- 
prano; pupil  Frau  Niklass-Kempner  ; 
sang  in  Holland,  then  at  Berlin,  etc. 

Kauders  (kow'-ders),  Albert,  critic  in 
Vienna,  and  composer  of  comic  opera. 

Kauer  (kow'-er),  Fd.,  Klein-Thaya, 
Moravia,  Jan.  8,  175 1  —  Vienna, 
April  13,  1 831;  prolific  c.  of  Sing- 
spiele ;  organist,  conductor,  'cellist ; 
c.  2,000  operas  and  operettas. 

Kauffmann  (kowf'-man),  (i)  Ernst 
Fr.,  Ludwigsburg,  1S03 — Stuttgart, 
1856;  pianist  and  composer.  (2)  Emil, 
b.  Ludwigsburg,  Nov.  23,  1S36;  violin- 
ist ;  son  of  above  ;  pupil  of  Stuttgart 
Cons.;  since  musical  dir.  Tubingen 
Univ.;  Dr.  phil.,  1885.  (3)  Fritz,  b. 
Berlin,  June  17,  1855;  a  druggist, 
Leipzig  and  Hamburg;  took  up  mu- 
sic, 187S,  entered  the  Akademische 
Hochschule  at  Berlin,  won  Mendels- 
sohn prize  for  comp.  1881;  till  18S9, 
lived  in  Berlin  as  a  teacher  and  cond. 
of  the  "  (iesellschaftsconcerte "  at 
Magdeburg;  1893,  Royal  Musik-Di- 
rector  ;  c.  comic  opera,  ''Die  Herz- 
krankheit";  symphony,  etc. 

Kaufmann  (kowf'-man),  (i)  G.  Fr., 
Ostramondra,  Thuriugia,  1679— Mer- 
seburg,     1735  ;      organist,      director, 


58o 


THE    MUSICAL    GUIDE 


writer  and  composer.  (2)  Jn,  Gf., 
Siegmar,  Saxony,  175 1 — Frankfort, 
1818  ;  maker  of  musical  clocks.  (3) 
Fr.,  Dresden,  17S5 — 1S66 ;  son  of 
above;  inv.  the  "  Belloneon,"  etc. 
His  son  (4)  Fr.  Theodor,  Dresden, 
1S23 — 1872,  developed  the  "  Orches- 
trion." (5)  Robert,  b.  Basel,  and 
later  there  studied  with  Rossi,  Du- 
prez  and  Stockhausen  ;  oratorio  tenor ; 
has  sung  in  many  capitals. 

Kayser  (ki'-zer),  (i)  Ph.  Chr,,  Frank- 
fort, 1755 — Zurich,  1S23  ;  pianist. 
(2)  H.  Ernst,  Altona,  1S15 — Ham- 
burg, 1 338,  violinist  and  teacher.  (3) 
Fr.  Emil.     Vide  k.visf.r. 

Kazynski  (ka-zen'-shki),  Victor,  b. 
Wilna,  Lithuania,  Dec.  iS,  1812  ;  pu- 
pil of  Eisner,  Warsaw ;  prod.  3  op- 
eras ;  1843,  cond.  Imp.  Th.  St.  Peters- 
burg. 

Kearns  (karnz).  Win.  H.,  Dublin, 
1794 — Kennington,  1846  ;  violinist 
and  composer. 

Keck  von  Giengen  (kek  fon  geng'-en), 
Jn.,  Benedictine  monk  at  Tegernsee, 
Upper  Bavaria,  ca.  1450 ;  writer. 
(Gerbert.) 

Kee'ble,  J.,  Chichester,  1711—1786; 
organist,  teacher  and  composer. 

Kee  ley,  Mrs.  M.  A.,b.  Ipswich,  1805; 
English  soprano. 

Keinspec     (or     Keinsbeck,      Kiin- 

speck,    and    wrongly    Reinspeck) 

(kin'-shpek),  Michael,  of  Xurnberg  ; 

■pub.  one  of  the  first  theoretical  works 

printed  at  Basel,  1496. 

Keiser  (kl'-zer),  Reinhard,  Teuchern, 
near  Weissenfels,  Jan.  9,  '  1674 — 
Hamburg,  Sept.  12,  1739;  ^^e  father 
of  German  opera,  the  first  to  employ 
popular  subjects  and  to  leave  the 
Italian  and  French  pattern  ;  also  note- 
worthy for  his  instrumentation  and 
dramatic  force  ;  pupil  of  his  father  ;  c. 
116  operas  at  Hamburg  from  1694; 
mgr.  the  opera  there,  ct.  cond.  and 
later  canon  and  cantor  ;  c.  also  orato- 
rios, masses,  etc. 

Keler  Bela  (rightlv  Albert  von  Ke- 
ler)  (ka'-ler  ha-lk),  Bartfeld,  Hun- 
gary,    Feb.     13,    1820 — Wiesbaden, 


Nov.    20,  1882 ;    violinist,   conductor 
and  composer. 

Keller,  (i)  Gottfried  (called  God- 
frey), b.  in  Germany  ;  teacher  and 
writer  in  London,  1707.  (2)  Max, 
Trostberg,  Bavaria,  1770 — Altotting, 
1S55  ;  organist  and  composer.  (3) 
K.,  Dessau,  1784 — Schaffhausen, 
1S55  ;  ct. -flutist,  conductor  and  com- 
poser. (4)  F.  A.  E.,  inv.,  1835,  the 
unsucc.  "pupitre-improvisateur  "  (v. 
D.  D.),  and  pub.  a  method. 

Kel'lermann,  (i)  Berthold,  b.  Niirn- 
berg,  March  5,  1S53  ;  pianist  ;  pupil 
of  his  parents  and  of  Liszt  ;  1878-81 
Wagner's  secretary ;  1882,  teacher 
Munich  R.  Mus.  Sch. ;  conductor  and 
ct. -pianist.  (2)  Chr.,  Randers,  Jut- 
land, 1815 — Copenhagen,  1866;  'cel- 
list and  composer. 

Kel'ley,  Edgar  Stillmari,  b.  Sparta, 
Wis.,  April,  14,  1S57  ;  one  of  the 
most  original  and  brilliant  of  Amer- 
ican composers ;  pupil  of  F.  W. 
Merriam,  Clarence  Eddy,  and  N. 
Ledochowski  (Chicago),  and  1S76-S0 
of  Seifriz  (comp.),  Kriiger  and  Spei- 
del  (pf.)  and  Fr.  Finck  (org.),  at 
Stuttgart ;  organist  at  Oakland  and 
San  Francisco,  Cal.;  cond.  comic 
opera,  1890-gi  ;  teacher  pf. ,  org., 
and  comp.  in  various  schools ;  lately 
N.  V.  Coll.  of  .Mus.;  critic  for  the 
Examiner,  San  Francisco,  1893-95  ;  ' 
and  essayist  for  various  periodicals  ; 
since  1S96  lecturer  on  music  for  the 
Univ.  of  New  York;  1901-02  at 
Yale  University;  c.  ''Gulliver" 
humorous  symph.;  Chinese  suite, 
''  Aladdin"  iox  orch. ;  comic  opera, 
'■'■  Ptiritania"  (Boston,  1892);  succ. 
incid.  music  to  Macbeth  and  to  Ben 
Hur,  both  for  chorus  and  orch.; 
string-quartet,  op.  i  (MS.)  ;  "  U'lid- 
din,s;-Ode,'"  for  tenor  solo,  male  chorus 
and  orch.  (MS.)  ;  6  songs,  "  Phases 
of  Love"  ;  notable  songs,  '■'Eldo- 
rado "  and  "  Israfel"  and  others. 

Kel'lie,  Lawrence,  b.  London,  April 
3,  1862  ;  tenor  and  composer  ;  stud- 
ied at  R.  A.  M.  and  with  Randegger; 
debut  Covent  Garden,  18S6. 


I 


DICTIONARY  OF  MUSICIANS    581 


Kell'ner,  (i)  David,  dir.  German  ch. 
and  Th.  at  Stockholm,  1732.  (2) 
Jn.  Peter,  Grafenroda,  Thuringia, 
1705 — 1788  ;  organist  and  composer. 
(3)  Jn,  Chp.,  Grafenroda,  1735 — 
Cassel,  1803;  son  of  above;  ct. -or- 
ganist and  dram,  composer.  (4)  G. 
Chr.,  d.  Sept.,  1S08 ;  teacher  and 
writer  at  Mannheim.  (5)  Ernst 
Aug.,  Windsor,  England,  1792 — 
London,  1839  ;  probably  a  grandson 
of  (3);  barytone,  pianist  and  organist. 

Kellogg,  Clara  Louise,  b.  Sumter- 
ville,  S.  C.,  July,  1842  ;  noted  so- 
prano ;  1856-61,  studied  in  New 
York;  debut  Acad,  of  Mus.  (1861) ; 
debut,  London,  at  H.  M's.  Th. 
(1867),  as  Margherita,  with  great 
succ;  sang  in  many  capitals. 

Kelly,  Michael,  Dubhn,  1762— Mar- 
gate, 1826  ;  tenor  and  dram,  compos- 
er ;  friend  of  Mozart ;  wrote  musical 
"  Reminiscences." 

Kel'way,  (i)  Thos.,  d.  1749  ;  Engl, 
organist  and  composer.  (2)  Joseph, 
d.  17S2  ;  bro.  of  above ;  organist, 
harpsichordist,  and  composer. 
em'ble,  Adelaide,  b.  1814;  retired 
1843  ;  daughter  of  the  actor  Chas. 
Kemble ;  operatic  singer. 

Kemp,  (i)  Jos.,  Exeter,  1778— Lon- 
don, 1824  organist  and  composer. 
(2)  Robert  (called  "  P'ather  Kemp"), 
Wellfleet,  Mass.,  1820  —  Boston, 
1897 ;  organised  and  cond.  pop. 
"  Old  Folks'  Concerts  "  ;  wrote  auto- 
biography. 

Kemp'is,  Nicholas  A.,  organist  and 
composer  at  Brussels,  1644-50. 

Kempter,  (i)  K.,  Limbach,  Bavaria, 
1819 — Augsburg,     1871 ;    conductor. 

(2)  Lothar,  b.  Lauingen,  Bavaria, 
Feb.  5,  1844;  cond.,  professor,  and 
dram,    composer ;  son   and   pupil    of 

(3)  Fr.  K.  (music-teacher)  ;  studied 
Munich  Univ.,  then  with  Rhein- 
berger;  chorus-dir.;  since  18S6  prof, 
of  mus.  theory,  Zurich  Mus.  Sch. 

Ken'dall,  J.,  organist    and    composer, 

London,  1780. 
Kenn,  P.,  German    horn- virtuoso  and 

composer;   1782  at  Paris. 


Ken'nedy,  David,  Perth,  1825 — 1886; 
singer. 

Kent,  Jas.,  Winchester,  Engl.,  1700— 
1776  ;  organist  and  composer. 

Kepler  (ka'-pler),  Jns.,  Weil,  Wtirtem- 
berg,  1571  —  Ratisbon,  1630;  astron- 
omer ;  writer. 

Kerle  (kerl),  Jacques  de,  b.  Ypres, 
Flanders,  i6th  cent.  ;  conductor  and 
composer. 

Kerl(l)  (Kherl,  Cherl),  Jn.  Caspar, 
Gaimersheim,  near  Ingolstadt,  1621 
— Munich,  Feb.  13,  1693  ;  organist, 
ct. -conductor,  teacher,  and  notable 
composer  of  the  "  Missa  nigra  "  (all 
in  black  notes),  etc. 

Kes  (kas),  Willem,  b.  Dordrecht, 
Holland,  Feb.  16,  1856  ;  violinist  ; 
pupil  of  Bohm,  etc.,  then  of  David, 
and,  under  royal  patronage,  of  Wien- 
iawski,  and  Joachim  ;  1876,  leader 
Park  Orch.  and  Felix  Mentis  Soc, 
Amsterdam;  then  cond.  "Society" 
concerts,  Dordrecht  ;  1883-95  cond. 
at  Amsterdam  ;  1895  Glasgow  orch.; 
1898  cond.  Philh.  and  dir.  Moscow 
Cons. 

Kes'sel,  Fz.,  th.-cond.,  i88g,  at  Frei- 
burg-in-the-Breis;gau ;  c.  a  symph. 
and  succ.  opera,  ''Die  Scku'esterti" 
(Trier,   1895). 

Kess'ler,  (i)  Fr.,  preacher  and  writer. 
(2)  Fd.,  Frankfort-on-Main,  1793 — 
1856  ;  violinist  and  composer.  (3) 
(rightly  Kotzier)  (kets'-ler),  Jos. 
Chp.,  Augsburg,  1800  —  Vienna, 
1872  ;  teacher,  organist  and  compos- 
er. 

Ket'ten,  H.,  Baja,  Hungary,  184S— 
Paris,  18S3  ;  pianist  and  composer. 

Kettenus  (ket-ta'-noos)  (or  ket-niis), 
Aloys,  Verviers,  1823  —  London, 
1896  ;   violinist  and  dram,  composer. 

Ketterer  (ket-tu-ra),  Eugene,  Rouen, 
1S31 — Paris,  1S70  ;  pianist  and  com- 
poser. 

Keurvels  (kur'-vels),  Edw.  H.  J.,  b. 
Antwerp,  1853  ;  pupil  of  Benoit  ; 
till  1S82,  chorusm.  Royal  Th.;  since 
cond.  Nat.  Flemish  Th.,  .Antwerp; 
c.  operas,  cantatas,  etc. 

Kewitsch    (Kiewics)     (ka'-vTtsh     or 


582 


THE    MUSICAL    GUIDE 


ke'-vech),  (Karl)   Theodor,   b.  Po- 

silge,  W.  Prussia,  Feb.  3,  1834  ;  son 
and  pupil  of  an  organist ;  studied 
with  Maslon  ;  oboist,  then  teacher 
and  organist  in  different  towns  ;  pen- 
sioned 1887,  then  editor,  etc. 

Kiel  (kel),  Fr,,  Puderbach,  near  Sie- 
gen  (Rh.  Prussia),  Oct.  7,  1821— 
Berlin,  Sept.  14,  1885  ;  notable 
teacher  and  composer  of  classic  sch.  ; 
self-taught  as  pianist  and  composer  ; 
vln.-pupil  of  Prince  Karl  von  Wittgen- 
stein and  later,  on  stipend  from  Fr. 
Wm.  IV.,  studied  with  Dehn  ;  lives 
in  Berlin  ;  1868  "  Royal  Prof."  ;  c. 
oratorios,  etc. 

Kiene  (ke'-ne).     Vide  buiot. 

Kienie  (ken'-le),  Ambrosius,  b.  Sieg- 
maringen,  May  8,  1852  ;  Benedictine 
monk  and  writer. 

Kienzl  (kents'-'l),  Wm.,  b.  Waizen- 
kirchen.  Upper  Austria,  Jan.  17, 
1857 ;  pupil  of  Buwa,  Uhl,  Remy, 
Mortier  de  Fontain,  Jos.  Krejci,  and 
later,  Liszt;  1879  Dr.  Phil,  at  Vienna; 
18S0  lectured  at  Munich;  1881-82 
toured  as  pianist;  1883-84  chief  cond. 
of  German  Opera,  Amsterdam;  1886 
m.  the  concert-singer  Lili  Hoke ; 
i886-go  dir.  Styrian  Musikverein  at 
Graz  and  cond.;  1890-92,  ist  cond. 
Hamburg  Opera  ;  1892-93,  at  Mu- 
nich ;  1899-1901  at  Graz  as  com- 
poser. His  first  opera  "  Urvasi" 
(Dresden,  1886)  was  succ,  as  was 
"■  Ht'ilr?iar,  der  Narr"  (Munich, 
1892),  and  still  more  so  "  Der  Evan- 
gelimann  " ;  c.  also  "  Heilmann  the 
Fool"  ''Don  Quit- hole,"  a  "musical 
tragi-comedy  "  ;  he  finished  Jensen's 
"  Turandot"  and  c.  also  90  songs, 
etc. 

Kiesewetter  (ke'-ze-vet-tSr),  Rapha- 
el G.  (Edler  von  Wiesenbrunn),  Hol- 
leschau,  Moravia,  1773 — Baden,  near 
Vienna,  1850;  important  coll.  of 
mus.  MSS.  and  historian  of  many  ob- 
scure periods,  etc.:  later  ennobled. 

Kiewics.     Vide  kewitsch. 

Kimball,  Josiah,  Topsfield,  Mass., 
1761 — 1826;  teacher  and  composer 
of  psalm-tunes,  etc. 


Kind  (kTnt),  J.  F.,  Leipzig,  1768— 
Dresden,  1843;  librettist  of  ''Der 
Freischiitz"  afterwards  composer. 

Kindermann  (klnt'-er-man),  (i)  Jn. 
Erasmus,  b.  NUrnberg,  1616 — after 
1652  ;  organist  and  composer.  (2) 
Aug.,  Potsdam,  1817 — Munich,  i8gi; 
barytone.  (3)  Hedwig,  daughter  of 
above.     Vide  reicher,  k. 

King,  (i)  Wm.,  1624— 1680 ;  Engl. 
organist  and  composer.  (2)  Robt., 
d.  after  1711  ;  Engl,  composer.  (3) 
Chas.,  Bury  St.  Edmunds,  1687— 
London,  1748;  composer.  (4)  Mat- 
thew Peter,  London,  1773— 1823; 
theorist  and  dram,  composer.  (5) 
Oliver  A.,  b.  London,  1855;  pianist; 
pupil  of  W.  H.  Holmes,  and  Rei- 
necke,  Leipzig  Cons.  ;  pianist  to  the 
Princess  Louise,  1879;  toured  Can- 
ada and  New  York;  1899  pf.-prof.  at 
R.  A.  M.;  c.  cantatas,  147th  Psalm, 
with  orch.  (Chester  Festival,  1888), 
a   symphony,     "  Nii^ht."     (6)  Julie. 

Vide  RlVE-KING. 

Kink  el,  Johanna  (nee  Meckel,  di- 
vorced Matthieux),  Bonn,  1810; 
London,  1858  ;  writer  and  dram, 
composer. 

Kipke  (kTp'-ke),  K.,  b.  Breslau,  Nov. 
20,  1850  ;  editor. 

Kip'per,  Hn.,  b.  Coblenz,  Aug.  27, 
1826  ;  pupil  of  Anschiitz  and  H. 
Dorn  ;  teacher  and  critic  at  Cologne; 
c.  operettas. 

Kircher  (kerkh'-er),  Athanasius, 
Geisa  (Buchow?),  near  Fulda,  1602 — 
Rome,  1680  ;  Jesuit  archaeologist  and 
coll.  of  airs,  some  of  them  supposed 
to  have  curative  effects. 

Kirchl  (kerkh'-'l),  Ad.,  b.  Vienna, 
June  16,  1858  ;  choirm.  "  Schubert- 
bnnd,"  Vienna  ;  c.  male  choruses, 
etc. 

Kirchner  (kerkh'-ner),  (i)  Fz.,  b.  Pots- 
dam, Nov.  3,  1840  ;  pianist ;  pupil 
Kullak's  Acad.,  where  he  taught 
1864-89,  then  in  the  Madchenheim 
sch.,  Berlin  ;  c.  pf.-pcs.,  etc.  (2) 
Hn.,  b.  Wolfis,  Thuringia,  Jan.  23, 
1861 ;  concert-tenor,  and  composer  at 
Berlin.    (3)  Theodor,  b.  Neukirchen, 


DICTIONARY  OF  MUSICIANS    583 


In^i 


near  Chemnitz,  Saxony,  Dec.  lo, 
1824 ;  pupil  of  J.  Knorr  (pf.),  K.  F. 
Becker  (org.),  Jn.  Schneider,  and  at 
Leipzig  Cons.;  1843-62,  organist 
Winterthur  ;  1862-72,  teacher  Zurich 
Mus.  Sch.,  and  cond.;  1S73-75,  dir. 
Wurzburg  Cons.,  Leipzig  ;  1883, 
Dresden  ;  1S90,  Hamburg  ;  c.  90  pf.- 
pcs.,  etc. 

Kirk'mann,  (i)  Jacob  (rightly  Kirch- 
raann),  d.  London,  1778  ;  founder 
(before  1740)  of  the  firm  of  harpsi- 
chord-makers, K.  &  Son,  the  "  son  " 
being  his  nephew,  (2)  Abraham  K. 
(3)  Jan.,  b.  Holland,  d.  Norwich, 
1799 ;  organist  and  composer,  Lon- 
don, 1782. 

Kirnberger  (kern'-berkh-er),  Jn.  Ph., 
Saalfeld,  Thuringia,  1721  —  Berlin, 
1783  ;  eminent  theorist,  conductor 
and  composer. 

Kist  (kest),  Florent  Corneille  (Flo- 
rens  Cornelius),  Arnheim,  1796 — 
Utrecht,  1863  :  horn-player  and  flut- 
ist ;  editor,  conductor  and  composer. 

Kist'ner,  (i)  Fr.,  Leipzig,  1797 — 1844; 
pub.  His  son  (2)  Julius  succeeded 
him.  (3)  Cyrill,  b.  Grossaitingen, 
near  Augsburg,  March  12,  1848  ; 
school-teacher ;  studied  with  Wiill- 
ner,  Rheinberger,  and  Fr.  Lachner  ; 
1883  teacher  Sondershausen  Cons.; 
since  1885  lives  in  Bad  Kissingen  as 
principal  of  a  sch.,  pub.  of  text-books, 
inch  "  A  Harmony,  based  on  Wag- 
ner," etc.;  c.  2  operas;  a  succ. 
"  musical  comedy  "  "  EulenspiegeV 
(Wiirzburg,  1S93)  ;  etc. 

Kitch'iner,  Wm.,  London,  1775 — 
1827  ;  a  wealthy  physician ;  writer 
and  dram,  composer. 

Kittel  (kit'-tel),  Jn.  Chr.,  Erfurt,  Feb. 
12,  1732 — May  9,  1809;  J.  S.  Bach's 
last  pupil;  organist  in  Erfurt;  famous 
but  ill-paid  virtuoso  and  teacher. 

Kittl  (kit'-'l),  Jn.  Fr.,  b.  Schloss,  Wor- 
lik,  Bohemia,  1806 — Lissa,  1868  ; 
conductor  and  dram,  composer. 

Kitzler  (kits'-ler).  Otto,  b.  Dresden, 
March  16,  1834  ;  pupil  of  Schneider, 
Otto,  and  Kummer  ('cello),  later  of 
Servais    and    Fetis,    Brussels    Cons.  ; 


■d 


'cellist  in  opera-orchs.  at  Strassburg 
and  Lyons;  cond.  at  various  theatres; 
1868  dir.  Brunn  Mus.  Soc.  and  Mus. 
Sch.,  also  cond.  of  the  Mannerge- 
sangverein;  pub.  orch.-mus.,  pf.- 
pcs.,  etc. 

Kjerulf  (k'ya-roolf),  Halfdan,  Sept. 
17,  1818 — Christiania,  Aug.  11,  1868; 
teacher  and  composer  ;  gave  up  the- 
ology for  music  ;  studied  at  Leipzig  ; 
settled  in  Christiania  ;  c.  songs  and 
pf.-pcs. 

Klafsky  (Lohse-Klafsky)  (klaf- 
shkl),  Katharina,  St.  Johann,  Hun- 
gary, 1855 — Hamburg,  1896;  sopr. ; 
pupil  of  Mme.  Marchesi  ;  sang  in 
comic  opera  chorus,  later  leading 
Wagnerian  roles  in  Europe  and  Amer- 
ica ;  m.  Otto  Lohse. 

Klauser  (klow'-z^r),  (i)  K.,  b.  of 
Swiss  parents,  St.  Petersburg,  Aug. 
24,  1823  ;  chiefly  self-taught ;  1850, 
New  York ;  1856,  Mus. -Dir.  Far- 
mington  Cons.;  editor.  (2)  Julius, 
b.  New  York,  July  5,  1854  ;  pupil  of 
Wenzel,  Leipzig  Cons.;  mus. -teacher, 
Milwaukee  ;  pub.  "  The  Septonate 
and  the  Centralization  of  the  Tonal 
System  "  (1890). 

Klauwell  (klow'-vel),  (i)  Ad.,Langen- 
salza,  Thuringia,  1818  —  Leipzig, 
1879  ;  teacher,  writer,  etc.  (2)  Otto, 
b.  Langchsalza,  April  7,  1851  ; 
nephew  of  above  ;  pupil  of  Schulp- 
forta,  and  at  Leipzig  Cons.  ;  Dr. 
Phil.  ;  1875  P^'o^-  Cologne  Cons.  ; 
since  1885,  dir.  Teachers'  Seminar}' ; 
writer  and  dram,  composer. 

Klee  (kla),  L.,  b.  Schwerin,  April  13, 
1846  ;  pupil  of  Th.  Kullak,  and  until 
1875,  teacher  Kullak's  Acad. ,  then  dir. 
of  his  own  sch.;  "  Musik-Direktor," 
writer  and  editor. 

Kleeberg  (kla-bar),  Clotilde,  b.  Paris, 
June  27,  1866 ;  pianist  ;  pupil  of 
Mmes.  Retz  and  Massart  at  the  Cons., 
won  1st  prize ;  debut,  at  12,  with 
Pasdeloup  orch.;  toured  Europe  with 
great  succ;  1894,  Ofificier  de  I'Acad- 
emie. 

Kleemann  (kla'-man),  K.,  b.  Rudol- 
stadt,  Sept.  9,  1842  ;   pupil  of  M Idler; 


j84 


THE    MUSICAL    GUIDE 


1878,  studied  in  Italy ;  then  2nd 
opera  cond.  and  ct.  mus.-dir.  Des- 
sau ;  c.  2  symphonies,  etc. 

Kleffel  (klef'-fel),  Arno,  b.  Possneck, 
Thuringia,  Sept.  4,  1840 ;  studied 
Leipzig  Cons.,  and  with  Hauptmann  ; 
1863-67,  dir.  Riga  Mus.  See;  then 
th.  cond.  in  Cologne  ;  later  teacher  of 
theory.  Stern's  Cons.,  Berlin;  1895, 
professor ;  c.  opera,  Christmas  le- 
gend, overtures,  etc. 

Klein  (kiln),  (i)  Jn.  Jos.,  Arnstadt, 
1740 — Kahla,  near  Jena,  1823  ;  writ- 
er. {2)  Bd.,  Cologne,  1793 — Ber- 
lin, 1832  ;  teacher  and  composer. 
(3)  Joseph,  1S02 — 62,  bro.  of  above  ; 
lived  as  composer  in  Berlin  and  Co- 
logne. (4)  Bruno  Oscar,  b.  Osna- 
brlick,  Hanover,  June  6,  1858  ;  son 
and  pupil  of  (5)  "Carl  K.  (organist 
OsnabriickCath.);  (4)  studied  at  Mun- 
ich Cons.;  1878,  gave  concerts  in 
America;  1883,  New  York;  1884,  chief 
pf. -teacher  Convent  of  the  Sacred 
Heart ;  also,  18^4-94,  organist  St. 
Francis  Xavier,  and  1887-92,  prof, 
of  cpt.  and  comp.  Nat.  Cons.;  1894- 
95.  gave  concerts  in  Germany;  prod, 
succ.  gr.  opera,  "  Keniliuorth  " 
(Hamburg,  1895),  vln. -sonata,  etc. 
(6)  Hermann,  b.  Norwich,  Eng.  ; 
critic  and  teacher  :  studied  law  ;  1874 
singing  with  .Manuel  Garcia  ;  188 1- 
1901,  critic  London  Sunday  Times  ; 
1887,  prof,  of  singing  at  Guildhall  ; 
1896,  dir.  opera-class  (vice  Weist 
Hill)  ;   1902,  New  York. 

Kleinmichel  (klln'-mlkh-'l),  (r)  Her- 
mann; (?)  1S16 — Hamburg,  1894; 
bandmaster.  (2)  Richard,  Posen, 
Dec.  31,  1846 — Sept.,  1901;  son  and 
pupil  of  above  ;  studied  also  at  Ham- 
burg and  at  Leipzig  Cons.  ;  teacher, 
Hamburg  ;  1S76,  Leipzig;  1882,  mus. 
dir.  City  Th.  ;  c.  2  operas  ;  2  sym- 
phonies ;  chamber-music,  valuable 
etudes,  etc.  ;  m.  a  dramatic  soprano, 
(3)  Clara  Monhaupt. 

Klengel  (kieng'-el),  (i)  Aug.  Alex. 
("  Kanon-Klengel  "),  Dresden,  1784 
— 1852  ;  organist  and  composer  of  an 
attempt  to  rival   Bach's  ' '  Well-tem- 


pered Clavichord,"  etc.  (2)  Paul,  b. 
Leipzig,  May  13,  1854 ;  pianist  and 
violinist;  Dr.  phil.,  Leipzig;  1881- 
86,  cond.,  Leipzig,  "  Euterpe"  con- 
certs ;  1888-93,  2nd  ct.-cond.,  Stutt- 
gart; cond.  "  Arion,"  Leipzig;  1898, 
New  York.  (3)  Julius,  b.  Leipzig, 
Sept.  24,  1859  ;  bro.  of  above  ;  'cel- 
list, pupil  of  Emil  Hegar  ('cello)  and 
Jadassohn  (comp.);  ist  'cello  in  Ge- 
wandhaus  Orch.,  and  teacher  at  the 
Cons.;  composer. 

Kliebert  (kle'-bert),  K.,  b.  Prague, 
Dec.  13,  1840 ;  pupil  of  Rheinbergei- 
and  WiUlner,  Munich;  1876,  dir.  R.' 
Sch.  of  Mus.,  ^Vurzburg.  ' 

Klinck'erfuss  (-foos),  Johanna,  b.' 
Hamburg,  March  22,  1856;  pupil  ol 
Beer    and    Liszt  ;    notable    ct.-pian-, 

ist.  ; 

Klindworth  (kllnt'-vort),  K.,  b.  Hanj 
over,  Sept.  25,  1830 ;  pianist,  emi-j 
nent  teacher  and  editor  ;  self-taugh ' 
pianist  ;  at  6  played  in  public  ;  at  17  j 
cond.  of  an  opera-troupe;  1849 
teacher  at  Hanover ;  1852,  a  Jewisl 
woman  advanced  him  money  to  studj 
with  Liszt ;  1854,  music-debut,  Lonl 
don  ;  Wagner  admired  him,  and  the;' 
became  friends.  1854-68,  he  gay., 
concerts  and  lessons,  London  ;  thei| 
pf.-prof.  Imp.  Cons.  Moscow  ;  whil ! 
here  he  completed  two  monument, 
al  works,  his  pf. -scores  of  Wagner' 
"'Ring  des  Nibeliingen"  and  a  rev' 
ed.  of  Chopin.  1882-92,  cond.  aj 
Berlin  the  Wagnerverein  and  (wit 
Joachim  and  Wiillner)  the  Philharm' 
Concerts.  Est.  a  "  Klavierschule  j 
(Sch.  of  Pf. -playing),  later  unite' 
with  the  Scharwenka  Cons.,  189;! 
when  he  retired  to  Potsdam  ;  coxr; 
posed  piano-pieces. 

Kling,  H.,  b.  Paris,  Feb.  17,  1842 
prof.  Geneva  Cons,  and  teacher  i 
city  schools ;  writer  and  dram,  con' 
poser. 

Klingenberg  (khng-en-berkh),  Fi' 
Wm.,  b.  Sulau,  Silesia,  June  6,  i8og 
1S40-85,  cantor,  Peterskirche,  Go: 
iitz  :  c.  a  symphony,  etc. 

Klitzsch      (klitsh),  '    K.      Emanue 


I 


|i      DICTIONARY  OF  MUSICIANS    58^ 


:ello) 
lloM 
itrali 

.Pr, 


Ak 


Schonhaide,  Saxony,  1S12 — Zwickau, 
18S9  ;  writer  and  composer. 

Clos6  (k-16-za),  Hyacinthe  E16onore, 
Isle  of  Corfu,  iSoS  — Paris,  1880; 
clarinettist  and  prof.,  Paris  Cons.; 
composer. 

Clous  (kloos),  Augusta  (stage-name 
Doria) ;  b.  Boston,  U.  S.  A.  ;  con- 
tralto ;  pupil  of  Hey,  Berlin,  1895, 
Vannuccini,  Plorence,  and  Bax, 
Paris  ;  debut,  Monte  Carlo,  1899, 
taking  name  "  Doria  "  ;  has  sung  at 
Brussels  and  Rouen. 
^j^'lpotz  (klots),  family  of  Bavarian  vio- 
'  lin-makers  at  Mittenwald.  The  first 
(i)  iEgidius,  sen.,  the  best;  his  son 
(2)  Matthias  (ca,  1660— 96).  Mat- 
thias's sons  were  (3)  Sebastian  and 
(4)  Joseph,  and  their  sons  (s)  Georg, 
(6)  Karl,  (7)  Michael,  and  (8)^gi- 
dius,  Jr. 

[lughardt  (klookh'-hart),  Aug.  (Fr. 
Martin),  b.  Kothen,  Nov.  30,  1847  ; 
pupil  of  Blassmann  and  Reichel, 
Dresden  ;  ct.-cond.  at  Neustrelitz  and 
later  at  Dessau  ;  prod.  4  operas,  the 
notable  symphonic  poem,  "Lc'onore"; 
3  symph.  (i.  ''  JValdzuebi-n"),  over- 
tures " /w  Friihliiig" ;  '^  Sophoiiis- 
be,"  "'  Siegesoicverture"  and  "'  Fest- 
ouvey-tilre"  etc. 

Inabe  (k'na-be),  (i)  Wm.,  Kreuz- 
burg,  Prussia,  1803 — Baltimore,  1864; 
founder  of  pf. -factory  at  Baltimore, 
Md.;  succeeded  by  his  sons  (2)  Will- 
iam (1841— 89)  and  (3)  Ernest,  and 
they  by  (4)  Ernest  J.  (b.  July  5,  1869) 
and  (5)  Wm.  (b.  March  23,  1872). 

inauth  (knowt).     Vide  franz,  robt. 

:necht  (knekht),  Justin  H.,  Biberach, 
Wurtemberg,  Sept.  30,  1752 — Dec.  i, 
1817;  rival  of  Vogler  as  organist,  and 
important  theorist,  conductor  and 
composer. 

:neisel  (knl'-zel),  Fz.,  b.  of  German 
parents  in  Roumania,  1865  ;  violin- 
ist ;  pupil  of  Grun  and  Hellmesberg- 
er,  Vienna  ;  Konzcrtmeister,  Ilofburg 
Th.-Orch.;  then  of  Bilse'sOrch.,  Ber- 
lin ;  since  1885,  leader  and  soloist,  Bos- 
ton Symphony  Orch.;  1887,  founded 
the  "  Kneisel  Quartet,"    which    has 


played  with  greatest  succ.  in  Amer- 
ica and  Europe  ;  1902,  cond.  Worces- 
ter (Massachusetts)  Festival. 

Kniese  (kne'-ze),  Julius,  b.  Roda,  near 
Jena,  Dec.  21,  1848  ;  pianist  and  or- 
ganist ;  pupil  of  Stade,  at  Altenburg, 
Brendel  and  C.  Riedel,  Leipzig ; 
1884-S9,  mus.-dir.  at  Aix  ;  1882, 
chorusm.  at  Bayreuth,  where  he  lived  ; 
18S9,  dir.  Preparatory  Sch.  for  Stage- 
Singers  ;  c.  opera,  '■'■  Konig  Witti- 
c/iis";  symphonic  poem,  '' Fritk- 
jof"  etc. 

Knight  (nit),  Jos.  Philip,  Bradford- 
on-Avon,  1812 — Great  Yarmouth, 
1S87 ;  organist  and  composer  of 
songs  incl.  ''  Rocked  in  the  Cradle  of 
the  Deepr 

Knorr  (knor),  (i)  Julius,  Leipzig,  1805 
— 1861  ;  pf. -teacher  and  deviser  of 
standard  rudimentary  exercises  ;  pub. 
"  Methods  "  Gic.  (2)  Ivan,  b.  Mewe, 
West  Prussia,  Jan.  3,  1853  ;  studied 
Leipzig  Cons,  with  Richter,  Rein- 
ecke  ;  1S83,  prof,  of  theory,  Hoch 
Cons.  Frankfort-on-Main  ;  c.  2  suites, 
etc. 

Kny'vett,  (i)  Chas.,  England,  1752— 
London,  1S22  ;  tenor  and  organist. 
(2)  Chas.,  1773 — 1852  ;  son  of  above  ; 
organist  and  teacher.  (3)  Wm., 
1779 — Ryde,  1856;  bro.  of  above; 
composer  and  conductor. 

Kobbe  (kob-ba),  Gustav,  b.  New 
York,  March  4,  1857 ;  studied  pf. 
and  comp.  with  Adolf  Hagen,  Wies- 
baden ;  later  with  Jos.  Mosenthal, 
New  York  ;  1877,  graduated  Colum- 
bia Coll.;  1879,  Sch.  of  Law;  lives 
in  Morristown,  N.  J.;  pub.  essays  in 
leading  magazines  and  newspapers  ; 
also  "  IVat^ner's  Life  and  IForhs" 
(N.  Y.,  1890),  "  The  Ring  of  the  Ni- 
belling"  (1889),  ''Plays  for  Ama- 
teurs" (1892),  ''My  Rosary  and 
other  Poems"  (1896),  "New  York 
and  its  Environs  "  (1891) ;  teacher  ; 
pub.  a  few  songs. 

Kobelius  (ko-ba-ll-oos),  Jn.  Augus- 
tin,  Wahlitz,  near  Halle,  1674 — Wei- 
senfels,  1731;  ct.-cond.  and  dram, 
composer. 


^86 


THE    MUSICAL    GUIDE 


Koch  (kokh),  (i)  H.  Chp.,  Rudolstadt, 
1749 — 1816  ;  violinist;  writer  and 
composer.  (2)  Eduard  Emil, 
Schloss  Solitude,  near  Stuttgart,  1809 
—Stuttgart,  1871;  writer.  (3)  Em- 
ma, b.  Mayence  ;  pianist ;  pupil  of 
Liszt,  Moskowski,  etc.;  since  1898, 
teacher  Stern  Cons.  (4)  Fr.,  b.  Ber- 
lin, 1862;  pupil  of  the  Hochschule  ; 
conductor,  'cellist  and  c.  of  2  operas, 
''Die  Halliger"  and  ''Lea"  (Co- 
logne, 1896),  etc. 

Kochel  (kekh'-'l),  L.  Ritter  von, 
Stein-on-Danube,  Lower  Austria, 
1800 — Vienna,  1877  ;  writer. 

Kocher  (kokh'-er),  Conrad,  Ditzingen, 
near  Stuttgart,  17S6 — Stuttgart,  1872  ; 
mus.-dir.  and  dram,  composer. 

Kocian  (ko'-tsl-un),  Jaroslav,  b. 
Wildenschwert,  Bohemia,  Feb.  22, 
1S84  ;  violinist,  son  and  pupil  of  a 
school-teacher  ;  studied  violin  at  3^ 
years ;  at  12,  Prague  Cons,  under 
Sevcik  (vln.),  and  Dvorak  (comp.)  ; 
debut,  1901  ;  has  toured  Europe  with 
much  succ;   1902,  America. 

Koczalski  (ko-chal-shkl),  Raoul  (Ar- 
mand  G.),  b.  Warsaw,  Jan.  3,  18S5  ; 
studied  pf.  with  his  mother ;  then 
with  Godowski  at  Warsaw ;  at  4 
played  in  public  with  great  succ;  at 
7,  played  at  Vienna,  St.  Petersburg, 
etc.,  600  concerts  up  to  1892  ;  ct.- 
pianist  to  the  Shah  of  Persia,  with 
annuity  of  3,000  francs  ;  c.  i-act  op- 
eras, "  Hagar"  "  Ryinond"  etc. 

Koemmenich  (kem'-mS-nIkh),  Louis, 
b.  Elberfeld,  Germany,  Oct.  4,  1866  ; 
pupil  of  Anton  Krause,  Barmen  and 
at  Kullak's  .\cad.  1890,  New  York, 
as  conductor  and  teacher  ;  since  1894, 
cond.  Brooklyn  Sangerbund  ;  1898, 
organised  an  Oratorio  Soc. ;  c.  a  can- 
tata, male  choruses,  etc. 

Koenen  (ka-nen),  Fr.,  Rheinbach, 
near  Bonn,  1829 — Cologne,  1S87; 
conductor  and  composer. 

Kofler  (kof'-ler),  Leo,  b.  Brixen,  Aus- 
trian Tyrol,  March  13,  1837;  from 
1877,  organist  and  choirm.  of  St. 
Paul's  Chapel,  New  York ;  writer 
and  composer. 


t 


Kogel  (k5'-gel),  Gv.,  b.  Leipzig,  Jan'' 
16,   1849;    pupil  of    the   Cons.;    th, 
cond.  various  cities;  1891-1902,001 
Museum  Concerts,  Frankfort ;    edii 
and  composer. 

Kohler(ka'-ler),  (i)  Ernst,  Langenbie 
lau,  Silesia,  1799 — Breslau,  1847 
organist  and  composer.  (2)  (Chr, 
Louis  (H.),  Brunswick,  1820  - 
Konigsberg,  18S6 ;  pianist,  teache 
and  dramatic  composer,  also  notabi 
critic. 

Kohut  (ko-hoot').  Ad.,  b.  Mindszen' 
Hungary,  Nov.  10,  1847  ;  lives  i 
Berlin  ;  writer. 

Kohout  (ko-hoot'),  Fz.,  b.  Hostir 
Bohemia,  May  5,  1858  ;  pupil  of  Skt 
hersky,  Prague  Org.-Sch.;  now  cor 
ductor  "  Deutsches  Th."  at  Pragu 
and  organist  Weinberger  synagogU( 
c.  v.  succ.  i-act  (German)  ope 
"  Stella"  (Prague,  1S96),  etc. 

Kolbe  (kol'-be),  Oskar,  Berlin,  1836-! 
i'*78  ;    composer  and  writer.  ; 

Kolff  (kolf),  J.  Vkn  Santen,  Rottej 
dam,  1843 — Berlin,  1S96  ;   writer,    i 

Kolling  (kol'-ling),  K.  W.  P.,  I 
Hamburg,  Feb.  28,  183 1;  teachcj 
and  composer  of  v.  succ.  operett 
"  Schinetterlinge"  (1891,  Hamburg' 

Kollmann  (kol'-man),  Aug.  Fr,  Ki 
Engelbostel,  Hanover,  1756 — Lcj 
don,  1824;  organist,  theorist  aj 
composer.  ! 

Kompel  (kem'-pel),  Aug.,  Bruckenaj 
183 1 — Weimar,  1891;   violinist.        I 

Konigslow  (ka'-nlkhs-lav),  (i;Jn.W* 
Cornelius   von,    Hamburg,    1745 
1833  ;    organist   and    composer. 
Otto  Fr.  von,  b.  Hamburg,  Nov. 
1824 ;    pupil   of   Fr.    Pacius   and 
Hafner,  and  at  Leipzig  Cons.;  tou! 
for  12  years;   1858-81, leader  Gur 
nich   Orch.,    Cologne;    vice-dir.  a 
vln. -prof,  at  the  Cons.;   Royal  Pre 
retired  to  Bonn. 

Koning(k6-n!ng),  David,  Rotterds' 
1820 — Amsterdam,  1876;  pian 
conductor  and  composer. 

Konradin  (kon'-rat-en),  K.  Fd.,  ■ 
Helenenthal,  near  Baden,  1833 — 
enna,  1884  ;  dram,  composer. 


I 


DICTIONARY  OF  MUSICIANS  587 


lontski  (kont'-shke),  (i)  Antoine  de, 
b.  Cracow,  Oct.  27,  1S17  ;  pianist; 
pupil  of  Markendorf  and  Field ; 
made  v.  succ.  tours  ;  teacher,  Lon- 
don ;  lived  in  Buffalo,  N.  Y. ;  at  80 
toured  round  the  world  ;  c.  an  opera, 
an  oratorio  ;  symph.  ;  very  florid  and 
pop.  pf.-pcs.,  incl.  "  Z^  Reveil  (ill 
Lion"  etc.  (2)  Chas.,  1815 — Paris, 
1867  ;  violinist.  (3)  Apollinaire  de, 
Warsaw,  1825— 1879  ;  violinist  ;  bro. 
and  pupil  of  (2).  (4)  Stanislas, 
b.  Cracow,  Oct.  8,  1S20 ;  bro.  of 
above  ;  vln. -teacher  and  composer, 
Paris. 

opecky  (ko-p^t'-ske),  Ottokar,  b. 
Chotebor,  Bohemia,  April  29,  1850  ; 
violinist ;  pupil  of  Prague  Cons.  ; 
leader  Philh.  Orch.,  cond.  "  Shaeffer" 
Orch.,  and  teacher  in  the  Cons., 
Hamburg  ;  now  ct.-cond.  to  King  of 
Greece. 

opylow  (k5'-pe-16f),  Alex,  b.  St. 
Petersburg,  1854;  studied  in  the  Imp. 
Chapel,  where  he  is  now  vocal  teach- 
er ;  c.  orch.-  and  pf.-pcs.,  etc. 
orbay  (kor'-ba-e),  Francis  Alex, 
b.  Pesth,  Hungary,  May  8,  1846; 
tenor  ;  pupil  of  Roger,  and  pf. -pu- 
pil of  Liszt  ;  1865-68,  Hungarian 
Opera,  Pesth ;  toured  as  pianist  ; 
since  1871  New  York  as  teacher  of 
voice  and  pf . ;  composer. 
orn,  Mrs.  Clara  A.,  teacher  and 
composer  ;  lives  Orange,  New  Jersey, 
U.  S.  A. 

orner  (ker'-ner),  (i)  Chr.  Gf.,  Leip- 
zig. 1756— Berlin,  1831  ;  composer. 
[2)  Gotthilf  Wm,,  Teicha,  near 
Halle,  1809  —  Erfurt,  1865  ;  pub- 
lisher. 

oschat  (ko'-shat),  Thos.,  b.  Vik- 
tring,  near  Klagenfurt,  Aug.  8,  1845; 
studied  science  at  Vienna  ;  joined  the 
;t. -opera  chorus,  soon  became  leader; 
1874,  joined  cath. -choir ;  1878,  the 
Hofkapelle.  1871,  he  began  the  pub. 
jf  original  poems  in  Carinthian  dia- 
ect,  which  he  set  to  music  for  male 
quartets  ;  these  have  had  great  pop- 
ilarity.  1875,  founded  the  famous 
"Kamthner    Quintett  "  ;  prod.  4-act 


"  Volksstlick  mit  Gesang,"  ''Die  Ro- 
senthaler  Nachtigall,"  and  succ. 
"  Singspiel  "  Der  Burgermeister  von 
St.  Anna  "  (Prague,  1S93),  etc. 

Koselitz  (ka'-ze-llts),  H.,  b.  Annaberg, 
Saxony,  1854  ;  pupil  of  Richter, 
Leipzig  Cobs,  and  Nietzsche,  Basel, 
lived  in  Italy ;  under  the  name 
"Peter  Oast"  prod,  opera,  ''Die 
He' ill!  lie  he  E  he"  (Danzig,  1891). 

Kosleck  (kos'-lek),  Julius,  b.  Neu- 
gard,  Pomerania,  Dec.  3,  1835  ; 
trumpet-  and  cornet-virtuoso  ;  mem- 
ber of  the  royal  band,  Berlin;  teacher. 

Kossak  (kos'-sak),  Ernst,  Marien- 
werder,  1814 — Berlin,  1S80  ;  writer. 

Kossmaly  (kos'-ma-le),  Karl,  (?)  1812 
— Stettin,  1893  ;  teacher,  conductor 
and  writer. 

Kostlin  (kest'-lGn),  (i)  K.  Rheinhold, 
Urach,  Wtirtemberg,  1819 — 1894; 
prof,  and  writer.  (2)  H.  Ad.,  b. 
Tubingen,  Oct.  4,  1846  ;  preacher  ; 
1875  he  united  the  choirs  of  three 
towns,  which  became  in  1877  the 
Wtirtemberg  Evangelical  "  Kirchen- 
gesangverein,"  and  which  he  cond.; 
1891,  Darmstadt  ;    writer. 

Kotek  (ko'-tek),  Jos.,  Kamenez-Po- 
dolsk.  Govt,  of  Moscow,  1855 — 
Davos,  Switz.,  1885  ;  violinist,  teach- 
er and  composer  ;  c.  vln. -pes. 

Kothe  (ko'-te),  (i)  Bd.,  Grobnig,  Sile- 
sia, 1821  —  Breslau,  1897;  teacher 
and  composer.  (2)  Aloys,  b.  Grob- 
nig, 1828  —  Breslau,  1868  ;  bro.  of 
above ;  teacher  and  composer.  (3) 
Wm.,  b.  Grobnig,  Jan.  8,  1831;  bro. 
of  above;  pupil  of  R.  Orgel-Inst., 
Berlin,  since  1871  ;  teacher,  writer 
and  composer,  Habelschwerdt,  Sile- 
sia. 

Kotthoff  (kot'-hof),  Lawrence,  b. 
Eversberg,  Dec.  11,  1862;  pupil  of 
Breslaur,  Grunike,  and  Buchholz, 
Berlin  ;  1886,  St.  Louis,  U.  S.  A.  ; 
critic  and  teacher. 

Kottlitz  (ket'-lTts),  (i)  Ad.,  Trier, 
1820 — Siberia,  i860;  dir.  and  com- 
poser. His  wife  (2)  Clothilde  (nee 
Ellendt),  1822-67,  was  an  excellent 
singing-teacher. 


588 


THE    MUSICAL    GUIDE 


Ko(t)ze'luch  (kot'-ze-lookh  or  ko'-zhe- 
lookh),  (I)  Jn.  A.  (rightly  Jan  An- 
tonin),  Wellvvarn,  Bohemia,  1738 — 
Prague,  1814;  mus.-dir. ;  conductor 
and  dram,  composer.  (2)  Ld.  An- 
ton, Wellwarn,  1752 — Vienna,  1811  ; 
pupil  and  cousin  of  above  ;  conduct- 
or, teacher  and  composer. 

Kotzolt  (kot'-tsolt),  H.,  Schnellewalde, 
Upper  Silesia,  1814— Berlin,  1881  ; 
conductor  and  composer. 

Kotzschmar  (kotsh'-mar),  Hn.,  b. 
Finsterwalde,  Germany,  July  4,  1829; 
his  father  taught  him  various  instrs.  ; 
studied  also  with  his  uncle  Hayne 
and  Jul.  Otto,  Dresden;  in  the  opera- 
orch.;  1848,  America,  witli  Saxonia 
Band ;  since  1849  ^^vcs  Portland, 
Me.;  cond.  "  Haydn  Assoc,"  etc. 

Kotzwara  (kots-va -ra),  Fz.,  b. 
Prague — suicide, Ireland,  1791;  tenor- 
player  and  composer  of  "  Battle  of 
Pra'^ue"  etc. 

Kowalski  (ko-val'-shkl),  H.,  b.  Paris, 
1841  ;  pianist  and  composer  ;  pupil 
of  Marmontel  (pf.)  and  Reber 
(comp.)  ;  composer. 

Kraft  (kraft),  (i)  Anton,  Rokitzan,  1752 
— Vienna,  1820  ;  'cellist  and  compos- 
er. (2)  Nicolaus,  Esterhaz,  Hun- 
gary, 1778 — Stuttgart,  1853  ;  'cellist 
and  composer ;  son  and  pupil  of 
above ;  became  a  member  of  the 
famous  "  Schuppanzigh  Quartett." 
(3)  Fr.,  b.  Feb.  12,  1807 ;  son  of 
above ;  for  years  'cellist  Stuttgart 
ct.-orch. 

Krdl  (kral),  Jn.  Nepomuk,  (?)  1826— 
TuUn,  near  Vienna,  1895  (?) ;  band- 
master. 

Krantz  (kriints),  Eugen,  Dresden, 
1844  —  1S9S  ;  pianist  and  critic, 
teacher  and  composer. 

Krause  (krow'-ze),  (i)  Chr.  Gf.,  Win- 
zig,  1719 — Berlin,  1770;  writer.  (2) 
Karl  Chr.  Fr.,  Eisenberg,  Alten- 
berg,  17S1 — Munich,  1S32  ;  writer. 
(3)  Theodor,  b.  Halle,  May  i,  1833; 
rector  at  Berlin;  cond.  Seiffert  Soc; 
R.  Mus.-Dir.,  1887;  composer.  (4) 
Anton,  b.  Geitham,  Saxony,  Nov.  9, 
1834  ;  at  6  pupil  of  cantor   Dietrich  ; 


% 


then  of  Fr.  Wieck,  Reissiger,  and 
Spindler.  Dresden,  later  Leipzig 
Cons.,  debut,  as  pianist,  Geitham, 
1846 ;  1853-59,  teacher  and  cond, 
Leipzig  Liedertafel ;  1859-97,  dir. 
Singverein  and  the  ConcertgeselV- 
schaft  (retired)  ;  1877  Royal  Mus..i 
Dir.;  prof.  ;  c.  ''''  Prinzes  sin  Jlse.' 
••  Rtibezahl  Legend."  (5)  (Prof.  Dr.; 
Eduard,  Swinemunde,  1S37 — Berlin 
1892  ;  pianist,  teacher  and  composer 
(6)  (Dr.)  Emil,  Schassburg  in  Tranl 
sylvania,  1840 — Hamburg,  1889) 
barytone.  (7)  Emil,  b.  Hamburg!' 
July  30,  1840;  pupil  of  Leipzijj 
Cons.;  since  i860,  teacher  of  pf.  amj 
theory  at  Hamburg ;  since  1885  a'- 
the  Cons.;  c.  an  Ave  Maria  at  i\ 
etc.  (8)  Martin,  b.  Lobstedt,  neaj 
Leipzig,  June  17,  1853  ;  pianist  an 
teacher  ;  son  and  pupil  of  a  canto; 
then  studied  with  Fuchs  Borna  Teacl 
ers'  Sem.,  and  at  Leipzig  Cons. ;  tourej 
Holland  and  Germany,  then  haj 
nervous  prostration  2  years  ;  had  th! 
friendship  and  advice  of  Liszt  f(. 
years;  1885,  with  Siloti  and  other: 
founded  the  Leipzig  "  Lisztverein  ; 
1892,  professor;   1901,  Munich  Con' 

Kraushaar  (krows'-har).  Otto,  Casst 
1812 — 1866;  writer  and  composer. 

Krauss  (krows),  (i)  Dr.  Felix, 
Vienna,  Oct.  3,  1870 ;  bass  ;  pupil 
Stockhausen  ;  sang  Hagcn  and  Gu- 
nemanz  at  Bayreuth,  1899.  (2)  Gj 
brielle  Marie,'  b.  Vienna,  March  2! 
1842  ;  soprano;  pupil  of  Vienna  Ci^! 
and  Marchesi ;  1860-67,  Vienna  \ 
opera;  1867  Th.  des  Italiens,  Pari 
1875-86,  Gr.  Opera,  Paris;  since  th 
a  teacher  at  Paris  and  ofificier  d'A 
demie. 

Krebs  (kraps),  (i)  Jn.  L.,  Buttelstai 
Thuringia,  1713 — Altenburg,  178 
organist  and  composer.  (2)  Kj 
Aug.  (rightly,  Miedcke,  chang 
after  adoption  by  his  teacher  t 
opera-singer  J.  B.  Krebs),  Nii 
berg,  1804 — Dresden.  1880  ;  c.  oj 
ras.  (3)  Marie  (Frau  Brennin 
Dresden,  Dec.  5,  1851 — June 
1900;    daughter    of    above,    piar 


.1; 


1 


DICTIONARY  OF  MUSICIANS    589 


and  teacher.  (4)  K.,  b.  near  Hanse- 
berg,  Wiirtemberg,  Feb.  5,  1857  ; 
studied  R.  Hochschule,  Berlin  ;  lives 
in    Berlin  as  critic  and  writer. 

[recman.     Vide  kkeischmann. 

[rehbiel  (kra'-bel),  H,  Edw.,  b.  Ann 
Arbor,  Mich.,  March  10,  1854;  prom- 
inent American  critic  ;  studied  law  at 
Cincinnati,  but  entered  journalism ; 
1874-78,  mus.-critic  Cincinnati  Ga- 
zette;  later  editor  New  York  Mus. 
Review,  and  since  then  critic  of  the 
Tribune;  pub.  manysucc.  books,  incl. 
"  Studies  ill  the  IVagiierian  Drama" 
(1891);  '"  Hotu  to  Listen  to  Music" 
(1896)  ;  "  Annotated  Bibliography 
of  Fine  Art"  with  R.  Sturgis  (1897); 
"  Music  and  Manners  in  the  i8th 
century"  (1898),  etc. 

Irehl  (kral),  Stephen,  b.  Leipzig,  July 
5,  1864  ;  studied  Leipzig  Cons,  and 
Dresden  Cons.,  1889;  teacher  of  pf. 
and  theory,  Carlsruhe  Cons. ;  c.  Char- 
akterstucke,  sonata,  etc.,  for  piano. 

'.reipl  (kri'-pl),  Jos.,  1805 — Vienna, 
1866  ;  tenor. 

ireisler   (kris'-ler),  (i)  Jns.     Vide  e. 

T.     A.      HOFFMANN.         (2)      Ffitz,     b. 

Vienna,  Feb.  2,  1875  ;  violinist;  pupil 
of  Massart  and  Delibes  ;  debut 
Paris;  toured  Europe  and  U.  S.; 
lives  in  Vienna. 

reissle  von  Hellborn  (kris'-le  fon 
hel'-born),  H.,  Vienna,  1803 — i86g  ; 
writer;  wrote  ''  Biog.  of  Schubert." 
rejci  (kra'-che),  Josef,  Milostin, 
Bohemia,  1822 — Prague,  18S1  ;  or- 
ganist and  composer. 
rempelsetzer  (krem'-p'l-zets-er),  G., 
Vilsbiburg,  Bavaria,  1827 — 1871  ; 
coud.  and  dram,  composer. 
remser  (krem'-zer),  Eduard,  b.  Vi- 
enna, April  ig,  1838  ;  from  1869, 
chorusm.  the  Vienna  "  Mannerge- 
sangverein"  ;  c.  operettas,  a  cantata, 
with  orch.,  famous  ''  Altniederlan- 
dische  Volkslieder"  and  other  part- 
songs,  etc. 

renn  (krSn),  Fz.,  Dross,  Lower 
Austria,  18 16— St.  Andra  vorm  Ha- 
genthal,  1897  ;  organist,  composer 
and  conductor. 


Kretschmann  (or  Krecman)  (kretch'- 
man),  Theobald,  b.  Vinos,  near 
Prague,  1850  ;  solo  'cellist,  Vienna 
ct. -opera. 

Kretschmer  (kretsh'-mer),  (i)  Ed- 
mund, b.  Ostritz,  Saxony,  Aug.  31, 
1830  ;  pupil  of  Otto  and  Schneider, 
Dresden  ;  ct. -organist ;  founder  and 
till  1897  cond.  the  Cacilia  Singing- 
Soc,  etc.;  teacher  in  the  R.  "  Ka- 
pellknaben-Institut,"  where  his  son 
(2)  Fz.  succeeded  him;  E.  K.  c.  text 
and  music  of  2  important  operas, 
''Die  Folkunger"  (Dresden,  1874) 
and  "  Heinrich  der  Lowe  "  (Leipzig, 
1877);  operetta,  ''Der  Fliichtling" 
(Ulm,  1881);  a  romantic  opera 
"  Schon  Rohtraut"  (Dresden,  1887); 
"  Geisterschlacht"  (prize,  Dresden, 
1865)  ;  3-part  mass  for  male  chorus 
(Brussels  Acad,  prize,  1868) ;  an  orch. 
suite  "  L/ochzeitsfnusik"  etc. 

Kretzschmar  (kretsh'-mar)  (Aug. 
Ed.),  Hermann,  b.  Olberhau,  Sa.x- 
ony,  Jan.  ig,  1848  ;  organist  and 
conductor ;  pupil  of  Otto  at  the 
Kreuzschule,  Dresden,  and  at  Leip- 
zig Cons.;  1871  Dr.  Phil,  at  Leipzig, 
with  a  thesis  on  notation  prior  to 
Guido  d'  Arezzo;  then  teacher  of  org. 
and  harm,  at  the  Cons,  and  cond. 
several  societies;  1887,  mus.- dir.  of 
Leipzig  Univ.  and  cond.  "  Paulus." 
1888-97,  cond.  of  the  "  Riedel-Ver- 
ein,"  retired  because  of  ill-health; 
iSgo,  prof.,  critic,  lecturer  and 
writer  ;  c.  org. -pes.  and  part-songs. 

Kreube  (kru-ba),  Chas.  Frederic, 
Luneville,  1777 — at  his  villa,  near  St. 
Denis,  1S46 ;  cond.  at  Paris  Op, 
com.;  c.  10  comic  operas. 

Kreu(t)zer  (kroi'-tser),  (i)  Conradin, 
Mosskirch,  Baden,  Nov.  22,  1780 — 
Riga,  Dec.  14,  1849  ;  pupil  of  Rie- 
gard,  Weibrauch  and  Albrechtsber- 
ger  ;  toured  as  pianist;  ct.-cond.  ;  c. 
30  operas,  mc\."  Das  Nachtlage  von 
Granada"  (1834)  and  "Jerry  und 
Bdtely"  still  played,  etc.  His  daughter 

(2)  Cacilie  was  an  operatic   singer. 

(3)  (pron.   in   France,  krilt-zar),  Ro- 
dolphe,    Versailles,   Nov.    16,    1766; 


590 


THE  MUSICAL  GUIDE 


— Geneva,  Jan.  6,  1831  ;  famous  vio- 
linist to  whom  Beethoven  dedicated 
the  '' Kreutzer  Sonata";  son  and 
pupil  of  a  German  violinist  and  of 
Stawitz  ;  prof,  at  the  Cons.;  ct. -vio- 
linist to  Napoleon  and  to  Louis 
XVIII.,  1802-26;  prod,  at  Paris 
over  40  operas,  incl.  "  Lodoiska" 
also  collaborated  with  Rode  and  Bail- 
lot  in  a  standard  method  and  c. 
famous  vln. -etudes,  etc.  (4)  Aug., 
Versailles,  1781  —  Paris,  Aug.  31, 
1832 ;  bro.  of  above,  and  1826,  his 
successor  as  vln. -prof,  at  the  Cons.  ; 
composer.  (5)  L6on  (Chas.  Fran,), 
Paris,  1817— Vichy,  1868.  Son  of 
(3) ;   writer  and  composer. 

Krieger  (kre'-ger),  (i)  Adam,  Drie- 
sen,  Neumark,  1634 — 1666  ;  ct. -or- 
ganist and  composer.  (2)  (Jn.)  Phil- 
lip, Niirnberg,  1649— Weissenfels, 
1725  ;  ct. -organist,  ct.-cond.,  and 
dram,  composer.  (3)  Jn.,  Niirnberg, 
Jan.  I,  1652 — Zittau,  July  18,  1736  ; 
famous  contrapuntist  ;  bro.  and  pupil 
of  above,  and  his  succ.  as  ct.-cond. 
(4)  Fd.,  b.  Waidershof,  Franconia, 
Jan.  8,  1S43;  studied  Eichstatt  Teach- 
ers Seminary  and  Munich  Cons. ;  from 
1867,  teacher  Normal  Sch.  at  Ratis- 
bon  ;  writer  and  composer. 

Kriesstein  (kres'-shtln),  Melchior, 
printer  at  .\ugsburg  (1545). 

Krigar  (kre'-gar),  (Julius)  H.,  BerUn, 
1819 — 1880  ;  pianist,  conductor  and 
composer. 

Krisper  (kre'-shper).  Dr.  Anton  L.,  b. 
Graz,  1882  ;   writer. 

Krizkowsky  (kresh-kof'-shkt),  Paul, 
1820 — Brunn,  1885  ;  Czech  composer. 

Kroeger  (kra'-ger),  Ernest  R.,  b. 
St.  Louis,  U.  S.  A.,  Aug.  10,  1862  ; 
at  5  studied  pf.  and  vln.  ;  lives  St. 
Louis  as  teacher  ;  c.  a  symph.,  5 
overtures,  a  fugue,  etc. 

Kroll  (krol),  Fz.,  Bromberg,  1820— 
Berlin,  1877  ;  pianist  and  composer. 

Krolop  (kro'-lop),  Fz.,  Troja,  Bohe- 
mia, 1S39 — Berlin,  1897  ;  bass. 

Krommer  (krom'-mer),  Fz.,  Kame- 
nitz,  Moravia,  1760 — Vienna,  1S31  ; 
violinist,  organist  and  conductor. 


Kronach.     Vide  klitzsch. 

Kronke  (kronk-e),  Emil,  b.  Danzig 
Nov.  29,  1865  ;  pianist ;  pupil  c 
Reinecke  and  Paul,  Nicode  and  Th 
Kirchner,  Dresden  ;  1886  won  pf, 
prize,  Dresden  Cons.;  1887,  diplom 
of  honour ;  editor  of  an  edition  c 
Liszt's  complete  works  ;  also  con 
poser. 

Kru(c)kl  (kriik'-'l),  Fz.,  Edispitz,  M(j 
ravia,  Nov.  10,  1841 — Strassburj 
Jan.  13,  1899  ;  barytone,  teacher  arj 
composer. 

Krug  (krookh),  (i)  Fr.,  Cassel,  i8i2-' 
Carlsruhe,    1892  ;    op.    barytone  ail 
dram,  composer.  (2)  Dietrich,  Hat 
burg,  1821 — 1880;   pianist  and  coif 
poser.      (3)  Arnold,     b.     HamburJ! 
Oct.    16,    1849;    son    and    pupil 
above  ;  studied  also  with  Gurlitt  a| 
Reinecke  ;    won   Mozart  scholarsh'j 
1869;     studied    with    Kiel    and   Er 
Franck,   Berlin;    1872-77,  pf.-tea(|. 
er,  Stern  Cons.;  won  Meyerbeer  sch  i  W: 
arship,    and    studied    in  France  a)  '■ 
Italy  ;   1885,   ct.-cond.  at  the   Hal 
burg  Cons.;  pub.   a  symph.,   sym|' 
prologue   "  Otello"  and  orch.  sui; 
choral    works,    etc.      (4)    (Wenz) 
Jos.    (called    Krug-Waldsee), 
Waldsee,    Upper    Swabia,    Nov. 
1858  ;  chiefly  self-taught  until  i8i, 
then  studied  vln.,   pf.,    singing  ;ll 
comp.     with     Faiszt,     at     Stuttg!t     , 
Cons.;   1882-89,  cond.  at  Stuttgj;;  jf  • 
1889,  chorusm.,  mus.-dir.  Municjl  '|*: 
Th.,  Hamburg;  1892,  th. -cond.  v - 
ous     cities;     1889,    Munich;     ic, 
Nurnberg  ;     1901,     Magdeburg;:, 
important    concert-cantatas,  "Z>(- 
roschi'ii,'^   "  Hochzeitslied"    ''''  Ge  r 
zii  Gmund"  and   ''  Seebilder'" ;   s  :. 
opera  ''  Asiorre"     (Stuttgart,  18'  ; 
"  secular  oratorio  "  ''Konig  Roth  ' 
etc. 

Kriiger  (krii'-ger),  (i)  Eduard,  L  -'- 
burg,  1807 — Clottingen,  1885  ;  pf- 
and  writer.  (2)  Wm.,  Stutt^  t, 
1820 — 1883  ;  pianist,  teacher  'd 
editor.  (3)  Gl.,  Stuttgart,  18- 
1895  ;  bro.  of  above  ;   harpist. 

Kruis   (krls),    M.    H.   van,  b.  0  e- 


■:f 


DICTIONARY  OF  MUSICIANS   59 


'  water,  Holland,  March  8,  1S61;  pu- 
pil of  Nikolai  at  The  Hague  ;  1884, 
organist,  teacher  and  writer,  Rotter- 
dam ;  1886,  founded  monthly  "  Het 
Orgel  "  ;  c.  an  opera  "  De  Blocni  Van 
Island"  3  symph.,  8  overtures,  etc. 

([rumpholtz    (kroomp'-holts),    (i)  Jn. 

I  Bap.,  Zlonitz,   near  Prague,  ca.  1745 

1 — Feb.  iq,  1790;  harpist  and  com- 
poser ;  he  m.  his  16-year  old  pupil, 
Frl.  Meyer,  a  brilliant  harpist  ;  they 
gave  concerts  together,  until  her  elope- 
ment, when  he  drowned  himself  in 
the  Seine.  (2)  Wenzel,  1750 — Vi- 
enna, 1817;  bro.  of  above;  violinist 
and  composer. 

iruse  (kroo'-ze),  Jn.  S.,  b.  Mel- 
bourne, Australia,  xMarch  31,  1859; 
violinist ;  pupil  of  Joachim  ;  leader 
of  the  Fhilh.  Orch.,  Berhn ;  1892, 
leader,  Bremen  orchestra. 

iubelik  (koo'-be-lik),  Johann,  b. 
Michle,  near  Prague,  July  5,  1880  ; 
prominent  violinist  ;  son  and  pupil  of 
a  Bohemian  gardener  ;  pupil  for  6 
years  of  .Sevcik,  Prague  Cons. ;  studied 
later  at  Vienna  ;  debut  there  1898; 
then  toured  Europe,  played  at  Milan, 

;  London,     1900,   and     1901    America 

[with   great   success;     1902,    London 

I  Philh.  Society  awarded  him  its   Bee- 

ithoven  medal. 

uchar^  (koo'-charzh),  Jn.  Bap., 
Chotecz,  Bohemia,  1751 — Prague, 
1829  ;  organist  and  conductor. 
ucken  (kik'-'n),  Fr.  Wm.,  Bleck- 
ede,  Hanover,  1810 — Schwerin,  1882  ; 
composer  of  operas  and  pop.  songs  ; 
for  some  time  cond.  at  Stuttgart. 
uczynski  (koo-chen'-shkl),  Paul, 
li.  1S46  ;  Polish  composer  ;  pupil  of 
von  Bulow  ;  c.  succ.  cantata  '•Ari- 
adne." 

udelski  (koo-del'-shkt),  K.  Mat., 
lierHn,  1805— Baden-Baden,  1877  ; 
violinist,  composer  and  conductor. 
ufferath  (koof'-fer-at),  (i)  Jn.  Hn., 
Miihlheim-on-the-Ruhr,  1797— Wies- 
baden, 1864;  conductor.  (2)  Louis, 
Miihlheim,  18 11— near  Brussels,  1882; 
pianist,  teacher  and  composer.  (3) 
Hubert   Fd.,    Muhlheim,   June    11, 


1818— Brussels,  June  23,  1896  ;  noted 
pianist  ;  bro.  and  pupil  of  above  ; 
writerand  composer.  (4)  Maurice,  b. 
Brussels,  Jan.  8,  1852.  Son  and  pu- 
pil of  (3)  ;  studied  with  Servais  (pere 
and  fils)  'cello  ;  1873,  editor  "  Guide 
miisicah-"  later,  proprietor;  writer 
and  translator  under  the  name 
"  Maurice  Reymont." 
Kiiffner     (klf'-ner),    Jos.,    Wiirzburg. 

1776 — 1856  ;  dram,  composer. 
Kugelmann  (koo'-gel-man),  Hans,  d. 
Konigsberg,  1542;  trumpeter  and 
composer. 
Kuhe  (koo'-e),  Wm.,  b.  Prague,  Dec. 
10,  1823  ;  pianist  ;  pupil  of  Proksch, 
Tomaschek  and  Thalberg ;  1845, 
London  ;  from  1886  prof,  the  R.  A. 
M.;  composer. 
Kuhlau  (koo'-low),  Fr.,  Ulzen,  Han- 
over, Sept.  II,  1786 — Copenhagen, 
March  13,  (18?).  1832;  ct. -flutist, 
dram,  composer,  teacher  and  com- 
poser of  important  technical  pf.-pcs., 
etc. 
Kuhmstedt  (kiun-shtet),  Fr.,  Oldis- 
leben,  Saxe-W'eimar,  1809 — Eise- 
nach, 1858  ;  theorist,  composer,  writ- 
er and  teacher. 
Kuhnau  (koo'-now),  Jn.,  Geysing, 
Saxony,  April,  1667  (?) — Leipzig, 
June  5,  1722  ;  pupil  of  Henry,  Al- 
brici  and  P'delmimn  ;  organist  at  the 
Thomaskirche,  Leipzig,  and  1700 
cantor,  before  Bach  ;  pub.  the  first 
sonata  for  harpsichord,  of  which  he 
was  a  noted  player  ;  also  famous  Bib- 
lical sonatas  ;  composer  and  writer. 
Kiihner  (kii'-ner),  Konrad,  b.  Markt- 
streufdorf,  Meiningen,  March  2, 
185 1  ;  pupil  Stuttgart  Cons.  ;  lives  in 
Brunswick  as  teacher,  writer  and 
composer. 
Kulenkampf  (koo'-l'n-kampf),  Gus.,  b. 
Bremen,  Aug.  11,  1849;  concert 
pianist  and  teacher  ;  pupil  of  Rein- 
thaler,  Barth  and  Bargiel,  Berlin 
Hochschule ,  organised  the  succ. 
"  Kulenkampscher  Frauenchor  "  ;  dir. 
Schwantzer  Cons,  at  Berlin  for  a  few 
years  ;  c.  succ.  comic  operas  "  Der 
Page"    (Bremen,   1890)     and    '''Der 


/ 


592 


THE    MUSICAL    GUIDE 


Mohrenf first''  (Magdeburg,  1892); 
"  Die  Brant  von  Cypern  "  (Schwerin, 
1807)  ;  male  choruses,  etc. 

Kullak  (kool'-lak),  (I)  Theodor,  Kro- 
toschin,  Posen,  Sept.  12,  1818 — Ber- 
lin, March  i,  18S2  ;  eminent  teacher; 
Prince  Radziwill  had  him  taught  by 
the  pianist  Agthe  ;  at  11  he  played  at 
a  ct. -concert;  studied  with  Dehn, 
Czerny,  Sechter  and  Nicolai  ;  then 
teacher  to  the  royal  family  ;  1846,  ct.- 
pianist,  Berlin;  1850,  founded  (with 
Julius  Stern  and  Bern.  Marx)  the 
Berlin  (later  Stern)  Cons.;  1855,  re- 
signed, established  his  famous  "Neue 
AkademiederTonkunst  ;  "  1861,  royal 
prof.  ;  wrote  standard  works,  "  .SV7/. 
of  Octave-playing"  "  Seven  Studiis 
in  Octave-playing"  etc. ;  c.  a  concerto, 
sonata  and  other  brilliant  pf.-pcs., 
etc.,  inch  ''  Kinderlehen."  (2)  Ad., 
Meseritz,  1823— Berlin,  1862  ;  bro. 
of  above  ;  writer  and  composer.  (3) 
Fz.,  Berlin,  April  12,  184.2  ;  son  and 
pupil  of  (i)  ;  studied  with  Wieprecht 
and  Liszt  ;  1867,  pf. -teacher  and  dir. 
orch. -class  in  Acad,  of  his  father,  on 
whose  death  he  became  dir.  in  1890  ; 
writer  ;  c.  an  opera  "  Ines  de  Castro  " 
(Berhn,  1877).  etc. 

Kummer  (koom -m'r),  (i)  Kaspar, 
Erlau,  1795 — Coburg,  1870  ;  flute- 
virtuoso.  (2)  Fr.  Aug.,  Meiningen, 
Aug.  5,  1797 — Dresden,  May  22, 
1S79  ;  notable  'cellist  and  composer 
for  'cello  ;  wrote  method.  (3)  Alex., 
b.  Dresden,  July  ro,  1850;  son  of 
above  ;  pupil  of  Leipzig  Cons.,  vln.- 
virtuoso  ;  lives  in  England. 

Kiimmerle  (klm -mer-le),  Salomon, 
Malmsheim,  near  Stuttgart,  1838 — 
Samaden,  1896;  prof,  and  compos- 
er. 

Kundinger  (kin'-dtng-er),  (i)  G. 
Wm.,  b.  Konigshofen,  Bavaria, 
Nov.  28,  iSoo  ;  1831  Stadtcantor  at 
Nordlingen  ;  1838,  Niirnberg  ;  com- 
poser of  church  music.  His  3  sons, 
(2)  Alex,  b.  Kitzingen,  Feb.  13, 
1827  ;  ct. -violinist  and  composer,  St. 
Petersburg.  (3)  Kanut,  b.  Kitzingen, 
Nov.  II,  1830;  'cellist,  since  1849  in 


Munich  ct.-orch.;  and  (4)  Rudolf,  b. 
Nordlingen,  May  2,  1832  ;  pianist ; 
pupil  of  his  father  and  Blumroder;  , 
since  1850  lives  in  St.  Petersburg;  i 
teacher  at  the  court  and  to  the  Em-  I 
press  ;  1879  prof,  at  the  Cons.  ;  com-  I 
poser. 

Kunkel  (koonk-'l),  (i)  Fz.  Jos.,  Drie- 
burg,  Hesse,  1804 — Frankfort-on- 
Main,  18S0;  theorist  and  composer. 
(2)  K.  Bros.,  music  publishers,  St. 
Louis,  Mo.  , 

Kuntze  (koon'-tse),  K.,  Trier,  1817—  I  •' 
Delitzsch,  Saxony,  1883  ;  teacher  and  '  , 
composer. 

Kunz  (koonts),  Konrad  Max,  Schwan- 
dorf,  Bav.  Palatinate,  1S12 — Munich, 
1S75  ;  conductor  and  composer. 

Kunzen(koonts'-'n),(i)  Jn.  Paul,  Leis- 
nig,  Saxony,  1696 — Ltibeck,  1770; 
organist  and  composer.  (2)  Ad.  K., 
Wittenberg,  1720 — Ltibeck,  1781;  or- 
ganist, pianist  and  composer.  (3) 
Fr.  L.  iEmilius,  Ltibeck,  1761—; 
Copenhagen,  1817;  ct. -conductor  and; 
composer. 

Kupfer-Berger  (koop'-f'r-berkh-'r), 
Ludmilla,  b.  Vienna,  1850;  pupil  of 
the  Cons.;  debut  Linz-on-Danube, 
1868,  then  at  the  Berlin  Ct. -opera ;  1 
m.  the  BerHn  merchant  Kupfer;  latei 
at  Vienna,  ct. -opera  as  alternate  with 
Materna. 

Kurpinski  (koor-ptn'-shkt),  Karl  (Ka-i 
simir),  Luschwitz,  Posen,  1785— 
Warsaw,  1857  ;  conductor  and  dram 
composer. 

Kurth  (koort),  (Martin  Alex.)  Otto 
b.  Triebel,  Brandenburg,  Prussia 
Nov.  II,  1846;  pupil  of  Haupt 
Loschhorn,  and  Jul.  Schneider,  Ber 
lin  ;  i,ince  1871,  teacher  Teachen 
Seminary,  Ltineburg  ;  1885,  R.  Mus. 
Dir.;  c.  3  operas,  oratorio,  adven 
cantata,  with  orch.,  symph.,  etc. 

Kus  ser  (or  Cous  ser),  Jn.  Sieg 
mund,  Pressburg,  ca.  1657 — Dublin, 
1727  ;  conductor  and  dram,  composei 

Kiister      (kTs'-ter),      Hn.,      Templir 
Brandenburg,   1817 — Herford,  Wesi 
phalia,    1878  ;    ct.-organist,    theorisi    : 
and  composer. 


,|      DICTIONARY  OF  MUSICIANS    593 


Cwast  (kwast),  Jas.,  b.  Nijkerk,  Hol- 
land, Nov.  23,  1852  ;  pianist  ;  pupil 
of  his  father  and  Fd.  Bohme  ;  Rei- 
necke  and  Richter,  Kullak  and 
Wuerst,  Brassin  and  Gevaert,  Brus- 
sels ;  1S74  teacher  Cologne  Cons.; 
18S3,  Hoch  Cons.,  Frankfort;  com- 
poser. 


.abarre    (la-bar),    Th.,  Paris,  1805— 
I  1870  ;  harpist  and  dram,  composer. 
,abatt  (la-bat),  Leonard,  Stockholm, 
1838 — 1897  ;  tenor. 

Iabitzky  (la-blt'-shkl),  (i)  Jos.,  Schon- 
feld,    near    Eger,    1802  —  Carlsbad, 
188 1 ;  violinist.     Two  sons  (2)  Aug., 
b.  Petschau,  Sa.xony,   Oct.  22,  1832  ; 
'  pupil  of  Prague  Cons.,  of  David  and 
Hauptmann,    Leipzig  ;     1S53,    cond. 
and  composer  at  Carlsbad.  (3)  Wm., 
violinist ;  lives  in  Toronto,  Canada. 
ablache    (la-blash),     Luigi,   son    of 
French     father    and     Irish    mother, 
Naples,  Dec.  6,  1794 — Jan.  23,  1858; 
eminent  bass,  with  powerful  and  flex- 
ible voice  with  compass  (El?  -e')  ;  pu- 
pil of  VaJesi,  pupil  Cons,  della  Pieta ; 
debut  Naples  as  buffo  ;  later  in  heroic 
roles     throughout      Europe  ;     wrote 
"  Methode  de  chant." 
ibor   (Iji'-bor),    Josef,  b.    Horowitz, 
Bohemia,    June    29,    1842  ;    a    blind 
pianist  and  organist  ;  pupil  of  Sechter 
ind  Pirkjer,  Vienna  Cons.;  chamber- 
pianist  and  teacher  of  the  princess  of 
Hanover;  c.  a  Paternoster  with  orch.; 
in    Ave    Maria    in    canon-form    for 
"emale  voices,  etc. 
Jiborde.     Vide  delaborde. 
lichaume  (la-shom),  Aime,  b.  Paris  ; 
lianist  and    composer  ;  came  to  New 
/ork,  1890  (?) ;  lives  there  as  teacher, 
iccompanist,  cond.  and  composer  of 
)antomimes,  incid.  mus.,  etc. 
I.chmund  (Ijikh'-moont),  Carl  V.,  b. 
5oonevilIe,  Mo.,   U.  S.  A.,   1854;  at 
3  studied    in    Cologne  with  Heller, 
ensen  and  Seiss  ;  then  Berlin,  also  4 
ears  with  Liszt  at  Weimar  ;  c.  trio 
played     by     Berlin     Philh.    orch.), 
38 


'■'Japanese"  overture  (perf.  by 
Thomas  and  Seidl),  etc.;  lives  in 
New  York  as  teacher,  conductor  and 
composer. 

Lachner  (lakh'-ner),  (i)  Theodor,  b. 
1798;  son  of  a  poor  organist  at  Rain, 
Upper  Bavaria  ;  organist  at  Munich. 
(2)  Thekla,  b.  1803;  sister  of  above, 
organist  at  Augsburg.  (3)  Christi- 
ane,  b.  1805  ;  sister  of  above  ;  or- 
ganist at  Rain.  (4)  Fz.,  Rain,  April, 
2,  1804 — Munich,  Jan.  20,  1890; 
half-brother  of  above ;  studied  with 
Eisenhofer  (comp.),  and  with  Ett ; 
1882,  organist  Protestant  Church, 
Vienna,  and  studied  with  Stadler, 
Sechter,  and  Weigl  ;  a  friend  of 
Schubert  and  Beethoven;  1826,  cond. 
Karthnerthor  Th.;  1834,  Mannheim; 
1836,  the  production  of  his  D  minor 
symph.  at  Munich  won  him  the  ap- 
pointment of  ct.-cond.;  from  1852, 
was  gen.  mus.  dir.;  1868  retired  with 
pension  in  protest  against  the  growing 
Wagnerianism  at  court  ;  his  eight 
orch.  suites  are  his  best  work,  show- 
ing his  contrapuntal  gifts  at  their 
best  ;  he  prod.  4  operas,  2  oratorios, 
8  symphs.,  incl.  the  ''  Appassioiiata" 
chamber-music,  etc.  (5)  Ignatz, 
Rain,  Sept.  11,  1807 — Hanover,  Feb. 
24,  1895.  Bro.  of  (4)  and  his  successor 
as  organist,  1825.  2d  cond.  of  court- 
opera,  later  ct. -mus. -dir.,  Stuttgart  ; 
1858,  ct.-cond.,  Stockholm;  c.  ope- 
ras, pop.  Singspiele,  etc.  (6)  Vin- 
cenz,  Rain,  July  19,  181 1 — ^Carls- 
ruhe,  Jan.  22,  1893  ;  bro.  of  above  ; 
his  successor  as  organist  and  later 
successor  of  Fz.,  as  ct.-cond.;  teach- 
er and  composer. 

Lacknith  (lak'-nlt),  L.  Wenzel,  b. 
Prague,  1746  ;  horn-player,  and  de- 
ranger  of  famous  works. 

Lack  (lak),  Theodore,  b.  Quimper, 
France,  Sept.  3,  1846  ;  pupil  of  Mar- 
montel  (pf.)  and  Bazin  (harm.)  Paris 
Cons.;  teacher  at  Paris  ;  1881  officier 
of  the  Academic;  ofificier  of  public  in- 
struction ;  c.  much  light  and  grace- 
ful pf. -music. 

Lackowitz  (lak'-6-vIts),  Wm.,  Treb- 


5:94 


THE    MUSICAL    GUIDE 


bin,  near  Berlin,  Jan.  13,  1837;  pupil 
of  Erk,  Kullak,  and  Dehn ;  editor. 

Lacombe  (la-koiib),  (i)  Louis 
(Brouillon  -  Lacombe),  Bourges, 
France,  Nov.  26,  iSiS — St.  Vaast-la- 
Hougue,  Sept. 30,  18S4;  pianist;  pupil 
of  Paris  Cons. ;  writer  and  dram,  com- 
poser. (2)  Paul,  b.  Carcassonne, 
Oude,  France,  July  11,  1837;  studied 
with  Teysseyre,  but  mainly  self- 
taught  ;  iSSo  won  the  Prix  Chartier, 
for  chamber-mus.,  in  which  field  he  is 
most  famous ;  c.  also  3  symphs. ,  a 
symph.  overture,  etc. 

Lacome  (la-kum),  Paul  (P.  J.  Jac. 
Lacome  de  L'Estaleux),  b.  Hou- 
ga,  Gers,  France,  March  4,  1838  ; 
lives  since  1S60,  Paris  ;  essayist  and 
composer  of  many  light  operas,  incl. 
^'Jeanne,  Jeannette  et  Jeanneton'' 
(1376);  orchestral  suites;  songs,  incl. 
"  L'Estudiantina,"  etc. 

Lacy,  (i)  J.,  bass,  at  London,  i8i8. 
His  wife  (2),  Mrs.  Bianchi  Lacy,  was 
a  soprano.  (3)  Michael  Rophino, 
Bilbao,  1795 — Pentonville,  1867  ; 
English  violinist  and  composer. 

Ladegast  (la-de-gast),  Fr.,  b.  Hoch- 
hermsdorf,  near  Leipzig,  Aug.  30, 
iSi3  ;  org.-builder. 

Ladurner  (la-door'-ner),  Ignaz  Ant. 
Fz.,  Aldein,  Tyrol,  1766— Villain 
(Massy),  1839  '■>  pianist  and  compos- 
er. 

Lafage  (la-fazh),  Juste  Adrien  Le- 
noir de,  Paris,  1801— Charenton  In- 
sane Asylum,  1862  ;  singing-teacher, 
conductor,  composer  and  writer. 

Lafont  (lii-foh),  Chas.  Philippe,  Paris, 
1 78 1 — near  Tarbes,  1839  '  violinist 
and  composer. 

La  Grange  (la  grahzh),  Mme.  Anna 
(Caroline)  de,  b.  Paris,  July  24, 
1S25  ;  colorature  soprano  of  remark- 
able range  and  flexibility  ;  pupil  of 
Bordogni  and  Lamperti ;  debut  1S42, 
at  Varese  ;  m.  the  wealthy  Russian 
Stankowich,  has  since  lived  in  Paris  as 
teacher. 

La  Harpe  (la-arp),  J.  Fran,  de,  Paris, 
1739 — 1S03  ;  critic. 

Lahee',  H.,  b.  Chelsea,  England,  April 


II,  1826;  pupil  of  Bennett,  Potter 
and  J.  Goss  (comp.) ;  concert-pian- 
ist ;  lives  in  Croydon  as  teacher ;  c. 
5  cantatas,  etc. 

Lahire  (la-er ),  Ph.  de,  Paris,  1640— 
1719  ;   writer. 

Laid  law,  Anna  Robena  (Mrs. 
Thomson),  Bretton,  Yorkshire,  April 
30,  1819 — May,  1901;  successful  con- 
cert-pianist until  her  marriage,  1852. 

Lais.     Vide  l.vys. 

Lajarte  (Iji-zhart),  Th.  Ed.  Dufaure 
de,  Bordeaux,  1826 — Paris,  1890; 
writer  and  dram,  composer. 

Lajeunesse,  M.     Vide  .\lbaxi. 

Lalande  (la-laiid),  (i)  Michel  Rich-! 
ard  de,  Paris,  1657 — 1726  ;  organ-' 
ist,  conductor  and  composer.  (2)' 
(Meric-Lalande)  Henriette  Cle- 
mentine, Dunkirk,  1798 — Paris, 
1867  ;   brilliant  soprano.  *  K 

Lalo  (la-16),  Ed.  (V.),  Lille,  Jan.  27 
1823 — Paris,  April  22,  1892  ;  violinis'^ 
and  viola. -virtuoso  ;  c.  2  vln.-concer 
tos  ;  ''' Sytfiphoiiie  espaonole^ ;  rhap 
sody  for  orch.,  opera  '  Le  Roi  d'  Ys^  \ 
chamber-music,  etc. 

Lamb,     Benj.,    Engl,    organist    i8t 
cent. 

La  Mara.     Vide  lipsius,  marie. 

Lambert  (lah-bar),  (i)  Michel,  V  ! 
vonne,  Poitou,  1610 — Paris,  1696  '• 
conductor  and  composer.  (2)  Li 
cien,  b.  Paris,  Jan.,  i86i  ;  pupil  c 
Paris  Cons.;  1S83,  took  Prix  Rossi 
w.  cantata  "  Promethe'e  Enchainc' 
c.  lyric  dram.  "  Z^  Spahi"  (Op 
com.,  1897),  overture,  etc.  j 

Lambert  (lam'-bert),  (i)  Jn.  H.,  Mlil'   | 
hausen,  Alsatia,   1728 — Berlin,    177" 
writer.      (2)  Geo.,  b.  Beverley,  179 
organist  there,    succeeded  by  his  S' 
(3)  Geo.  Jackson   in   1818';  retire  J-- 
1S74.     (4)  Alex.,    b.    Warsaw,  _F  IJftat 
land,  Nov.  i,  1862  ;  son  and  pupil!  45f, 
(5)   Henry  L.  ;  (4)  studied  at  Vien 
Cons.;  graduated  at  16  ;  studied  w 
Urban,  Berlin  ;  toured  Germany  a     , 
Russia  ;  studied  some  months  at  W     j  - 
mar    with    Liszt  ;     1884,    Americ 
since  1888,  dir.  N.  Y.  Coll.  of  Ml 
composer. 


1 


DICTIONARY  OF  MUSICIANS    595 


amberti  (lam-ber'-tc),  Gius.,  Cuneo, 
Italy,  1S20  (?) — Turin,  1S94  ;  dram, 
composer. 

ambeth,  H.  A,,  b.  Hardway,  near 
Gosport,  1822  ;  organist, 
arabillotte  (laii-bl-yot).  Fere  Louis, 
Ciiarleroi,  Hainault,  1797 — Vaugi- 
rard,  1S55  ;  organist,  conductor  and 
composer. 

ammers  (lam'-mers),  Julius,  Leip- 
zig, 1S29 — 1888;  composer  and  teach- 
er. 

amend',  (i)  Fr.  A.,  b.  Glasgow,  Jan. 
28,    1868 ;    concert-pianist    (pupil   of 
his  bro.  (2)  David) ;    1882   at    Raff 
Cons.,    Frankfort  ;    later    with    von 
Billow    and    Liszt  ;     debut,     Berlin, 
18S5  ;  toured  Europe;  1902,  America; 
:.    symph.,  overture '' A  us  dem  schot- 
tischeii  Hochlande"  etc. 
limothe  (la-mot),  G.,  France,  1837 — 
Jourbevoie,  1894  ;  composer. 
limoureux  (lam-oo-rii),  Chas.,  Bor- 
ieaux,   Sept.    28,  1834 — Paris,  1900; 
eminent  conductor  ;    pupil  of  Girard, 
Paris    Cons.;    later    with   Tolbecque, 
Leborne  and  Chauvet ;  co-founder  of 
I  soc.  for  chamber-mus.;     1872,   or- 
:;anist  "  Societe  de  musique  sacree  ;  " 
S76,     assist. -cond.      Paris     Opera  ; 
:S7S,    first     cond.;      1872-78,     also 
issist.-cond.  the  Cons.  Concerts  ;  re- 
igned from  the  Opera,  1881,  and  est. 
he    celebrated    "  Concerts    Lamou- 
eux"  (Nouveaux  Concerts). 
Impada'rius,  (i)  Jns.,  chapel-singer, 
it.      Sophia,      Constantinople,     14th 
ent.;  writer.     (2)  Petrus,  b.  Tripo- 
tza,  Morea,  ca.  1730;  composer. 
Impadius     (lam-pa'-dl-oos),     Wm. 

id,,  tSi2 — Leipzig,   1892  ;  writer. 
Lmpe  (lam'-pe),  J.  F.,  Saxony,  1703 
-Edinburg,    175 1;     bassoonist    and 
peratic  composer. 
Lmperen      (lah'-pe-rah),        Michel 
an,  b.  Brussels,  Dec.  6,  1826  ;   1859, 
br.  Brussels  Cons.;    composer. 
Lmpert    (lam'-pert),    Ernst,    Gotha, 
SiS — 1879;    pianist,    violinist,     ct.- 
"jnductor  and  dram,  composer. 
Lmperti    (lam-per'-te),     Fran.,    Sa- 
ona,  Italy,    March  11,  1813 — Como, 


May  I,  1892  ;  eminent  singing-teach- 
er ;  pupil  of  Milan  Cons,  and  teacher 
there,  1850-76  ;  pub.  treatises. 

Lampugnani  (lam-poon-ya'-ne),  Giov. 
Bat.,  Milan,  1706 — ca.  1780;  dram, 
composer. 

Land  (lant),  Dr.  Jan  Pieter  Nico- 
laas,  Delft,  1834— Arnhem,  1897  ; 
professor  ;  pub.  important  results  of 
research  in  Arabian  and  Javanese 
mus. ,  etc. 

Landgraf  (lant'-graf),  J.  Fr.  Bd., 
Dielsdorf,  Weimar,  1816 — Leipzig, 
1885  ;  clarinettist. 

Landi  (liin'-de),  Stefano,  Rome,  ca. 
1590 — ca.  1655  ;  conductor,  com- 
poser and  singer. 

Landino  (lan-de'-no),  Fran,  (called 
Francesco  Cieco  "the  blind,"  or 
Degli  Organi),  Plorence,  ca.  1325 — 
1390  ;   notable  organist  and  composer. 

Landolfi  (lan-dol'-fe)  (or  Landul'- 
phus),  (i)  Carlo  Fdo.,  1.  Milan, 
1750-60  ;  maker  of  'cellos,  etc.  (2) 
Pietro,  instr. -maker  at  Milan  ca. 
1760,  probably  son  or  bro.  of  above. 

Lang  (lang),  (i)  (Lang-Kostlin),  Jo- 
sephine, Munich,  1815 — Tubingen, 
1880  ;  composer.  (2)  Benj.  John- 
son, b.  Salem,  Mass.,  Dec.  28,  1S37  ; 
prominent  pf. -teacher  and  conductor; 
pupil  of  his  father  and  of  F.  G.  Hill 
at  Boston,  Jaell  and  Satter,  later  in 
Berlin,  and  with  Liszt  ;  since  1852, 
organist  various  churches,  Boston ; 
for  over  25  years  organist  Handel  and 
Haydn  Soc.  and  cond.  since  1895  ; 
also  cond.  the  Apollo  Club  and  the 
Cecilia,  etc.;  c.  an  oratorio  ''David" ; 
symphs.,  etc.  (3)  Margaret  Ruth- 
ven,  b.  Boston,  Nov.  27,  1867  ; 
daughter  and  pupil  of  above  ;  studied 
also  with  Schmidt  of  Boston,  Drechs- 
ler  and  Abel  (vln.)  and  Gluth  (comp.) 
in  Munich  ;  pub.  many  original  and 
important  songs  and  pf.-pcs.  (4) 
Karl,  b.  Waiblingen,  June  24,  i860 ; 
tenor  at  Schwerin ;  pupil  of  Dr. 
Ciunz. 

Langbecker  (lang'-bek-er),  Emanuel 
Chr.  Gl.,  Beriin,  1792 — 1843  ;    writ- 


596 


THE    MUSICAL    GUIDE 


Lang'don,  Richard,  Exeter,  Engl, 
ca.  1729 — 1803  ;  organist  and  com- 
poser. 

Lange  (lang'-e),  (i)  Otto,  Graudenz, 
1815 — Cassel,  1879;  editor  and  writ- 
er. (2)  Gustav,  Schwerstedt,  near 
Erfurt,  1830 — Wernigerode,  1889  ; 
pianist  and  composer.  (3)  Samuel 
de,  Rotterdam,  Feb.  22,  1840;  son 
and  pupil  of  the  organist,  (4)  Sam- 
uel de  L.  (iSii— 1884);  later  stud- 
ied witli  Winterberger,  Vienna,  and 
Uamcke  and  Mikuli,  Lemberg;  1863 
organist  and  teacher  Rotterdam 
Mus.  Sch.,  often  touring  Europe; 
1876  teacher  Cologne  Cons.,  also 
cond. ;  1885-93,  cond.  at  The  Hague, 
later  teacher  and  vice-dir.  Stuttgart 
Cons.,  and  since  1895,  cond.  ;  c. 
oratorio  ''Moses"  (The  Hague, 
1889),  a  symph.,  etc.  (5)  Daniel 
de,  b.  Rotterdam,  July  11,  1841  ; 
bro.  of  above  ;  studied  with  Ganz 
and  Servais  ('cello),  Verhulst  and 
Damcke  (comp.),  at  Lemberg  Cons. 
1860-63,  then  studied  pf.  with  Mme. 
Dubois  at  Paris  ;  chiefly  self-taught 
as  organist  ;  1895,  dir.  Amsterdam 
Cons.,  and  cond.;  also  critic;  c. 
opera  " />£'  Val  P'an  Kuilejjbtirg"  ; 
two  syniphs. ;  overture,  "  Willem  van 
Holland:'  etc.     (6)    Aloysia.     Vide 

WEBER    (4). 

Langer  (!ang'-er),  (i)  Hn.,  Hocken- 
dorf,  near  Tharandt,  Saxony,  1819 — 
Dresden,  i88g ;  organist,  conductor 
and  teacher.  (2)  Fd.,  b.  Leimen, 
near  Heidelberg,  Jan.  21,  1839  ;  'cel- 
list at  Mannheim  ct.-Th.,  and  later 
2nd  cond.;  prod,  there  5  succ.  operas. 
(3)  Victor,  b.  Pesth,  Oct.  14,  1842  ; 
pupil  R.  Volkmann,  and  Leipzig 
Cons.;  lives  in  Pesth  as  teacher,  th.- 
cond.  and  editor ;  pub.  under  the 
name  of  "  Aladar  Tisza  "  very  pop. 
songs,  etc. 

Langert  (lang'-ert),  (i)  (Jn.)  Aug. 
(Ad.),  b.  Coburg,  Nov.  26,  1836  ; 
dram,   composer;  th.-cond.   Coburg; 

1872,  teacher  of  comp.  Geneva  Cons.; 

1873,  ct.-cond.,    Gotha,    reappointed 
1893  ;  prod.  7  operas. 


\ 


Langhans  (lang'-hans),  (Fr.)  Wm., 
Hamburg,  1S32 — Berlin,  1892;  writer 

Langl6  (liih  -la).  Honors  Fran.  M., 
Monaco,  1741 — Villiers-le-Bel,  neai 
Paris,  1807;  mus. -dir.,  theorist  anc 
composer. 

Lang'shaw,  (i)  J.,  d.  1798;  Engl,  orj 
ganist.  (2)  J.,  London,  1763  ;  or| 
gaiiist  ;  son  and  successor  of  above, 

Laniere  (Lanier  or  Lanieri)  (lan-y^r 
lan-er',  or  lan-!-a'-re),  (i)  Nichola:  ' 
Italy  (?),  ca.  1588— London,  166 
(1668?);  son  of  (2)  Jos.,  and  nephev 
of  (3)  Nicholas.  (2)  and  (3)  came  t 
England,  were  mus.  to  Queen  Eliza 
beth.  (i)  was  ct. -musician  to  Charle 
L  ;  a  prolific  composer  and  sing^ 
who  introduced  the  recitative  sty! 
into  England. 

Lanner  (lan'-ner),  (i)  Jos.  (Fz.  K.i 
Oberdobling,  near  Vienna,  i8or 
1843  ;  violinist,  composer  and  coi] 
ductor.  (2)  Aug.  (Jos.),  1834 — 185 
son  of  above ;  violinist,  conduct! 
and  dance-composer  of  prominence. 

Lans  (Michael),  J.  A.,  b.  Haarler 
July  18,  1S45  ;  a  R.  C.  priest,  fro 
i86g  teacher  in  Voorhout  Seminar 
from  1887,  pastor  at  Schiedam  ;  18; 
founded  church-mus.  periodical,  ai 
1878,  the  Gregorian  Soc.  ;  c.  a  maEj 


Lapicida  (la-pl-che -da),  Erasmii; 
iCth  cent,  composer.  \ 

Laporte  (la-p6rt),  Jos.  de,  Befo' 
1713 — Paris,  1779;  Jesuit  abb; 
writer.  > 

Lara  (la'-ra),  Isidore  de  (rightly  C| 
hen),  b.  in  Ireland,  1862,  of  Engli)  \ 
father  and  Portuguese  mother;  studij 
at  Milan  Cons.;  took  ist  prize  i; 
comp.  at  age  of  17;  has  written  sor! 
and  the  following  operas  :  "Za  Zsj 
delV  Asia,"  founded  on  Sir  Edvl 
Arnold's  poem  (London,  189:] 
'" Amy  Robsart"  (1893);  "■Maim 
(1897);  '"Messaline"  Monte  Caj 
(1899),  very  successful. 

Laroche  (IS-rosh),  (i)  Jas.  (cal 
"Jemmy"),  ca.  1680 — singer,  L' 
don.  (2)  Hermann  Augustovit' 
b.   St.  Petersburg,    1845  ;  studied 


I       DICTIONARY   OF  MUSICIANS    597 


the  Cons.;  since  1866  teacher  of 
theory  and  history  at  jNIoscow  Cons. ; 
writer  and  composer. 

,;, .  ^a  Rue  (la-ri'i),  Pierre  de  (Latinised 
Petrus  Platensis ;  also  called 
Perisone,  Pierchon,  Pierson, 
Pierzon,  or  Pierazon  de  la  Ruel- 
lien),  eminent  i6th  cent.  Netherland 
contrapuntist  and  composer  ;  fellovv- 

; ;,.       pupil    (with    Despres)    of    Okeghem  ; 
ct. -singer  and  favourite  of  Margaret  of 
Austria. 
,aruette    (la-ri'i-et),  J.  L.,  Toulouse, 

1731 — 1792  ;  composer. 
,a  Salette   (lii-sa-let'),  Joubert   de, 
Grenoble,  1762 — 1S32  ;  writer. 
,asner  (las'-ner),  (i)  Ignaz,    Brosau, 
Bohemia,  1815 — Vienna,  1883;  'cellist. 
(2)  K.,  b.  Vienna,  Sept.  11,  1S65  ;  son 
'       of  above;  'cellist  Laibach  I'hilh.Orch. 
.assalle  (las-sal),  Jean,  b.  of  French 
parents,      London,       1S47  ;      studied 
Paris  Cons.;  notable  barytone  ;  debut, 
Brussels,  187 1  ;  sang  at  Paris  opera, 
in  America,  etc. 

assen  (las-sen),  Eduard,  b.  Copen- 
hagen, April  13,  1830;  at  2  was 
taken  to  Brussels  and  at  12  studied  in 
the  Cons,  there  ;  won  first  pf. -prize, 
1844  ;  harm,  prize,  1847  ;  2nd  prize 
in  comp.  and  1851  Prix  de  Rome; 
travelled  in  Germany  and  Italy  and 
made  a  long  stay  in  Rome;  1858,  ct.- 
mus.-dir.  at  Weimar  ;  Liszt  procured 
the  prod,  of  his  opera  '"  La)id:^raf 
Liidwigs  Braiitfahrt"  (Weimar, 
1S57)  ;  1861-95,  Liszt's  successor  as 
ct.-cond.  at  Weimar;  then  pensioned; 
c.  operas  ''  Fraiioilob"  (Weimar, 
i860)  ;  "  Z^  Captif"  (Brussels,  1865; 
in  German,  Weimar,  1868)  ;  11  char- 
acteristic orch.-pcs.;  Bible-scenes  with 
jrch. ;  cantatas,  2  symphs.,  pop.  songs, 
etc. 

isserre  (las-sar),  Jules,  b.  Tarbes, 
July  29,  1838 ;  pupil  Paris  Cons.  ; 
:00k  1st  and  2nd  prize  as  'cellist ; 
1S69  Engl,  composer. 
asso  (las'-s5),  (i)  Orlando  di  (rightly 
Roland  de  Lattre,  Lat.  Orlan'dus 
Las'sus),  Mons  (Hainault),  1520 — 
Munich,   June   14,    1594  ;  most    emi- 


nent of  Netherland,  and  (except  Pal- 
estrina)  of  i6th  cent.,  composers  and 
conductors.  C.  2,500  compositions, 
many  of  which  are  still  beautiful  to 
modern  ears,  as  his  melodic  suavity 
was  not  smothered  by  the  erudition 
which  gave  him  even  among  contem- 
poraries the  name  "  Prince  of  Music." 
Befriended  by  various  noblemen  and 
given  much  Italian  travel,  he  became 
1541-48  cond.  at  S.  Giovanni  in  La- 
terano  at  Rome  ;  then  visited  Mons 
and  ca.  1554,  England,  settling  in 
Antwerp  the  same  year  ;  1557  joined 
on  invitation  the  ct. -chapel  of  Albert 
v.,  Duke  of  Bavaria  ;  from  1562  he 
was  cond.  there,  full  of  honours.  His 
complete  works  (in  course  of  pub.  by 
Breitkopf  &  H  artel)  include  his  fa- 
mous "  Psalnii  Davidis  poeniienti- 
alfs"  masses,  psalms,  and  secular 
compositions  of  occasionally  humor- 
ous vein.  Biogr.  by  Dehn  (1837), 
Baumkehr  (1878),  and  Sandberger. 
(2)  Fd.  di,  d.  Munich,  Aug.  27,  1609, 
eldest  son  of  above ;  ct.-cond.  (3) 
Rudolf  di,  d.  Munich,  1625  ;  second 
son  of  (i)  ;  organist  and  composer. 
(4)  Fd.  di,  d.  1636  ;  son  of  (2) ;  con- 
ductor and  composer. 

Latilla  (la-tll'-la),  Gaetano,  Bari, 
Naples,  1713 — Naples,  1789;  con- 
ductor, teacher  and  composer. 

Latrobe,  (i)  Rev.  Chr.  I.,  Fulnes, 
Leeds,  1758 — Fairfield,  near  Liver- 
pool, 1836  ;  composer.  (2)  J.  Antes, 
London,  1792 — Gloucester,  1787;  son 
of  above  ;  organist  and  composer. 

Lattre,  de.     Vide  lasso. 

Laub  (lowp),  Fd.,  Prague,  1.832 — 
Gries,  Tyrol,  1875  ;  vln. -virtuoso ; 
teacher  and  composer. 

Laubner  (lowp'-ner),  Julius,  1896, 
cond.  Municipal  Th.,  Stettin,  prod, 
there  succ.  i-act  opera  "  Gtinare." 

Laurencin  (low'-ren-sen),  Graf  Fd. 
P.,  Kremsier,  Moravia,  1819 — Vien- 
na, 1890  ;  writer. 

Laurens  (16-rahs),  Edmond,  b.  Berge- 
rac,  France,  Sept.  2,  185 1  ;  pupil  of 
E.  Guiraud,  Paris  Cons.  ;  c.  operas; 
a  suite  japonaise,  etc. 


598 


THE    MUSICAL    GUIDE 


Laurent  de  Rille  (lo-riiii  du  re'-yu), 
Fran.  Anatole,  b.  Orleans,  France, 
182S;  pupil  of  Comoghio  and  Elwart; 
inspector  of  vocal  instruction,  Paris 
pub.  schools,  etc. ;  wrote  a  mus.  nov- 
el ''Olivier  Vorphconiste''  ;  prod, 
about  25  operettas,  male  choruses 
(chreurs  orpheoniques),  etc. 

Laurenti  (la-oo-ren'-te),  (i)  Bart. 
Gir.,  Bologna,  1644 — 1726  ;  violin- 
ist and  composer.  (2)  Gir.  Nicold, 
b.  Bologna,  Dec.  26,  1752  ;  son  of 
above  ;  violinist  and  composer. 

Lauska  (la-oos'-ka),  Fz.  (Seraphinus 
Ignatius),  Briinn,  Moravia,  1764 
—  I'.L-rlin,  1S25  ;  teacher  and  com- 
poser. 

Lauterbach  (low'-ter-bakh),  Jn.  Chr., 
b.  Culmbach,  Bavaria,  July  24,  1832; 
pupil  Wurzburg  Mus.  Sch.,  and  of 
Fetis  and  de  Beriot  at  Brussels  (1850), 
won  gold  medal  for  vln. -playing, 
185 1 ;  1853  .Munich  Cons.;  1860-77 
Dresden  Cons.  ;  1889,  pensioned ; 
composer. 

Lavall^e  (la-vSl-la),  Calixa,  Ver- 
cheres,  Canada,  1842  —  Boston, 
Mass.,  1891  ;  concert-pianist;  toured 
U.  S.,  singing,  giving  frequent  con- 
certs of  American  composers'  works, 
1SS6-S7  ;  c.  2  operas,  an  oratorio,  a 
symph.,  etc. 

La'venu,  Louis  H.,  London,  181S — 
Sydney,  1859 ;  'cellist  and  dram, 
composer. 

Lavigna  (la-ven'-ya),  V.,  Naples, 
1777 — Milan,  ca.  1837  ;  teacher  and 
dram,  composer. 

Lavignac  (la-ven-yak),  Albert,  prof,  of 
harmony,  Paris  Cons. ;  writer  ;  pub. 
a  "  Coiirs  coinplet  theorique  et  pra- 
tique de  dictee  musicale"  1882,  which 
led  to  the  general  adoption  in  mus. 
schs.  of  courses  in  mus.  dictation  ; 
also  "  Z(7  musique  et  les  viiisiciens^' 
(Paris,  1S95,  Engl,  ed.,  i3(;9!.^ 

Lavigne  (la-ven),  (i)  Jacques  Emile, 
Pau,  1782— 1855  ;  tenor.  (2)  A. 
Jos.,  b.  Besancon,  France,  March 
23,  1816  ;  oboist ;  pupil  Paris  Cons.; 
from  1841  in  Drury  Lane  Promenade 
Concerts,  later  in  Halle's  Manchester 


orch. ;    he   partially  adapted  Bohn 
system  to  the  oboe. 

Lavoix  (la-vwa),  H.  M.  Frai 
Paris,  1846 — 1897;  writer  and  coi 
poser. 

Law,  Andrew,  Cheshire,  Conn.,  171 
— 1S21  ;  singing-teacher,   writer 
composer  of  hvmn-tunes,  etc. 

Lawes  (loz),  (i)'Wm,,  Salisbury,  W: 
shire,    15S2 — killed    at    the    siege 
Chester,    1645 ;    composer.     (2)   I 
Dinton,  near  Salisbury,  Dec.  1595 
London,     Oct.    21,     1662 ;    bro, 
above  ;  one  of  the  most  original 
important  of  song-writers,  forestall); 
in  his  principles  those  of  Franz,  e 
in  that  he  made  his  music  respect 
poetry  he  was  setting  ;   Milton,  F 
rick  and  others  accordingly   prai 
him.       Pupil    of    Coperario.      i( 
Epistler     and     Gentleman,     Chi 
Royal ;  on  Charles  I.'s  e.xecutior 
lost  his  places  but  re-found  ther 
the    Restoration  in  1660 ;    buriec 
Cloisters  of  Westminster  .\bbey  :; 
the  music  to  Milton's  "  Comus,"  ~. 

Lawrowskaja  (or  Lavrovskaja  if- 
rof-shka'-ya)),  Elizabeth  An  5- 
jevna(  Princess  Zeretelev),  b.  Ka;!, 
Russia,  Oct.  12,  1S45  '  sopr. ;  pup  of 
Fenzi  and  of  Mme.  Nissen-Saloin, 
St.  Petersburg  Cons.;  debut  as^- 
pheus,  1867.  (' 

Layol(l)e  (or  dell'Aiole,  Ajolla  ii- 
yol',  or  a-yo'-le),  Fran.,  Flore  ne 
composer  i6th  cent. 

Lays  (rightly  Lay)  (le(s)).  Fa., 
Gascony,  175S — Angers,  1831 ;  i,ed 
singer  and  teacher. 

Lazare  (la-zar),  Martin,  Bruik, 
1S29 — 1897  :  pianist.  I 

Lazarus,  H.,  London,  1815— )Si 
clarinettist. 

Lazzari  (lad-za'-re),  (i)  Sylvi:b. 
Bozen,  1S5S  ;  studied  with  'sar 
Franck,  Paris  Cons. ;  liv^ed  in  ^s 
as  a  teacher;  c.  opera  "  Ar  ^'t 
pantomimic  ballets,  etc.  (2)  1«" 
faele,  c  succ.  opera  "  La  Cofsi" 
d' Egtjiont"  (Trieste,  1902). 

Lazzarini  (lad-za-re'-ne),  GuS'Wi 
b.  Padua,  or  Verona,  1765;  sii^r- 


DICTIONARY  OF  MUSICIANS    599 


each,    Jas.,  Yorkshire,   1762 — 1797  ; 
tenor  and  composer, 
e  Be  (lu-ba),  Guil.,  i6thcent.  French 
tvpe-founder. 

e  Beau  (lu-bo),  Louise  Adolpha, 
b.  Rastatt,  Baden,  April  25,  1850 ; 
concert-pianist ;  pupil  of  Kalliwoda, 
Frau  Schumann,  Sachs,  Rheinberger 
and  Fr.  Lachner ;  lives  since  1890  in 
Berlin;  c.  choral  works  "//«</«- 
moth  "  (1894),  etc. 

ebeau  (lu-bo),  Fran.,  b.  Liege,  Aug. 
4,  1S27  ;  pupil  of  Michelot  (pf.)  and 
Rosselet  (harm.)  ;  Sec.  administra- 
tion commission  Brussels  Cons.  ;  c. 
opera  ''Esmeralda"  text  by  Victor 
Hugo  (Liege,  1856). 
;;begue  (lu-beg),  Nicolas  A,,  Laon, 
1630 — Paris,  1702  ;  ct. -organist  and 
:omposer. 

l;bert  (ia'-bert)  (rightly  Levy),  Sieg- 

mund,  Ludwigsburg,  near  Stuttgart, 

c322  —  Stuttgart,     1884  ;      teacher, 

.vriter  and   composer  ;   co-founder  of 

>tuttgart  Cons.  (1856-57). 

Ibeuf  (lu-buf),  Abbe   Jean,  Auxerre, 

;6S7 — 1760  ;  writer. 

hblanc     (lii-blah).     Georgette,     b. 

\.ouen;  pupil  of  Bax  ;  debut  Op.  Com. 

'aris,  1893,   in   '"  L Attaqiie  de  Mou- 

in"  1895,  Th.  de  la  Monnaie,  Brus- 

els  ;   then  gave  song  recitals  in  cos- 

unie  with  much  effect. 

Iborne     (lii-born),    (i)    Aim6  Am- 

roise  Simon,  Brussels,  1797 — Paris, 

S66  ;  teacher  and  writer.   (2)  (or  Le 

Jorne),    Fd.,    b.    Paris,    March  10, 

862  ;  pupil  of  Massenet,  Saint-Saens, 

nd  Franck,  Paris  Cons.;  lives  in  Paris 

s  critic  ;  c.  pastoral  dramas,  "■  Hed- 

^a,"a  symph.  legende;  symphs.,  etc. 

'.30UC  (lu-book),  Chas.  Jos.,  Besan- 

l  Dn,  1822— Hyeres,  1893  ;  'cello-virt- 

pso. 

)run  (le-broon),  (i)  L.  Aug., 
Ilannheim,  1746  —  Berlin,  1790  ; 
_,  j«il.  (reatest  oboist  of  the  i8th  cent. ;  com- 
'«»'■  j  li'^^''-  (2)  (nee  Danzi),  Franciska, 
^jtc.  I'  punheim,  1756 — Berlin,  1791  ;  wife 
^ "[(»  f  above ;  soprano.  Their  two 
■  .,:  ■  liughters,  (3)  Sophie  and  (4)  Ro- 
ne, were  distinguished  singers. 


Lebrun(lu-brun),(i)  Jean,  Lyons,  1759 
— suicide,  Paris,  1809;  horn-virtuoso. 
(2)  Louis  Sebastien,  Paris,  1764 — 
1S29  ;  tenor  and  teacher.  (3)  Paul 
H.  Jos.,  b.  Ghent,  April  21,  1861  ; 
pupil  of  the  Cons,  there;  1891  won  the 
Prix  de  Rome  for  composition  and  the 
Belgian  Academie  ist  prize  for  a 
symphony. 

Le  Carpentier  (lii  kar-pant-ya).  Ad. 
Clair,  Paris,  1809 — 1869 ;  pianist 
and  composer. 

Lechner  (lekh'-ner),  Ld.,  b.  The 
Etschthal,  Switzerland  (?) — Stuttgart, 
1604  ;  ct.-cond.  and  composer. 

L^clair  (la-klar),  J.  M.,  Lyons,  1697 
— assassinated,  Paris,  1764 ;  violin- 
ist ;  c.  operas,  48  notable  vln. -sona- 
tas, etc. ;  his  wife,  a  singer,  engraved 
his  compositions. 

Leclerq  (lu-klar),  L.,  b.  Paris,  1828  ; 
wrote  under  pen  name  "  L.  Celler." 

Lecocq  (lu-kok),  (Alex.)  Chas.,  b. 
Paris,  June  3,  1832  ;  studied  at  the 
Cons.,  won  rst  prize  for  harm.,  and 
2d  prize  for  fugue  ;  his  first  work, 
"  Z^  Docteur  Miracle"  \n  conjunc- 
tion with  Bizet  (prod.,  1857),  won  a 
prize  offered  by  Offenbach  for  opera 
buffa  ;  smaller  succ.  culminated  in 
"  Fleur  de  TkJ"  (1868)  ;  followed 
by  the  sensational  succ.  "  La  Fille  de 
Mnie.Angot"  (Brussels,  1872  ;  Pa'is, 
1873),  which  ran  uninterruptedly 
over  a  year ;  its  succ.  was  equalled 
by  '' Girojl^-Girojla"  (1874),  1894, 
chev.  of  the  Legion  of  Honour ; 
prod,  over  40  operas-bouffes,  comic 
operas  and  operettas,  written  with 
scholarship  and  brilliant  instrumenta- 
tion ;  sacred  and  other  songs,  etc. 

Le  Couppey  (lii  koop'-pe'),  F^lix, 
Paris,  April  14,  1814— July  5,  1887; 
prof.,  pf. -teacher  and  composer. 

Ledebur  (la'-de-boor),  K.  Freiherr 
von,  b.  Schildesche,  near  Bielefeld, 
April  20,  1806  ;  Prussian  cavalry  offi- 
cer and  lexicographer. 

Ledent  (lii-dah),  F.  fet.,  Li^ge,  1816 
— 1886  ;  pianist  and  composer. 

Lederer(la'-dg-rer),  Georg,  b.  Marien- 
burg,    May  2,   1843  ;  notable  tenor ; 


6oo 


THE    MUSICAL    GUIDE 


pupil  of  Mantius  and  Louise  Ress  ; 
sang  in  various  cities  ;  1891-99,  Zu- 
rich, then  at  Riga. 

Leduc  (lu-diilc),  Alphonse,  Nantes, 
1804 — Paris,  1 863  ;  pianist,  bassoon- 
ist and  composer. 

Lee  (la),  (i)  G.  Alex.,  1802— 185 1  ; 
tenor  and  composer.  (2)  Sebastian, 
Hamburg,  1805—1887  ;  'cellist  and 
composer.  (3)  Louis,  b.  Hamburg, 
Oct.  19,  1819  ;  bro.  of  above  ;  'cell- 
ist ;  pupil  of  J.  N.  Prell ;  at  12  gave 
concerts ;  'cellist  in  the  Hamburg 
Th.;  lived  several  years  in  Paris;  or- 
ganist, chamber-mus.  soirees,  Ham- 
burg ;  until  1884,  teacher  in  the  Cons, 
and  1st  'cello  ;  c.  symphonies,  over- 
tures, etc.  (4)  Maurice,  Hamburg, 
1821 — London,  1895 ;  bro.  of  above ; 
pf. -teacher,  and  composer.  (5)  (le) 
Geo.  Alex.,  d.  1851,  English  mgr., 
tenor  and  composer. 

Leeves,  Rev.  Wm.,  1748 — Wrighton, 
1828;  probable  composer  of  ''  Aiild 
Robin  Grey"  etc. 

Lef^bure  (iu-fa-biir),  L.  Fran.  H., 
Paris,  1754 — 1840 ;  composer  and 
writer. 

Lefebure-Wely  (lu-fa-biir-va-le),  L. 
Jas.  Alfred,  Paris,  1817—1869; 
noted    organist ;    c.    opera,     masses, 

Lefebvre  (lu-fev'-r)  (i)  (Le  Febvre), 
Jacques  (called  Jacobus  Faber), 
also  Stapulensis,  from  his  birth- 
place, Etaples,  near  Amiens  (?) — 
Nerac,  1537  (47?);  writer.  (2) 
Chas.  ^douard,  b.  Paris,  June  19, 
1843  ;  pupil  of  Ambr.  Thomas,  Paris 
Cons.;  1870,  Grand  prix  de  Rome; 
1873,  after  touring  the  Orient  settled 
in  Paris;  c.  succ.  opera,  ''Djelina" 
(1894);   "Za/>v"  (1887),  etc. 

Lef^vre  (lii-fev'-r),  J.  X.,  Lausanne, 
1763 — Paris,  1829  ;  clarinettist,  com- 
poser and  professor. 

Leff  ler,  Adam,  1808— 1857  ;  Engl, 
bass. 

Lefort  (lu-for),  Jules,  1821 — Paris, 
1898  ;    tenor-barytone.  , 

Legouix  (lu-gvvex),  Isidore  Ed.,  b. 
Paris,  A^ril  i,  1834  •    pupil  of  Reber 


and  Thomas  at  the  Cons.;  prod.  4  op     i 
eras,  etc.  I 

Legrenzi    (la-gren'-tse),    Giov.,   Ch     ' 
sone,   near   Bergamo,   ca.    1625 — V< 
nice,  i6go  ;  organist,  conductor  an 
dram,  composer.  1  jj 

Lehmann    (la-man),    (i)   T.    Mari« 
(I.)    prima    donna   at    Cassel    und< 
Spohr  ;  (2)  Lilli,  b.  Wiirzburg,  Ma 
15,    1848 ;    daughter    and    pupil 
above  ;    eminent    soprano  ;    debut 
Prague  as  "  First  Boy  "  in  "  Die  Za: 
bej-Jlote" ;  1868,  at  Danzig,  and  Leij 
zig,  1870  ;    in  the  same  year  obtainc 
a  life-engagement  at  the  Royal  Oper 
Berlin,  with  the  title  (1876)  of  Im 
Chamber-singer;    she    sang    "Wo; 
linde,','  "  Helmwige  "  and  the  "  Bird  : 
at    their     first    performance,     187  | 
1885,  broke  her  contract,  and  sang- 
the  U.  S.,  etc.     (3)  Geo.,  New  Yoi 
July    31,    1865  ;    violinist  ;    pupil 
Leipzig  Cons,  and  of  Joachim  ;  w 
the    Helbig    prize    at    the    Gewar 
haus,    1883  ;     1886-89,  leader  of  1 
Cleveland    Symph.    Orch. ;    lives 
New  York    as   soloist    and   teacbj 
pub.  "  True  Principles  of  the  Aril 
Violin-Playing"   (New  York,  iSgi 
(4)  Marie'(II.),   b.    Hamburg,  IVr, 
15,  1851,  daughter  and  pupil  of  (i 
at  16  sang  in  Leipzig  City  Th.; 
many  years,  till  1897,  Vienna   ct.- 
era  ;  lives  in  Berlin.     (5)  Liza  (^. 
Herbert    Bedford),     b.    in    Lond(:; 
concert-soprano  ;  pupil  of  Randegf. 
and  Raunkilde  at   Rome   (voice) ;  1  i 
of    Freudenberg    (Wiesbaden),    -.^i, 
Hamish    MacCunn   (comp.) ;   de'l 
Nov.    23,  1885,   at   a    Monday  P 
Concert;   1887,  sang  at  the  Norvji 
Festival;   1894,    m.   and   retired; 
many  songs  incl.  the  very  pop.  scf- 
cycle   from  Omar  Khayyam,  ''If 
Persian    Garden"  also  " /«  Mtf- 
riam"  etc. 

Leibrock  (iTp'-rok),  Jos.  Ad.,  Br.i- 
wick,  1808— Berlin,  1886 ;  writer  d 
composer. 

Leidesdorf  (li'-des-dorf).  Max.  J ., 
d.  Florence,  1840;  1804-27  mer^ 
of  the  mus.-pub.  firm  of  Saue* 


-  ^ 


DICTIONARY  OF  MUSICIANS    601 


iL.,      which     published      Schubert's 
livorks. 

J;ighton   (la'-tun),    Sir   Wm.,  Engl, 
■omposer,  164 1. 

liisinger  (h-zlng-er),  Elisabeth,  b. 

Stuttgart,     May     17,     1S64 ;     sopr.  ; 

tudied   at  the  Cons.,  and  later  with 

,'iardot-Garcia,  Paris  ;    1884,    Berlin 

t. -opera. 

lite     (II -te),    Antonio    da    Silva, 

787 — 1826  ;    cond.    Oporto    Cath., 

nd  composer. 

litert  (ll  -tert),  Jn.  G.,  Dresden,  Sept. 

9,    1852 — 1901  ;    pianist  ;    pupil   of 

vragen  and  Reichel  (pf.)  and  Risch- 

ieter  (harm.)  ;  debut  Dresden,  1865; 

tudied   with    Liszt  ;    1879-81  teacher 

lorak  Mus.  Sch.,  Vienna;  composer. 

Litgeb.     Vide  leutgeb. 

L  Jeune   (lu-zhun),  Claudin,  Valen- 

iennes,    ca.    1530 — 1598    or    1603  ; 

rench  contrapuntist  and  composer. 

Lkeu   (lu-ku),  Guillaume,   Belgium, 

S69 — 18S4  ;    composer  whose    early 

eath  cut  short  a  promising  career ; 

adagio  in  C  minor  for  orch.  etc. 

Luaire  (or  Le  Maire)  (lu-mar),  (i) 

,  French    musician,    i6th-i7th 

?nt.;  believed  to  have  advocated  the 

doption  of  a  seventh  syllable  of  sol- 

lisation  (v.  D.  D.).     (2)  Theophile, 

Essigny-le-Grand,    Aisne,    March 

:,  1820;  pupil  of  Paris  Cons.;  sing- 

y:-teacher  and  writer.     ' 

LMaistre  (Ifi-metr)  (or  Le  Maitre), 

lattheus,    d.     1577 ;      Netherland 

intrapuntist ;      ct. -conductor      and 

>niposer. 

Lniere  de  Corvey  (liim-yar  dii  kor- 

•  ),  J.  Fr.    Aug.,   Rennes,   1770 — 

iris,  1832;  French  officer  and  dram. 

'mposer. 

Limens  (lem'-mens),  Jacques  Nic- 

as,  Zoerle-Parwys,  Belgium,    1823 

I'astle    Linterport,   near    Malines, 

Si  ;  organist,  professor    and    com- 

ser. 

Ldoine  (lum-wan),  (i)  Ant.  Marcel, 

ris,    1763 — 1817  ;     publisher,     ct.- 

I'luctor  and  writer.     (2)  H.,  Paris, 

^f^i — 1854  ;  son  of  above  and  his  suc- 

;sor  in  business  ;  writer.  (3)  Aim6, 


b.  ^  1795  (?)  ;  pub.  "  Methode  du 
Meloplaste";  teacher. 

Lemoyne  (lum-wan)  (rightly  Moyne) 
(mwan),  J.  Bap.,  Eymet,  Ferigord, 
1751 — Paris,  1796  ;  conductor  and 
dram    composer. 

Lenaerts  (lu-narts),  Constant,  b. 
Antwerp,  March  9,  1852  ;  pupil  of 
Benoit  ;  at  18  dir.  Flemish  National 
Th.,  now  teacher  Antwerp  Cons. 

Lenepveu  (lu-nup'-vu),  Chas.  Fd,,  b. 
Rouen,  Nov.  4,  1840  ;  studied  with 
Servais,  in  1861  won  ist  prize  at 
Caen  ;  studied  with  Thomas  at  the 
Cons. ,  1865  took  Grand  prix  de  Rome, 
rt.  from  Rome  ;  won  a  prize  with  opera 
"  Zf  Floreiitiii"  (Op. -com.,  1874)  ; 
prod.  gr.  opera  "  Velleda"  (Covent 
Garden,  1882)  ;  1891  harm. -prof,  in 
the  Cons,  and  1893  prof,  of  comp.  ; 
1896,  Academic  des  Beau.x-Arts  ;  is 
Chev.  of  the  Legion  of  Honour,  and 
officer  of  pub.  instruction ;  c.  lyric 
drama  'Jeanne  iVArc"  (Rouen 
Cath.,  1886);  '"  Hyinne  funehre  et 
trioinp/ial"  (V.  Hugo)  (Rouen,  1889), 
etc. 

Len'ton,  J.,  d.  after  1711;  band-mu- 
sician and  composer,  London. 

Lenz  (lents),  Wm.  von,  Russia,  1804 
—  St.  Petersburg,  Jan.  31,  1883;  pian- 
ist ;  wrote  genial  and  enthusiastic 
studies  of  musicians,  "  i?£Y//i^z't';/  ft 
ses  irois  styles  "  (1852),  etc.,  being  the 
first  so  to  divide  B.'s  art. 

Leo  (la'-6),  Leonardo,  Brindisi,  1694 
— Naples,  1746;  eminent  pioneer  in 
the  Neapolitan  Sch.  and  noted  teach- 
er, conductor  and  organist  ;  pupil  of 
Aless.  Scarlatti,  Fago,  and  Pitoni  ; 
ct. -organist ;  c.  60  operas,  also  re- 
ligious mus.,  incl.  a  noble  8-part 
"  Miserere"  a  cappella. 

Leonard  (la-o-nar),  Hubert,  Bellaire, 
near  Liege,  April  7,  1819 — Paris, 
May  6,  1890  ;  eminent  violinist;  pub. 
technical  studies. 

Leoncavallo  (la-on-ka-val'-lo),  Rug- 
giero,  b.  Naples,  March  8,  1858  ; 
studied  Naples  Cons.,  and  at  16 
made  a  tour  as  pianist  ;  his  first 
opera  "  Tommaso  Chatterton,"  failed 


6o2 


THE    MUSICAL    GUIDE 


at  first  but  was  succ.  revived  at  Rome, 
1896  ;  a  disciple  whom  Wagner  per- 
sonally encouraged,  he  spent  6  years 
in  researches,  resulting  in  an  "  his- 
toric "  trilogy  "  Crepusculum  " 
("Twilight"),  I.Medici,  \l.  Giro- 
lamo  Savonarola,  III.  Cezare  Bor- 
gia ;  toured  as  pianist  through  Egypt, 
Greece,  Turkey,  etc.;  lived  in  Paris 
some  years  and  had  an  opera  "  Songe 
d'une  Niiit  d'^t/"  privately  per- 
formed, and  many  songs  published  ; 
he  prod.  2-act  opera  seria  "  /  Fagli- 
acci"  (Milan  Dal  Verme  Th.,  1892, 
in  Germany  1893,  as  ''Der  Bajazzo  ") 
of  which  he  wrote  the  masterfully 
constructed  libretto  as  well  as  the 
strenuous  music  that  made  it  a  uni- 
versal succ.  The  first  part  of  the 
trilogy,  the  4-act  "/  Medici  "  was  not 
succ.  (La  Scala,  Milan,  1893);  the  4- 
act  opera  "La  Bokhne"  (Venice) 
was  a  succ.  (cf.  puccini);  and  he  c. 
also  a  symph.  poem,  "  Serajitus — 
Serafita"  ;  c.  operas  "La  Tosca" 
and  "  Trilby''';  "  Zaza"  (Antwerp, 
1902)  succ. ;  in  preparation,  opera 
"  Roland''  libretto  by  Emperor  Wil- 
helm  II.  of  Germany. 

Leonhard  (la'-5n-hart),  Julius  Emil, 
Lauban,  1810 — Dresden,  1S83  ;  pro- 
fessor and  composer. 

Leoni  (la-6'-ne),  (i)  Leone,  cond.  Vi- 
cenza  Cath.,  1588 — 1623,  and  com- 
poser. (2)  Carlo,  Italian  composer  ; 
prod.  3-act  operetta  "Per  tin 
Bacio"  (Siena,  1894),  and  text  and 
music  of  succ.  comic  opera  "  Urba- 
no  "  (Pienza,  1896).  (3)  Franco,  prod, 
cantata  "  Sardanapalns"  (London, 
1896)  and  romantic  opera  "Rip  V  "n 
Winkle  "  (London,  1897). 

Leonowa  (or  Leonova)  (la-6-n6'-va), 
Dapya  Mikailovna,  Russia,  1825— 
St.  Petersburg,    1S96  ;   contralto. 

Leroux  (lu-roo),  X.  H.  Napoleon,  b. 
Velletri.  Papal  States,  Oct.  11,  1863; 
pupil  of  Paris  Cons.,  took  Grand  Prix 
de  Rome,  1885;  c.  opera  "  Cle'opatre  " 
(1890),  IjTic  drama  "  £vangeline,"  a 
dramatic  overture  "Harold''  and 
operas    ''•  William      Ratcliff"    and 


ii  ^  .: 


"  L'Epavo  "  (not  prod.)  ;  "  Astart 
(Gr.  Opera,  1901),  "  La  Reiiie  Riai. 
ette"  (1902),  a  mass,  etc. 

Le  Roi  (h1r-wa),  Adrien,  17th  centj 
partner  of  Ballard  (q.  v.). 

Lesage  de  Richee  (lu-sazh-dii-| 
sha),  Philipp  Fz.  ;  lutenist  j 
composer. 

Leschetizky  (le-she-tlt'-shkl),  Th 
dor,  b.  Langert,  Austrian  Pola 
1830;  eminent  pfs.  teacher;  son; 
pupil  of  a  prominent  teacher  in 
enna  ;  studied  with  Czerny  (]] 
and  Sechter  (comp.)  ;  at  15  beji 
teaching;  1842  made  succ.  tot 
1852  teacher  in  the  St.  Petersbl 
Cons.;  1878  toured;  1880  m 
former  pupil  Annette  Essipoff, 
settled  as  a  teacher  in  Vienna ;  c.  si 
opera,  "Die  Erste  Falte"  {^xz\ 
1867),  etc. 

Leslie,  (i)   H.  David,  London, 
— Wales,    1896  ;     'cellist,   cond 
composer.     (2)  Ernest,  pen-narat 
Brown,  O.  B. 

Les'sel,  Fz.,  Warsaw,  ca.  17? 
Petrikow,  1839  ;  composer. 

Lessman  (W.  J.),  Otto,  b.  Riid;- 
dorf,  near  Berlin,  Jan.  30,  lE  ; 
critic  and  composer;  teacherit 
Stern's  Cons. ;  then  at  Tausig's  A  1. 
until  187 1  ;  organised  a  piano-scl>f 
his  own  ;  since  1882  proprietor  d 
ed.  Allgm'.  Musik-Zeitiing. 

Le   Sueur  (lu-sur)  (or   Lesueur),.- 
Fran.,   Drucat-Plessiel,    near  A  a- 
ville,   France,    Jan.  15,   1764 — Pfr  1. 
Oct.    6,    1837;    chiefly    self-taujjafc. 
1786   cond.    at    Notre    Dame,  Vkfrn^ 
where  he  drew  crowds  and  critini  '  • 
by  his  progammatic  mus. ;    he    0. 
pamphlets  defending  "  dramatic  id 
descriptive  "  church-mus.;  the  o,b-'|j^ 
sition  prevailed,  however,  and  hf&'A. 
tired  to  the  country  for  4  years;  '^J  v 
he  prod.  succ.  opera  "  l.a   Cavet ," 
followed    by  others ;   1804  Napc'W 
raised  him   from  distress  to  the 'St 
of  ct.-cond. 

Leuckart  (loik'-art),  F.  Ernst  d-i 
founded  mus.  business  at  BreU, 
1782,  bought  1856  by  C.  Sander 


J 


DICTIONARY  OF  MUSICIANS   603 


.eutgeb  (Leitgeb)   (lit'-gap),  Josef, 
d.  Vienna,  iSii  ;  horn-player;  friend 
of  Mozart. 
evasseur  (lu-vas-siir),  (i)  P.  Fran., 

b.  Abbeville,  France,  1753  ;  'cellist, 
Paris  Grand  Opera  ;  composer.  (2) 
J.  H.,  Paris,  1765— (?):  a  -cellist. 
(3)  Rosalie,  soprano,  Paris  Opera, 
1766-S5.  (4)  Nicholas  Prosper,  b. 
in  Picardy,  March  9,  1781  ;  dram.- 
bass  and  professor. 

evens  (lii-vahs), ,  church-cond. 

and  mathematician  and  theorist  at 
Bordeaux  (1743). 

av'eridge,  Richard,  1670— 175S; 
Engl,  bass  singer. 

jv'ey,  Wm.  Chas.,  Dublin,  1837 — 
London,  1894  ;  dram,  composer. 
;vi  (la'-ve),  (i)  Hermann,  b.  Gies- 
-on,  Nov.  7,  1839  ;  eminent  conduc- 
or ;  pupil  of  V.  Lachner  and  of 
Leipzig  Cons.  ;  1S59-61,  mus.-dir., 
-^aarbrucken ;  1861-64,  cond.  Ger- 
nan  Opera  at  Rotterdam  ;  1864-72, 
:t.-cond.  at  Carlsruhe ;  from  1872, 
:t.-cond.  at  Munich  ;  1894,  Gen.  mus. 
lir.  Munich ;  1896,  pensioned.  (2) 
Levi  (or  Levy,  Lewy).  Vide  le- 
;ert. 
I:wandowski  (la-van-dof'-shki), 

Louis,  Wreschen,  Posen,  1823 — 
krlin,  1894;  singing-teacher  and  com- 
poser. 

I;w'is,  Thos.  C,  org. -builder,  Lon- 
ilon,  1 86 1. 

I'wy  (la'-ve), (i)  Eduard  Constantin, 
>aint-Avold,  Moselle,  1796— Vienna, 
S46 ;  horn-virtuoso  and  prof.  (2) 
OS.  Rodolphe,  Nancy,  1804 — Ober- 
ssnitz,  near  Dresden-,  1881;  bro.  and 
upil  of  above ;  horn-virtuoso.  (3) 
'has.,  Lausanne,  1823 — Vienna, 
"83  ;  son  of  (i)  ;  pianist  and  com- 
"ser.  (4)  Richard  Levy,  Vienna, 
!S27 — 1883;  sonof(i);  horn-player, 
iinging-teacher.  (=;)  Vide  lf.bert. 
Lybach  (h'-bjikh),  Ignace,  Gambs- 
eim,  Alsatia,  1817  —  Toulouse, 
■^gr;  pianist,  teacher  and  composer. 
Lidoff  (or  Liadow)  (le'-a-dof),  Ana- 
ole,  b.  St.  Petersburg,  April  29, 
S55 ;     pupil     Johansen     (cpt.     and 


fugue)  and  Rimsky-Korsakov  (form 
and  instr.)at  St.  P.  Cons.;  since  1878, 
prof,  of  harmony  there  ;  also  at  the 
Imp.  Chapel ;  since  1894,  cond. 
Mus.  Soc;  c.  brilliant  and  original 
pf.-pcs.,  etc. 

Liapunov  (or  Liapounow)  (le-a'-poo- 
nof),  Serge  Michailovitch,  b.  Jaro- 
slavi,  Russia,  Nov.  iS,  1859  ;  pupil, 
Kliiuhvorth  and  I^abst  (pf.)  and  Hu- 
bert (comp.)  Moscow  Cons.;  sub-dir. 
Imp.  Ciioir,  St.  Petersburg,  and  a 
member  of  the  Imp.  Geographical 
Soc,  which  1893  commissioned  him 
to  collect  the  folk-songs  of  Vologda, 
Viatna  and  Kostroma,  which  he  pub. 
1897  ;  since  1894,  mus.-master  to  the 
Grand  Duke ;  pub.  concerto,  a 
symph.,  etc. 

Libe'lius,  incorrect  form  of  Sibelius. 

Lich'fild,  H.,  Engl,  composer,  1614. 

Lichner  (llkh'-ner),  H.,  Harpersdorf, 
Silesia,  1829 — Breslau,  1898  ;  organ- 
ist and  conductor. 

Lichtenberg  (hkh'-t'n-berkh),  b.  San 
FVancisco,  Cal.,  Nov.  22,  1861  ;  vln.- 
virtuoso  ;  pupil  of  Beaujardin  ;  at  8 
played  in  public  ;  at  12  pupil  of  Wie- 
niawski,  and  his  aide  on  a  U.  S. 
tour  ;  studied  6  months  with  Lambert 
in  Paris,  then  studied  again  with 
Wieniawski  3  years  ;  won  first  prize  of 
honour  at  the  "  National  concourse"; 
toured  America  and  Europe  ;  mem- 
ber of  Boston  Symph.  Orch.;  1899, 
vln.  prof.  Nat.  Cons.,  New  York 

Lichtenstein  (llkh'-t'n-shtin),  K. 
Aug.,  P'reiherr  von,  Lahm,  Franco- 
nia,  1767 — Berlin,  1845  ;  c.  operas. 

Lichtenthal  (hkh'-t'n-tal),  Peter, 
Pressburg,  1780 — Milan,  1853  ;  dram, 
composer  and  writer  on  mus. 

Lie  (le),  Erica  (Mme.  Nissen),  b. 
Kongsvinger,  near  Christiania,  Jan. 
17,  1845;  pianist,  pupil  of  Kjerulf,  and 
of  Th.  Kullak  ;  teacher  at  the  Kul- 
laks'  Acad.,  toured  Germany,  etc.; 
member  R.  Acad.,  Stockholm. 

Liebau  (le'-bow),  (i)  Julius,  b.  Lun- 
denburg,  Feb.  19,  1857;  tenor-buffo; 
studied  with  Gansbacher  ;  won  Wag- 
ner's praise  as  "Mime";   i88z,  ct.- 


6o4 


THE  MUSICAL  GUIDE 


opera,  Berlin.  (2)  Liebau-Globig, 
Helene,  b.  Berlin,  March  31,  1S66  ; 
soprano  ;  sang  "  Yum- Yum  "  in  '"Der 
Mikado,"  Berlin,  1889;  since  1898  at 
ct. -opera. 

Liebe  (le'-be),  Ed.  L.,  Magdeburg, 
Nov.  19,  1819 — Coire,  Switz.,  igcjo ; 
pianist,  organist  and  dram,  com- 
poser. 

Liebich  (le'-blkh),  Ernst  (Jn.  Gott- 
lob),  Breslau,  1830— 'I884 ;  eminent 
vln. -maker. 

Liebig  (le'-blkh),  (r)  K.,  Schwedt, 
1808 — Berlin,  1872;  staff  oboist  in  a 
Regt.;  1S43,  est.  Berlin  "  Sympho- 
niekapelle";  i860,  R.  Mus.  Dir. 
(2)  Julius,  1838 — 1885,  son  of 
above  ;   cond.  at  Ems. 

Liebling  (lep'-llng),  (i)  Emil,  b.  Bless, 
Silesia,  April  12,  1851  ;  concert-pian- 
ist;  pf. -pupil  of  Ehrlich  and  Th. 
Kullak,  Berlin  ;  Dachs,  Vienna,  Liszt 
and  Dorn  ;  since  1867,  America,  and 
since  1S72,  Chicago,  as  reviewer  and 
concert-pianist,  teacher  and  writer. 
Co-ed.  in  a  "  Dictionary  of  Terms  " ; 
pub.  pf.-pcs.  and  songs.  (2)  G.,  b. 
Berlin,  Jan.  22,  1865  ;  pupil  of  Th., 
and  Fr.  Kullak,  and  Liszt  (pf.),  H. 
Urban  and  H.  Dorn  (comp.) ;  1880- 
85,  teacher  in  Kullak's  Acad.;  1881- 
89  toured  Oermany  and  Austria,  with 
success  ;  1890,  ct. -pianist  to  Duke  of 
Coburg.  (3)  Leonard,  pianist ;  stud- 
ied in  Germany  ;  also  writer  and  hu- 
morist on  musical  topics. 

Lienau  (le'-now),  Robt.,  b.  Neustadt, 
Holstein,  Dec.  28,  1838;  mus.-pub., 
Berlin. 

Liliencron  (le'-ll-en-kron),  Rochus, 
Freiherrvon,  b.  Plon,  Holstein,  Dec. 
8,  1820;  prof.;  commissioned  by  the 
Historical  Commission  of  Munich  to 
collect  the  medifeval  German  folk- 
songs, and  pub.  them. 

Lillo  (lll'-lo),  Gius.,  Galatina,  Lecce, 
Italy,  1 8 14— Naples,  1863  ;  teacher 
and  dram,  composer. 

Limnan'der  de  Nieuwenhove  (na'- 
ven-ho-ve),  Armand  Marie  Ghis- 
lain,  Ghent,  1814 — Moignanville, 
1892 ;  dram,  composer. 


Lim'pus,  Richard,  1824 — 1875  ;  Enj 
organist  and  composer. 

Lincke  (llnk'-e),  Jos.,  Trachenber 
Silesia,  17S3 — Vienna,  1837  ;  'celli; 

Linc'oln,  H.  C,  1739 — 1864  ;  orj 
builder,  London. 

Lind  (Itnt),  Jenny,  Stockholm,  Oct, 
1820— at  her  villa,  Wynds  Poii; 
Malvern  Wells,  Nov.  2,  1887  ;  "  T| 
Swedish  Nightingale,"  one  of 
most  eminent  and  pop.  of  sopranc 
had  a  remarkably  sympathetic  yo 
of  great  compass  (d'  -e",  v.  Cha 
OF  pitch),  remarkable  puri 
breath,  endurance  and  flexibilil 
studied  with  Berg  and  Lindblad, 
the  court  where  she  made  her 
succ.  debut,  1838,  in  ''  Der  Fi 
sc/iiitz";  1841,  studied  with  Man? 
Garcia,  in  Paris,  for  nine  montl 
1842,  sang  at  the  Opera,  but  was  ■ 
engaged  ;  1844,  studied  German 
Berlin,  and  sang  with  greatest  Si 
in  Germany  and  Sweden  ;  1847,111!. 
a  furore  in  London  ;  1849,  ^^e  p 
the  operatic  stage,  and  created  ell 
greater  sensations  in  concert;  18 [• 
52,  under  the  management  of  P.j. 
Barnum,  she  toured  the  U.  S.,  eij- 
ing $120,000;  1852,  she  m.  OttoQi;- 
Schmidt  in  Boston  ;  lived  in  Dresd,; 
1856,  London,  appearing  especiy 
with  the  Bach  Choir  which  her  ]>• 
band  cond.  Her  last  pub.  app'- 
ance  was  in  his  oratorio  "  J?u." 
Diisseldorf,  1870.  Her  private  e 
was  unusually  serene,  impecca", 
and  generous.  Her  bust  is  in  Wj> 
minster  Abbey.  Biogr.  by  A.;. 
Becher  (1847).  ' 

Lindblad  (Imt'-blat)  Ad.  Fr.,  ri- 
vingsborg,  near  Stockholm,  i8( - 
1S7S  ;  teacher  of  Jenny  Lind;  ex- 
cellent Swedish  songs  and  an  ope 

Linden  (Imt'-'n),  K.  van  der,  b.  Ir- 
drecht,  April  24,  1839;  promint 
Dutch  cond.;  pupil  of  Kwast  ,.) 
and  F.  Bchme  (theory) ;  i860  c'i 
Dordrecht  ;  later  bandm.  the  t. 
Guard  (1875);  cond.  Nether  id 
Musicians'  Assoc;  c.  cantatas  th 
orch.,  2  operas,  etc. 


i 


U 


DICTIONARY  OF  MUSICIANS   605 


'.inder  (Iln'-der),  Gf.,  b.  Ehingen,  July 
22,  1842;  pupil  Stuttgart  Cons.; 
from  1868  teacher  there  ;  1879  P™- 
fessor ;  c.  2  operas;  overture  '' Aiis 
nordischer  Heldenzeit"  etc. 
ind'ley,  (i)  Robert,  Rotherham, 
Yorkshire,  1777  —  London,  1S55  ; 
'cellist.  (2)  Wm.,  1S02 — Manchester, 
1869  ;  son  of  above  ;  'cellist. 
indner  (llnt'-ner),  (i)  Fr.,  Liegnitz, 
ca.  1540 — Nurnberg  ;  composer.     (2) 

,    Lobenstein,    1808 — Leipzig, 

1867  ;  horn-player.  (3)  Ernst  Otto 
Timotheus,  Breslau,  1820 — Berlin, 
1867  ;  conductor  and  writer.  (4) 
Aug.,  Dessau,  1820 — Hanover,  1878; 
'cellist  and  composer. 
indpaintner  (lint'-pTnt-ner),  Peter 
Jos.  von,  Coblenz,  Dec.  S,  1791 — 
Nonnenhorn,  Aug.  21,  1856 ;  emi- 
nent conductor,  ct. -conductor  and 
dram,  composer. 

ind'say,  M.  (now  Mrs.  J.  W.  Bliss), 
English  composer  of  pop.  songs, 
in'ley,  (i)  Thos.,  Sr.,  Bath,  1725 — 
London,  1795  ;  conductor  and  dram, 
composer  ;  owner  with  Sheridan  of 
Drur)'  Lane  Th.,  1776 ;  he  had  3 
daughters  and  3  sons.  (2)  Thos., 
Jr.,  Bath,  1756 — drowned  at  Grims- 
"thorpe,  Lincolnshire,  1778  ;  violinist 
and  composer.  (3)  Eliza  Ann, 
1754 — Bristol,  1792  ;  brilliant  sopra- 
no.    (4)    Mary,     d.     1787  ;     singer. 

(5)  Maria,   d.    Bath,    17S4  ;    singer. 

(6)  Ozias,  1765— 1831  ;  organist  and 
composer.  (7)  Wm.,  ca.  1767 — 1835; 
composer  and  editor.  (8)  Francis, 
Doncaster,  1774 — 1800  ;  organist  and 
composer.  (9)  G.,  Leeds,  1798— 
London,  1865;  writer  and  dram, 
composer. 

innarz  (Im'-narts),  Robt.,  b.  Pots- 
dam, Sept.  29,  185 1 ;  pupil  of  Haupt, 
Berlin ;  teacher  in  Bederkesa  semi- 
nary;  do.  at  Alfeld  ;  wrote  methods, 
etc.;  c.  a  festival  cantata  '' All- 
•Deutschland"  etc. 

intermans     (iTn'-ter-mans),      Fran. 
Jos._,  Brussels,   1808— Ixelles,    1895  ; 
singing-teacher  and  composer. 
ipinski  (It-pln'-shkt).  K.  Jos.,  Rad- 


zyn,  Poland,  Nov.  4  (Oct.  30?),  1790 
— Urlow,  near  Lemberg,  Dec.  16, 
1861  ;  noted  violinist  and  composer; 
pupil  of  Paganini  ;  lived  in  Dresden, 
1839-59- 

Lipsius  (Itp'-st-oos),  Marie,  b.  Leip- 
zig, Dec.  30,  1837  ;  wrote  under  pen- 
name  *'  La  Mara." 

Lirou  (le-roo),  J.  Fran.  Espic, 
Chev.  de,  Paris,  1740 — 1806  ;  writer 
and  composer;  pub.  a  '■'Harmony" 
(17S5),  the  first  French  book  to  de- 
sert Rameau  for  the  modern  laws  of 
tonality. 

Lischin'  (lesh'-ta),  Grigory  Andree- 
vitch,  1853 — St.  Petersburg,  June 
27,  1888  ;  c.  operas,  incl.  ''Don  Cd- 
sar  de  Bazan." 

Lissmann  (les'-man),  (i)  H.  Fritz, 
Berlin,  1847 — Hamburg,  1894  ;  bary- 
tone ;  m.  the  sopr.  (2)  Anna 
Marie  Gutzschbach. 

Listemann  (Us  -te-man),  (i)  Fritz,  b. 
Schlotheim,  Thuringia,  March  25, 
1839;  violinist;  pupil  of  his  uncle 
Ullrich,  and  of  David,  Leipzig  Cons., 
1858,  chamber-virtuoso  to  the  Prince 
of  Rudolstadt  ;  1867  lived  in  New 
York  ;  1S71,  ist  vln.  Thomas  Orch.; 
from  1878,  ist  vln.  Philh.  Orch.  ; 
1881-85  Symph.  Orch.;  since 
taught  and*  toured  with  "  Liste- 
mann Concert  Co."  ;  c.  2  vln. -con- 
certos, etc.  (2)  Bernhard,  b.  Schlot- 
heim, Aug.  28,  1841  ;  bro.  of  above; 
pupil  of  Ullrich,  and  David,  Vieux- 
temps  and  Joachim.  1859-67,  ist. 
vln.  in  Rudolstadt  ct.-orch.;  came  to 
America  with  his  bro.,  lived  in  Bos- 
ton ;  1871-74,  leader  Thomas  Orch.; 
1874  founded  the  "  Philharm.  Club," 
and  toured  the  country;  1878  founded 
Boston  Philh.-Orch. ;  cond.  till  1881, 
then  4  yrs.  leader  of  the  New 
"  Symph. -Orch."  ;  founded  "Liste- 
mann Quartet  "  ;  1883  -  93,  dir. 
of  the  "  Listemann  Concert  Co."; 
from  1893,  prof.  Chicago  Coll.  of 
Mus.;  pub.  a  ''Method."  (3)  Paul, 
b.  Boston,  Oct.  24,  1^71 ;  son  and 
pupil  of  (2) ;  studied  also  with  (i) 
and   was  a   member    of    the    Quar- 


6o6 


THE    MUSICAL    GUIDE 


tet  and  Concert  Co.,  iSgo  -  93 ; 
studied  with  Brodsky  and  Hilf,  Leip- 
zig, and  witli  Joachim,  at  Berlin; 
leader  of  the  Pittsburg  (Pa.)  Orch.  ; 
i8g6,  of  the  "  American  Orch.,"  N. 
Y.;  since  soloist  of  the  "  Redpath 
Concert  Co."  (4)  Fz.,  b.  New  York, 
Dec.  17,  1873  ;  bro.  of  above  ;  "cel- 
list ;  pupil  of  Fries  and  Giese  at  Bos- 
ton, of  Julius  Klengel,  Leipzig ;  and 
Hausmann,  Berlin  ;  ist  'cello  Pitts- 
burg Orch.  for  a  year,  since  lives  in  N. 
Y.  as  teacher  and  concert-performer. 
Liszt  (Itst),  Franz  (originally  Fer- 
encz),  Raiding,  near  Odenburgh, 
Hungary,  Oct.  22,  181 1 — Bayreuth, 
July  31,  1886;  in  many  ways  the 
most  brilliant  of  all  pianists,  and  a 
composer  whose  poorest  works  are 
too  popular,  while  he  is  not  granted 
the  credit  due  his  more  solid  achieve- 
ments ;  as  great  a  patron  of  art,  also, 
as  he  was  creator.  .Son  and  pupil  of 
an  amateur  ;  at  nine  played  in  public, 
at  Oedenburg,  Ries'  Ep  concerto.  A 
group  of  Hungarian  counts  sub- 
scribed a  6  years'  annuity  of  600  flor- 
ins, and  the  family  moved  to  Vienna, 
where  L.  studied  with  Czerny  (pf.), 
and  Salieri  (theory)  for  18  months. 
Beethoven  hearing  .lim  play  his  trio 
op.  97,  embraced  him.  At  12  he  gave 
V.  succ.  concerts  in  Vienna  and  his 
father  took  him  to  Paris,  where  he 
was  refused  as  a  foreigner  because 
of  Cherubini's  objections  to  "  infant 
phenomena ;  "  hereafter  L.  was  his 
own  teacher,  except  in  comp.  which 
he  studied  with  Paer  and  Reicha.  At 
14,  his  i-act  operetta,  ''Don  San- 
cfio  "  had  5  performances  at  the  Acad, 
royale  de  musique.  On  his  father's 
death  in  1827  he  supported  his 
mother  by  teaching,  soon  becoming 
the  salon-idol  he  always  remained. 
He  was  strongly  influenced  by  Cho- 
pin, von  Weber,  Paganini  and  Ber- 
lioz. He  had  a  brilliant  series  of 
heart-affairs,  beginning  with  the  lit- 
erary Countess  d'Agoult  ("Daniel 
Stern  "),  with  whom  he  lived  in 
Geneva  (1835-39).     She  bore  him  a 


son    and    three    daughters  ;    Cosim 
the    youngest,    became    the    wife 
von  Billow,  later  of   Wagner.     183 
he  successfully  undertook  to  earn  I 
concerts  money  enough  for  the  coi 
pletion   of  the   Beethoven  monume 
at  Bonn.     1849,  ct.-cond.  at  Weima.J,.. 
with  royal  encouragement  to  aid  mu: 
progress.        He    made     himself    tl ' 
greatest  patron  among  creative  artist 
aiding   Wagner    materially    by    pr 
ductions  of  his  works  at  Weimar 
by    pf.  -  transcriptions,     aiding    al 
Raff,  Schumann,    and  Berlioz,  final 
resigning    before    the    opposition  t 
and  failure  of,  an  opera    by  Corneli 
(q.  v.).       1859-70,  he   lived  chiefly 
Rome,  where  in  1866  the  Pope,  Pi 
IX.,  made   him    an    abbe.      1870  i; 
was     reconciled     with    the    Wei 
Court.      1S75  pres.  of  the  new  Aca 
of    Mus.    at    Pesth  ;     he    spent   hi 
last   years    at    Weimar,    Pesth,   ai 
Rome,  followed  by  a  large  retinue 
disciples  and  pupils  whom  he  taug 
free   of   charge.      He  died    during 
Bayreuth    Festival.      C.   2    symph; 
"  Z?(?«/^  "  (after   the    "  Divina  Co 
media  "  with  female  chorus) ;  "  Ei 
Faustsymphonie''''   ("Faust,"  "  Gn 
chen,"  "  Mephistopheles,"  with  m: 


chorus) ;  Symph.  Poems:  "  Ce  qu 
entend    sitr    la     montagne "    (Vi 


Hugo) ;  "  Tasso,  /amenta  e  trionfo\ 
'' Les  Pi-t'ludes" ;  ''Orpheus' 
'''Prometheus";  "Mazeppa";  "Fe 
kldnge  "  /  "  H^ro'ide  ftmhbre 
"  Huiii^aria";  "Hamlet";  "  Hn 
nenschlacht" ;  "Die  Ideale"  (Scli' 
ler)  ;  and  "  Von  der  Wiege  bis  z\ 
Grabe"  (Michael  Zichy)  ;  ALSO  F 
ORCH.  "  Zivei  Episoden  atis  Lent 
Faust"  (Der  nachtliche  Zug,  2  J 
phisto-walzer),  etc.  For  Pia> 
2  concertos  ;  "  Danse  macabre"  w, 
orch.  ;  "  Concerto  pathiHiqtie" ;  > 
Rhapsodies  hongroises" ;  " Rh\ 
sodie  espagnole";  "Sonata  in  1 
Min";  "Fantasia  and  Fugue ^ 
B-A-C-H" ;  variations  on  a  the? 
from  Bach's  B-min.  mass ;  lo"JiY 
monies   poetiques    et     r/ligieusei\ 


DICTIONARY  OF  MUSICIANS    607 


'' Annecs  de  pi'ler'uiage" ;  3  ''Ap- 
paritions,'" 2  ballades;  6  "  Coiisola- 
lioiis";  2  elegies;  2  legendes  {Si. 
Francois  U Assise  and  St.  Fraiifois 
de  Paul);  /'  Liebestrdurne^'  (Not- 
turnos) ;  "Etudes  d' execution  tran- 
sccjidante  "y  ''  Ab  irato,  etude  dc per- 
fectionnement  "_,•  concert-etudes, 

"  Waldesrauscheti  "  and  "  Gnovien- 
reigen" ;  "  Technische  Studien"  (12 
books),  etc.,  and  many  transcriptions 
of   symphs.,  overtures,  50   songs    by 


Schubert,  etc.  Vocal  comps.  :  4 
masses,  incl.  Jl/issa  solennis  (the 
"  Graner  "  Festival  Mass) ;  requiem  ; 
3  oratorios,  ''Die  Legende  von  dcr 
Heiligen  Elisabeth"  "  Stanis/aus," 
and  "Christies" ;  Psalms  13th,  i8th, 
etc.,  with  orch.  and  other  church- 
music  ;  3  cantatas  with  orch. ;  male 
choruses,  60  songs,  etc.  Wrote  life 
of  Chopin,  of  Franz,  etc.  Complete 
ed.  of  his  writings  in  6  vols.  Biogr, 
by  L.  Ramann,  18S0. 


Franz  Liszt. 

By  Henry  T.   Finck. 

rHERE  are  two  great  paradoxes  in  the  career  of  Liszt.  The  first  is 
that  just  as  Rossini,  the  most  popular  opera  composer  of  his  day, 
ceased  writing  operas  thirty-nine  years  before  his  death,  so  Liszt, 
e  greatest  and  most  adored  pianist  of  all  times,  ceased  playing  in  public  (ex- 
pt  for  an  occasional  charitable  purpose)  about  the  same  number  of  years 
'tore  his  end  came.  He  had,  with  his  inimitable  art,  familiarised  concert- 
lers  with  nearly  all  the  best  compositions  for  the  piano,  created  by  other 
isters.  He  had  transcribed  for  the  same  instrument  a  large  number  of  songs, 
eratic  melodies  and  orchestral  works  ( the  number  of  these  transcriptions  at  his 
ath  was  371),  thereby  vastly  increasing  their  vogue.  He  also  wrote  al- 
jgether  160  original  compositions  for  the  pianoforte,  many  of  them  as  new 
fform  as  in  substance  ;  unique  among  them  being  the  fifteen  Hungarian 
•'apsodies — collections  of  Magyar  melodies  with  gypsy  ornaments,  moulded 
him  into  works  of  art,  after  the  manner  of  epic  poets.  But — and  here 
s  the  second  paradox — Liszt,  the  greatest  of  all  pianists,  was  not  satisfied 
iih  the  piano.  In  many  of  his  pieces  for  it,  he  endeavours  to  impart  to  it 
chestral  power  and  variety  of  tonal  effect  ;  and  finally,  when  he  became 
nductor  at  Weimar  (1849),  he  transferred  his  attention  chiefly  to  the  or- 
estra.  ^  Of  his  thirty-four  orchestral  works,  the  most  important  are  the 
Faust^^  and  ''Dti?ite''  symphonies,  and  thirteen  symphonic  poems,  in 
hich  he  deviated  from  the  old  symphonic  form  in  a  spirit  similar  to  Wag- 
r's  operatic  reforms — abolishing  the  mosaic  of  unconnected  movements  and 
owing  the  underlying  poetic  idea  (programme)  to  shape  the  form  of  the 
-isic.  Of  great  importance  and  beauty  also  are  fis  sixty  songs,  which  rep- 
>cnt  the  climax  of  the  tendency  to  mirror  in  the  music,  not  only  the  general 
irit  of  the  poem,  but  everv  line  and  word.  The  last  period  of  his  life  was 
•  gely  given  up  to  the  writing  of  sacred  compositions.      Among  these,  the 


6o8 


THE    MUSICAL    GUIDE 


most  original  in  substance  is  the  *' Legend  of  St.  Elizabeth,''''  the  most  origii, 
in  form  "Christus,"  in  which  the  last  remnants  of  the  opera  (the  aria  a| 
recitative )  are  eliminated  from  the  oratorio,  and  little  remains  besides  choru;] 
and  instrumental  numbers.  Liszt's  genius  in  early  life  was  shaped  largely  t 
Schubert,  Chopin,  Berlioz,  and  Wagner.  His  own  influence  on  the  piani 
and  orchestral  writers  of  Germany,  France,  and  Russia,  can  hardly  be  ov<; 
estimated. 


Litolff  (le'-tolf),  H,  Chas.,  London, 
Feb.  6,  1818— Paris,  Aug.  5,  1S91; 
prominent  pianist,  conductor,  pub- 
lisher and  composer. 

Litta  (llt'-ta),  Duca  Giulo,  Visconte 
Arese,  Milan,  1822 — Veciano,  near 
Monza,  i8gi;  dram,  composer. 

Litvinne  (iet'-vin),  Felia,  b.  Russia  ; 
soprano  ;  pupil  of  Mme.  Barth-Ban- 
deroli  and  Maurel ;  debut  Th.  des 
Italians,  Paris  ;  later  sang  Wagner 
at  .Met.  Op.,  N.  V.;  then  in  St.  Peters- 
burg ;  sister-in-law  of  Ed.  de  Reszke. 

Litzau  (let'-tsow),  Jns.  Barend,  Rot- 
terdam, 1822 — 1893  ;  pianist,  organ- 
ist and  composer. 

Liverati  (le-ve-ra'-te),  Giov.,  Bologna. 
1772 — after  1817;  noted  tenor,  con- 
ductor and  dram,  composer. 

Lloyd  (loid),  (i)  Edw.,  b.  London, 
.March  7,  1845  ;  noted  concert  tenor; 
choir-boy,  Westminster  Abbey,  with 
Jas.  Turle,  till  i860 ;  from  1874, 
first  tenor,  Leeds  Festival ;  sang  at 
Cincinnati  Festival  1888,  and  has 
toured  the  U.  S.;  gave  farewell  con- 
cert, London,  1900.  (2)  Chas. 
Harford,  b.  Thornburv',  Gloucester- 
shire, Engl.,  Oct.  16,  1849;  1891, 
Mus.  Doc.  Oxford ;  1876,  organist 
Gloucester  Cath.;  1892  precentor  and 
mus. -teacher  Eton  Coll.;  founded 
O-xford  Univ.  Mus.-Club ;  1877-S0, 
cond.  Gloucester  Festivals  ;  now  Ox- 
ford Svmph.  Concerts  ;  c.  7  cantatas, 
mus.  to  Alcestis  (Oxford,  1887) ;  full 
cath.  service,  etc. 

Lobe  (lo'-be),  Jn.  Chr.,  Weimar,  May 
30,  1797 — Leipzig,  July  27,  1881  ; 
flutist,  via. -player,  and  dram,  com- 
poser ;  wrote  important  treatises. 


Lobkowitz.     Vide  car.\muel  de 

Lo  bo  (or  Lopez)  (l5'-pes)  (orLupn 

Duarte,     Portuguese     composer  ' 

Lisbon,  1600.  ■' 

Locatel  li,  Pietro,  Bergamo,  169.1 
Amsterdam,  1764  ;  vln. -virtuoso, 
garded  as  marvellous  for  his  dout 
stopping  and  effects  procured  a 
changed  accordature  (v.  d.  d.)  t 
which  Paganini  imitated  him.  | 

Locke,  Matthew,  Exeter,  Engia: 
1632  (33?) — London,  1677;  cc 
poser. 

Lock'ey,  Chas.,  succ.  Engl,  ten 
retired,  1859.  j 

Lo  der,  (i)  J.  Fawcett,  1812— i8|j 
violinist  and  conductor.  (2)  Edl 
Jas.,  Bath,  1813— London,  rSit 
dram,  composer.  (3)  J.,  violinti 
d.  ca.  i860  (?).  (4)  Wm.,  'cellis 
d.  ca.  1S60 ;  bro.  of  above.  \ 
Emily  Woodyat,  wife  of  above.' 

Loeb  (lap),  Jules,  b.  Strassburg,  iSj; 
pupil  of  Chevillard,  Paris  Cons.,  vt 
1st  prize  ;  solo  'cellist  at  the  Op<|. 
and  the  Cons.  Concerts  ;  membe:;f 
the  .Marsick  Quartet,  and  the  "  t- 
ciete  pour  instrs.  a  vent  et  a  (; 
des." 

LoefHer  (lef'-ler),  Chas.  Martin  T^ 
nov,  b.  Muhlhausen,  .Msatia,  lEj; 
violinist  and  notable  composer ;  pi  J 
of  Massart,  Leonarti  Joachim  ill 
Guiraud  (comp.) ;  played  in  Pa5- 
loup's  orch.;  later  in  Prince  Dervi^ 
orch.;  now  2d  leader  and  soloist  I- 
ton  (U.  vS.  A.)  Symph.  Orch.;|. 
symph.  poem  "  Zrt  niort  de  Tii'r 
giles  "  (after  Maeterlinck),  with  v 
d'amore  obbligato  ;  suite  "  Les  V- 
lees  de  I' Ukraine"  (after  Gogol) 


DICTIONARY  OF  MUSICIANS   609 


vln.  and  orch.;  concerto  in   i  move- 
ment for  orch.;    divertimento  for  vln. 
with    orch.;    string    quartet;    songs 
with  viola  obbl.,  etc. 
oeiilet   (hva-ya'),   J.   Bap.,   Ghent — 
London,    1728;     noted    virtuoso   on 
te  and  harp  ;  composer. 
we.     Vide  lowk. 
Ogier    (l6'-jer),     Jn.     Bd.,     Cassel, 
1777 — Dublin,    1846  ;    flutist,   writer 
and  composer;  invented  the  "  chiro- 
plast." 

ogroscino  (16-gro-she'-n6),  Nicola, 
Naples,  ca.  1700 — 1763;  professor  of 
cpt.;  composer;  pupil  of  Durante; 
1747,  prof,  of  cpt.  at  Palermo,  then 
lived  in  Naples  and  prod,  some  20 
light  operas  ;  he  was  brilliantly  suc- 
cessful, and  was  the  first  to  close  acts 
with  an  ensemble. 

ohmann  (l6'-man),  Peter,  b. 
Schwelm,  Westphalia,  April  24,  1S33  ; 
since  1S56,  lives  in  Leipzig  ;  1S58-61, 
writer  for  A^eiie  Zeitschrift  fiir  iMii- 
sik ;  he  believes  that  the  drama 
should  be  of  universal  appeal  without 
localism,  patriotism  or  other  alleged- 
ly narrowing  influence  ;  wrote  trea- 
tises and  several  dramas  set  to  music 
bv  Huber,  Goebel,  etc. 
:jhr  (lor),  Jn.,  b.  Eger,  May  8,  1828  ; 
org. -virtuoso  and  teacher  ;  pupil  of 
his  father,  and  of  Pitsch  ;  1858,  or- 
ganist, Szegedin,  Hungary  ;  lives  in 
Pesth  ;  plaved  with  succ.  in  London, 
1S71. 

lihr  (lar),  (i)  G.  Augustus,  Norwich, 
Engl.,  1821 — Leicester,  1897  ;  or- 
.canist  and  conductor.  (2)  Richard 
H.,  Leicester,  Engl.,  June  13,  1856  ; 
■tudied  R.  A.  AL  won  two  medals; 
irganist,  London  ;  since  1882,  con- 
:ert-pianist  ;  c.  oratorios ;  wrote 
'  Primer  of  Jl/iisic,"  etc. 
Mise  (lo'-ze).  Otto,  for  years  cond. 
riamburg  City  Th.,  1895-96,  Dam- 
osch  Op.  Co.,  in  which  the  prima 
ionna  was  his  wife  Klafsky  (q.  v.); 
:ond.  Covent  Garden,  1901  ;  now 
ond.  City  Th.,  Strassburg ;  prod, 
■ucc.  opera  '' Der  Prinz  Wider 
WiUm  "  (Cologne,  1898). 
39 


Lolli  (lol'-ll).  Ant.,  Bergamo,  ca.  1730 
(40?) — Palermo,  1802;  violinist  and 
leader  ;  composer  and  writer. 

Lomagne,  B.  de.     Vide  soubies. 

Long  hurst,  (i)  Wm.  H.,  b.  Lam- 
beth, Engl.,  Oct.  6,  1819;  chorister 
in  Canterbury  Cath.;  later  asst. -or- 
ganist, master  of  the  choristers  and 
lay-clerk;  1873,  organist;  1875, 
Wus.  Doc.  and  mus. -lecturer  ;  c.  ora- 
torios, cath.  service,  etc.  (2)  J. 
Alex.,  1809 — 1855  ;  operatic  and 
concert-singer  ;   bro.  of  above. 

Loo  mis,  Harvey  Worthington,  b. 
Brooklyn,  U.  S.  A.,  P^b.  5,  1865  ; 
notable  composer ;  pupil  of  Dvorak 
at  the  National  Cons.,  New  York, 
1892,  winning  a  3-years'  scholarship  ; 
lives  in  New  York  ;  c.  several  excel- 
lent pantomimes  and  notable  pro- 
gramme music  in  the  form  of  "mu- 
sical backgrounds  "  to  poems  ;  original 
pf.-pcs.  and  songs. 

Loose'more,  (i)  H.,  d.  1667  ;  organist 
at  Cambridge,  and  composer.  (2) 
G.,  son  of  above  ;  organist.  (3)  J., 
d.  1681;  son  of  (i),  org.-builder. 

Lopez.     Vide  lobo. 

Lorenz  (l6'-rents),  (i)  Fz.,  Stein,  Lower 
Austria,  1805 — Vienna,  18S3  ;  writer. 
(2)  Karl  Ad.,  b.  Koslin,  Pomerania, 
Aug.  13,  1837  ;  c.  quartets,  etc.,  as  a 
sch.-boy ;  studied  with  Dehn,  Kiel 
and  CJehrig,  Berlin,  and  at  Berlin 
Univ.;  1861,  Dr.  Phil.;  1866,  Munic- 
ipal Dir.,  Stettin,  cond.  symph. 
Concerts,  etc.;  teacher  in  two  gym- 
nasiums; founded  the  "  Stettin  Mu- 
sikverein  "  (for  oratorio)  ;  1885,  pro- 
fessor :  c.  2  succ.  operas,  overtures, 
etc.  (3)  Julius,  b.  Hanover,  Oct. 
I,  1862  ;  from  1S84,  cond.  Singaka- 
demie,  Glogau  ;  1S95,  of  the  "Arion," 
New  York;  c.  an  opera  ''Die  Re- 
kruten"  and  overtures. 

Lo'ris,  Lori'tus.     Vide  glareanus. 

Lortzing  (lort'-tsing)  (Gv.),  Albert, 
"Berlin,  Oct.  23,  1803 — Jan.  21,  1851; 
an  actor,  son  of  actors,  and  m.  an 
actress,  1S23.  Had  a  few  lessons 
with  Rungenhagen  ;  chiefly  self- 
taught  ;    1826,  actor    at    Detmold ; 


6io 


THE    MUSICAL    GUIDE 


prod.  2  vaudevilles  with  succ;  1833- 
44,  tenor  at  Leipzig  th.  ;  prod.  succ. 
'"Die  beiden  Schiitzen'" ;  1837  and 
1839,  ''''Czar  und  Zimmerman";  4 
others  followed,  then  ''  Der  IVild- 
schiitz"  1842  ;  cond.  at  Leipzig  Op., 
then  travelled,  producing  6  more  op- 
eras, incl.  "Undine"  (1845);  "  Der 
IVaffensckmied"  (1846)  ;  his  melo- 
dious unction  keeps  those  works  men- 
tioned still  popular,  and  his  ''  Jiegina  " 
was  posthumously  prod.  Berlin,  1899, 
with  succ;  he  Hved  in  poverty  in 
spite  of  his  succ,  and  a  benefit  was 
needed  for  his  family  after  his  death  ; 
c  also  an  oratorio,  etc.;  biogr.  by 
Duringer  (Leipzig,   1851). 

Loschhorn  (lesh'-horn),  Albert,  b. 
Berlin,  June  27,  1S19;  pupil  of  L. 
Berger,  KoUitschgy,  Grell  and  A.  W. 
Bach  at  the  R.  Inst,  for  Church-mu- 
sic ;  1851,  as  pf.-teacher  there  ;  1859, 
professor  ;  noted  teacher  also  ;  writer 
and  composer. 

Lossen,  Magda.     Vide  dulong. 

Los'sius,  Lucas,  d.  Luneberg,  1852  ; 
writer  and  composer. 

Lett,  Edwin  M.,  b.  St.  Helier,Jersey, 
Jan.  31,  1S36  ;  at  10  yrs.  organist  ; 
later  various  London  churches ;  c 
sacred  mus. 

Lotti  (16t'-te),  Ant.,  Hanover  (?),  ca. 
1667 — Venice,  Jan.  5,  1740;  son  of 
the  ct.-cond.  at  Hanover  ;  pupil  of 
Legrenzi  ;  at  16  prod,  an  opera  at 
Venice  ;  1697  organist  there  ;  prod. 
20  operas  with  general  succ.  ;  was 
noted  as  an  organist,  and  more 
famed  as  a  composer  of  church-music 

Lotto  (lot' -to),  Isidor,  b.  Warsaw, 
Dec.  2,  1840  ;  pupil  of  Massart  (vln.) 
and  Reber  (comp.),  Paris  Cons.  ; 
1862,  solo-violinist,  Weimar ;  1872, 
teacher  Strassburg  Cons.,  later  at 
Warsaw  Conservatorium. 

Lotze  (16t'-tse),  Rudolf  Hn.,  Bautzen, 
1S17 — Berlin,  188 1  ;  professor  and 
writer. 

Louis  (loo'-es),  Fd.,  Friedrichsfelde, 
near  Berlin,  1772 — .Saalfeld,  1806  ; 
Prince  of  Russia,  nephew  of  Frede- 
rick IL  ;  composer. 


Louli6   (loo-ya),  6t.,  17th   cent.  ;  in 
the    "  chronometre  "    (forerunner 
the  metronome)  and  a  "  sonometre. 

Lovattini  (-te'-ne),  Giov.,  Ital.  ten 
in  London,  1767. 

Lov'er,  Samuel,  DubJin,  1797 — Ji 
sey,  1 868  ;  famous  novelist ;  al 
composer. 

Low  (lav),  Jos.,  Prague,  Jan.  23,  18 
— Oct.,  1886  ;  pianist  and  compos 
of  light  pf.-pcs. 

Lowe  (16),  Edw.,  Salisburj',  Eng 
1610  (-15?)— Oxford,  1682  ;  organi 
professor  and  composer. 

Lowe  (la'-ve)  (Jn.)  Karl  (Gf.),  Lot. 
jiin,  near  Halle,  Nov.  30,  1796 
Kiel,  April  20,  1869  ;  son  and  pu 
of  a  cantor  ;  studied  with  Tiirk  on 
royal  stipend  ;  1821-66  town  mu 
dir.  at  Stettin  ;  toured  Europe  sir 
ing  his  own  fine  "  ballades"  or  d 
matic  solos  ;  also  c  5  operas, 
oratorios,  etc,  wrote  a  "  Selbst-b 
graphic  (1870)." 

Low'thian,  Caroline  (Mrs.  Cyril 
Prescott),  English  composer. 

Liibeck  (lii'-bek),  (i)  Vincentius,  P: 
dingbiittel,  near  Bremen,  1654 — Ha  ■ 
burg,  Feb.  9,  1740  ;  famous  organ 
(2)  Jn.  H.,  Alphen,  Holland,  179c 
The  Hague,  1S65;  violinist  and  c 
conductor.  (3)  Ernst,  The  Hag, 
1829 — Paris,  1S76  ;  son  of  abc ; 
pianist.  (4)  Louis,  b.  The  Hag, 
1838;  bro.  of  above;  pupil  of  J- 
quard  ;  1863-70,  'cello-teacher,  Li  - 
zig  Cons.  ;  then  in  Frankfort. 

Lii'benau,  L.     Vide  Jadassohn,  s 

Lubrich  (loo'-bnkh),  Fritz,  b.  B  - 
dorf,  July  29,  1862  ;  1890  cantor  t 
Peilau,  Silesia  ;  editor  and  o- 
poser. 

Lucantoni  (loo-kan-to'-ne),  Giov.,  • 
Rieti,  Italy,  Jan.  18,  1825  ;  pupil  f 
Milan  Cons.;  1S57  lived  in  Yih 
then  London  as  vocal  teacher ;  c  li 
opera,  a  symph.,  etc.  ' 

Lu'cas,  (i)  Chas.,  Salisbury,  i8c- 
London,  1869;  'cellist  and  compc". 
(2)  Stanley,  since  1861  secretar  0 
the  R.  Soc.  of  Mus.;  and  i866-8of 
the  Philh.  Soc.  (3)  Clarence,  b.  O- 


DICTIONARY  OF  MUSICIANS  611 


ada,  1866;  studied  Paris  Cons.;  c. 
opera,  "  Anne  Hathaiuay"  etc. 
Lucca  (look'-ka),  Pauline,  b.  Vienna, 
April  25,  1841  ;  soprano  ;  studied 
with  Uschmann  and  Lewy  ;  in  chorus 
Vienna  Op.;  1859  won  attention  as 
First  Bridesmaid  in  ''  Der  Frei- 
sckiitz"  engaged  at  Olmiitz,  for 
leading  roles  ;  Meyerbeer  chose  her 
to  create  "  Selika  "  in  ''  L'Africaiiie" 
at  Berlin,  where  she  was  engaged  as 
ct. -singer  for  life  ;  sang  in  London 
annually,  and  broke  her  Berlin  en- 
gagement to  sing  in  the  United 
States  for  two  years  ;  1869  m.  Baron 
von  Rhaden  (divorced,  1872) ;  m.  von 
Wallhofen  in  America  ;  lives  in  Vi- 
enna. 
-ucchesma  (look-kas'-ma),  Maria  A. 
M.,    Ital.     mezzo-soprano,     London, 

1737- 

,iick  (Ilk),  Stephan,  Linz-on-Rhine, 
1806 — Trier,  1883  ;  reformer  in  Cath- 
olic church-music. 

.udwig  (loot'-vlkh).  Otto,  Eisfeld, 
Thuringia,  1813  —  Dresden,^  1865; 
dram,  composer. 

uhrsz  (loorsh),  K.,  Schwerin,  1834 — 
Berlin,  1S82  ;  composer. 
ully  (rightly  Lulli)  (lul-le,  or  lool'-ll), 
(i)  J.  Bap.  de,  Florence,  1633— 
i'aris,  March  22,  1687.  A  Franciscan 
monk  taught  him  the  violin  and  gui- 
tar. His  parents  were  noble  but 
poor ;  the  Chev.  de  Guise  took  the 
boy  in  1646  to  France  to  entertain 
Mile,  de  Montpensier,  but  he  was 
set  to  work  in  the  scullery,  where 
Count  de  Nogent  heard  him  play 
the  vln.  and  placed  him  in  the 
private  band.  L.,  however,  set  to 
music  a  satirical  poem  on  Mile,  de 
M.  and  she  dismissed  him.  He  stud- 
ied the  harps,  and  comp.  with  Metri, 
Roberdet,  and  Gigault,  and  became 
a  member  of  the  King's  private  or- 
chestra ;  1652,  he  became  head  of  the 
"  24  violins"  ;  he  organised  a  second 
poup,  "  les  petits  violons,"  of  16 
instrs.  and  made  it  the  best  orchestra 
in  France.  1653,  ct. -composer  and 
prod,  masques  and  ballets  in  which 


Louis  XIV.  took  part  and  LuUy  as 
"  M.  Baptiste,"  danced  and  acted. 
1672,  the  king  held  him  in  such  favour 
that  he  gave  him  letters  patent  for 
an  "  Academic  royale  de  musique  " 
(now  the  Gr.  Opera)  ;  a  rival  theatre 
was  closed  by  the  police  (v.  campra). 
With  this  opportunity  /cf.  Wagner's 
Bayreuth,  Theatre)  the  transplanted 
Italian  proceeded  to  found  French 
opera — idiomatic  mus.  to  texts  in  the 
vernacular,  and  free  of  the  super- 
ornamentation  of  the  Italian  Sch.  He 
held  the  vogue  till  Gluck  put  him  in 
eclipse.  L.  was  dir.,  stage-manager, 
conductor,  and  even  at  times  machin- 
ist, as  well  as  composer.  He  was 
fortunate  in  his  librettist,  Quinault. 
He  developed  the  overture,  and  intro- 
duced the  brass  into  the  orch.  He 
was  famous  for  his  temper  and  once 
while  cond.  furiously  struck  his  own 
foot  with  the  baton,  producing  a 
fatal  abscess.  His  works,  mainly  on 
classical  subjects,  include  ''Les  Fetes 
de  I' Amour  et  de  Bacchus''' ;  a  pas- 
toral pasticcio  (1672);  "  Cadmus  et 
Hermione  "/  ''  Alceste" ;  "  The's^e"; 
"Z^  Carnaval"  opera-ballet ;  ''Atys, 
/sis,  Psyche" ;  " Belle'rophou" ;  ''F7-0- 
serpine  "  y  "  Z^  Triomphe  de 
n Amour''' ;  ^'Ferse'e''' ;  "  Fhaeton" ; 
''  Amadis  de  Gaule"  ;  ''  Foland"  ; 
'■' Armide  et  Renaud" ;  '' Acis  et 
Galatee"  historic  pastoral  (1686), 
etc.,  also  symphs.,  a  mass,  etc.  (2) 
Louis  de,  Paris,  1664 — after  1713  ; 
son  of  above ;  dramatic  com- 
poser. 

Lum'bye,  Hans  Chr.,  Copenhagen, 
1 8 10 — 1874;  conductor  and  compos- 
er of  pop.  dance-mus.  His  son  and 
successor  (2)  G.,  c.  opera  "  The 
IVitch's  Flute." 

Lum'ley,  Benj.,  1812 — 1875  ;  London 
operatic  manager. 

Lu'pi.     Vide  lupus. 

Lupi  (loo'-pe),  Italianised  form  of 
"  Wolf";  frequent  i6th  cent,  surname 
worn  by  Lupus  Lupi,  Didier,  Jo- 
hannes (Jean),  and  Manfred  Lupi, 
of  whom  nothing  remains  except  their 


6l2 


THE    MUSICAL    GUIDE 


works  (detached  motets  for  the 
greater  part).     Also  see  lobo. 

Luporini  (loo-po-re'-ne),  Gaetano,  b. 
Lucca,  Italy  ;  pupil  of  Primo  Quilici, 
graduating  from  the  Pacini  Mus. 
Inst.;  c.  opera  ''  Marcclla"  succ. 
lyric  comedy,  '^  I  Dispetti  Amorosi" 
(Turin,  1S94);  v.  succ.  opera  ""La  Col- 
liiiia  di  Pasqua  "  (Naples,  i6g6),  etc. 

Lupot  (lu-po),  (I)  Nicolas,  Stuttgart, 
175S — Paris,  1S24  ;  chief  of  a  French 
family  of  vln-makers,  inch  his  great 
grandfather  (2)  Jean;  his  grandfather 

(3)  Laurent    (b.    1696),  his    father 

(4)  Fran9ois,  his  bro.  (5)  Francois 
(d.  1S37),  and  his  son-in-law,  Chas. 
Fr.  Gand  of  Gand  &  Bernardel, 
Paris. 

Lupus  (loo'-poos)  (Christian  name  fre- 
quently occurring  among  i6th  cent, 
composers).  Among  those  who  wore 
it  are,  (i)  L.  Hellinck,  (2)  L.  Lupi. 

Lusci'nius  (Latin  form  of  Nachtgall 
or  Nachtigall  (nakht'-(l)-gal), 
"  Nightingale  "),  Ottomar,  Strass- 
burg,  1487 — ca.  1536  ;  organist,  theo- 

.    rist  and  composer. 

Lussan  (du  lus-sah),  Z61ie  de,  b.  New 
York,  1S63  ;  pupil  of  her  mother  ;  de- 
but in  concert  and  stage,  18S6  ;  iSSg 
Carl  Rosa  Co.,  London;  from  1894, 
Met.  Op.  N.  v.,  also  in  Spain,  etc. 

Lussy  (loos-se),  Mathis,  b.  Stans, 
Switz.,  April  8,  1S28 ;  pupil  of  Bu- 
singer  and  Nageli;  pf. -teacher,  Paris, 
and  writer. 

Liistner  (llst-n'r),  (i)  Ignaz  P., 
Poischwitz,  near  Jauer,  1792 — Bres- 
lau,  1873  ;  violin  teacher.  His  five 
sons  were  (2)  K.,  b.  Breslau,  Nov. 
10,  1834  ;  pianist  and  'cellist  ;  since 
1872  teacher  in  Wiesbaden.  (3)  Otto, 
Breslau,  1839 — Barmen,  1889  ;  town 
mus.-dir.  at  Barmen.  (4)  Louis,  b. 
Breslau,  June  30,  1840  ;  violinist, 
and  since   1S74  cond.  at  Wiesbaden. 

(5)  G.,  b.  Berlin,  18S7  ;  'cellist;  ct.- 
cond.  at  Berlin.  (6)  Richard,  b. 
Breslau,  Sept.  2,  1854;  harpist  and 
violinist. 

Luther  (loo'-ter),  Martin,  Eisleben, 
Nov.   10,   14S3 — Feb.   iS,  1546;    the 


-■ 


great  reformer  concerned  himself  also 
with  church-mus.,  issuing  '"Formula 
viissae"  (1523),  and  a  new  ord^> 
for  the  German  mass.  He  wrote  the: 
words  of  at  least  36  chorals,  and  is 
generally  believed  to  have  c.  13  cho-' 
ral-tunes  (incl.  the  famous  "'  Einfestt 
-Burg  ist  unser  Gott,"  and  "" Jesaia 
den  Propheten  das  gescha  "),  his  meth-i 
od  being  to  play  them  on  the  flute' 
(which  he  played  well)  while  hisi 
friends  and  assistants,  the  cond.  Kon-I  ^ 
rad  Rupfl  and  cantor  Jn.  Walther, 
wrote  them  out. 

Lutschg  (litshkh),  Waldemar,  b.  St. 
Petersburg,  May  16,  1877;  pianist; 
pupil  of  his  father  a  prof,  at  the  Cons. 
there ;  after  his  father's  death  he 
toured  Germany  ;  lives  in  Berlin. 

Lutz  (loots),  Wm.  Meyer,  b.  Man- 
nerstadt,  1S29  ;  pianist  and  dram, 
composer  ;  from  184S,  conductor  at 
London. 

Lutzel  (lut'-tsel),  Jn.  H.,  Iggleheim. 
near  Speyer,  1823 — Zweibrucken 
1S99  ;    writer  and  composer. 

Lutzer,  Jenny.     Vide  di.ngelstedt. 

Lux  (looks),  Fr.,  Ruhia,  Thuringia 
1820 — Mayence,  1S95  ;  conductor 
organist,  pianist  and  dram,  composer 

Luzzi  (lood'-ze),  Luigi,  Olevano  d 
Lomellina,  1S28 — Stradella,  1876 
dram,  composer. 

Lvoff  (or  Lwoff)  (I'vof),  Alex,  von 
Reval,  1799 — on  his  estate,  Govt.  0 
Kovno,  1S70;  violinist  and  conduc 
tor  ;  c.  the  Russian  national  hymn  am 
4  operas. 

Lwowezyk  (I'vo'-ve-zek),  Martii 
(Leopolitas),  d.  1589,  Polish  com 
poser. 

Lynes  (linz),  Frank,  b.  Cambridge 
Mass.,  May  16,  1858;  pupil  N.  E 
Cons,  and  Leipzig  Cons.;  lives  i 
Boston  as  organist,  conductor  an 
composer. 

Lyra  (le  -ra),  Justus  W.,  OsnabrQck 
1S22 — Gherden,  1SS2  ;  composer. 

Lysberg  (Ics -berkh)  (rightly  Bovy 
Chas.  Samuel,  Lysberg,  near  & 
neva,  182 1 — Geneva,  1S73  ;  piani: 
and  dram,  composer. 


DICTIONARY  OF  MUSICIANS    613 


M 

^aas  (mas),  (i)  Jos.,  Dartford,  1S47 — 
1886;    tenor.     (2)  Louis  (Ph.  O.), 

Wiesbaden,       1S52— Boston,       1889 ; 
pianist,  conductor  and  composer. 
^abellini    (ma-bel-le'-ne),    Teodulo, 
Pistoia,  Ital)',  1817— Florence,  1S97  ; 
ct. -conductor  and  dram,  composer. 
/labillon      (ma-be-yon),     Jean,     St. 
Pierremont,    1632 — .St.   Germain-des- 
Pres,  1707  ;  writer  and  editor. 
Macbeth',   Allan,   b.  Greenock,  Scot- 
land, March  13,  1S56  ;  pupil  of  Leip- 
zig   Cons. ;     organist     in     Glasgow ; 
since    1S90,    principal    sch.   of    mus., 
Glasgow  Athenaeum  ;  c.  an  operetta, 
2  cantatas,  chamber-mus. ,  etc. 
laccherini   (mak-ke-re'-ne),  Bologna, 
1745 — 1825,    soprano,    wife    of    An- 
sani. 

lacCunn',  Hamish,  b.  Greenock, 
Scotland,  March  22,  1S68  ;  notable 
British  composer  ;  pupil  of  Parry,  R. 
A.  M.,  having  won  a  scholarship  for 
jComp. ;  at  19,  several  of  his  orch.- 
[pcs.  were  prod,  by  Manns;  at  20 
!  commissioned  to  c.  a  cantata  for  the 
'Glasgow  Choral  Union  ;  gave  con- 
certs at  the  studio  of  John  Pettie, 
whose  daughter  he  m.,  1889 ;  1888- 
94,  prof,  of  harm.  R.  A.  M.;  1898, 
cond.  Carl  Rosa  Op.  Co.;  c.  operas, 
'" Jeanie  Deans''  (Edinburgh,  1894), 
"  Diarmid  and  Ghrine"  (Covent 
Garden,  1897);  5  cantatas  incl.  ''The 
Death  of  Parry  Reed"  (male  chorus 
and  orch.),  overtures  "  Cior  Mhor" 
"  The  Lajid  of  t/ie  Mountain  and  the 
Flood"  ballad  overture,  "  The  Doiuie 
\pem  d"  Yarrow";  ballade,  ''The 
\Ship  d  the  Fiend"  with  orch.;  8th 
iPsalm  with  orch.,  etc. 
iacDow'ell,  Edw.  Alex.,  New  York, 
P>ec.  18,  1861;  eminent  American 
:omposer  and  one  of  the  most  orig- 
nal  and  virile  of  contemporary  cre- 
itors,  having  given  the  sonata  a 
lew  enlargement  and  spontaneity, 
ind  written  programme-mus.  of  espe- 
:ia'  dignity  ;  pupil  of  J.  Ruitrago,  P. 
Desvernine  and   Teresa  Carrerio,  N. 


Y.;  1S76,  Paris  Cons.;  1879,  with 
Heymann  (pf.)  and  Raff  (comp.), 
Frankfort  ;  1 88 1-82,  chief  pf.- 
teacher  at  Darmstadt  Cons.;  at  21, 
Raff  (who  was  deeply  interested 
in  his  progress)  and  Liszt  pro- 
cured the  performance  of  his  works 
at  the  annual  festival  of  the  "  Allge- 
meinerdeutscher  Musikverein  "  ;  lived 
in  Wiesbaden  ;  1888,  Boston  ;  1896, 
prof,  of  mus.  in  Columbia  Univ., 
New  York;  Mus.  Doc.  h.c,  Prince- 
ton Univ.  and  1902,  Penn.  U. 
also  ;  he  gives  frequent  pf. -recitals, 
and  has  played  his  concertos  with 
the  Boston  Symph.  and  other 
orchs.    Orchestral  Compositions  : 

2  poems  "Hamlet"  and  "  Ophelia"; 
symph.  poems,  "Lancelot  and 
Elaine"  "Lamia"  and  "Roland" 
op.  35,  romance  for  'cello  with  orch.; 

3  orch.  suites  incl.  "  In  October"  and 
"Indian  Suite."  For  pi.-^no  :  4 
sonatas  "  Tragica"  "  Eroica" 
i,"  Flos  regum  Arthurus"),  "Scan- 
dinavian" and  "Celtic";  prelude 
and  fugue,  modern  suite ;  forest 
idyls,  3  poems,  "Moon-pictures"  6 
poems  after  Heine,  4  "Little  Poems" ; 
technical  exercises  (3  books),  and  12 
virtuoso-studies,  etc.,  and  many  songs 
of  great  charm  and  individuality. 

Mace,  Thos.,  1613— after  1675  ;  Engl. 
lutenist,  inventor  and  writer. 

Macfar'ren,  (i)  Sir  G.  Alex.,  Lon- 
don,  March  2,  1813 — Oct.  31,  1S87  ; 
notable  English  composer  and  schol- 
ar ;  son  and  pupil  of  the  playwright 
G.  Macfarren  ;  also  studied  with  Ch. 
Lucas  and  C.  Potter,  R.  A.  M.; 
1834,  prof,  there,  even  after  blindness 
overtook  him ;  from  1875  prof,  at 
Cambridge  Univ.,  Mus.  Doc.  there 
1876 ;  from  1876,  also  principal  of 
the  R.  A.  M.;  1883,  knighted;  c.  13 
operas,  9  of  them  prod.;  4  oratorios, 
6  cantatas,  8  symphonies,  7  over- 
tures, incl.  "Chevy  Chase  "^  "Don 
Carlos"  "  Hamlet"  and  "Festival" 
concertos,  sonatas,  etc.;  wrote  text- 
books, articles;  ed.  old  texts,  etc.; 
biog.  by  Banister  (London,  '91).     (2) 


6i4 


THE    MUSICAL    GUIDE 


Natalia,  b.  Liibeck,  wife  of  above  ; 
contralto,  translator  and  writer.  (3) 
Walter  Cecil,  b.  London,  Aug.  2S, 
1S26  ;  bro.  and  pupil  (in  comp.)  of 
(i)  ;  studied  with  Turle,  Holmes  (pf.) 
and  Potter  (comp.)  ;  from  1S46,  pf.- 
prof.  at  the  R.  A.  M.,  of  which  he  is 
a  Fellow  ;  1S73-80,  cond.  Acad.  Con- 
certs ;  dir.  and  treasurer  Philharm. 
Soc.  ;  pianist,  lecturer,  editor,  and 
composer  of  a  symph.,  7  overtures,  a 
cantata  ''The  Song  of  the  Sunbeam," 
services,  etc. 

Machault  (or  Machau,  Machaud, 
Machut)  (ma-shd),  Guillaume 
(Gulielmus)  de  Mascandio,  .Ma- 
chau in  the  Champagne  (?)  ca.  12S4 — 
1370  ;  troubadour  ;  composer. 

Machtig  (mekh'-tikh),  K.,  Breslau, 
1S36 — 1S81;  organist  and  composer. 

Macirone  (ma-che-ro'-ne),  Clara  An- 
gela, b.  London,  Jan.  20,  182 1;  pi- 
anist ;  pupil  of  R.  A.  M.;  later  teach- 
er there  and  elsewhere ;  c.  "  Te 
Deuin"  and  '^Jubilate,"  anthem 
"  By  the  Waters  of  Babylon ,"  etc. 

Macken  zie,  Sir  Alex.  Campbell,  b. 
Edinburgh,  Aug.  22,  1S47  ;  notable 
British  composer ;  pupil  of  Ulrich 
(pf.)  and  Stein  (comp.),Sondershausen 
Cons. ;  at  14  a  violinist  in  the  Uucal 
Orch.;  1862,  won  the  King's  schol- 
arship, R.  A.  M.,  and  studied  with 
Sainton,  Jewson,  and  Lucas  ;  from 
1865  teacher  and  cond.  Edinburgh  ; 
1888  of  Cambridge ;  1S96  of  Edin- 
burgh U.;  1894  knighted;  since  iSSS, 
principal  R.  A.  M.  (vice  Macfarren); 
1892  cond.  Philh.  Soc;  c.  operas, 
'  Colomba"  (Drury  Lane,  1S83), 
"  The  Troiibadou7- "  (\h\d.  18S6),  and 
"  His  Majesty,  or  the  Court  of  I'in- 
golia"  (1897;  comic),  ''Cricket  on 
the  Hearth"  (MS.);  oratorios,  "  The 
Rose  of  Sharon  "  (Norwich  Festival, 
18S4),  and  "  Bethlehem  "  (1894); 
cantatas,  Jason  (Bristol  Festival, 
18S2),  "  The  Bride,"  "  The  Storv  of 
Sayid"  (Leeds  Festival,  '86),  "'The 
New  Covenant,"  "  The  Dream  of  Ju- 
bal,"  "  The  Cotter's  Saturday  Night," 
and    "  Veni,    Creator    Sfiritus" ;    2 


Scottish  rhapsodies,  a  ballad,  witl 
orch.,  "La  belle  dame  sans  merci" 
overtures  "  Cervantes,"  "  To  a  com 
edy,"  "  Tetnpo  di  hallo"  "  Twelft. 
Alight"  "Britannia"  \  a  vln.-con 
certo,  a  "  Pibroch"  for  vln.  am 
orch.;  "Scottish  Concertos"  for  pf. 
etc. 

Mackintosh   (i)  J.,    1767— 1S40  (?)| 
bassoonist.      (2)    Alphonso,   son 
above ;    violinist. 

McGuckin,  Barton,  b.  Dublin,  Jul 
28,  1852  ;  pupil  of  Turle  and  Tn 
vulsi ;  pop.  oratorio  and  operati 
tenor. 

McLean,  Alick,  b.  Eton,  Engl.,  Jul 
20,  1S72;  c.  opera  "  Quentin  Dut 
7./rtr</"  (London,  1S95)  ;  i-act  opei 
"  Fetruccio"  (Covent  Carden,  1S95 
Moody  Manners  prize  of  ^^loo),  etc 

McMur  die,  Jos.,  London,  1792- 
Merton,  Surrey,  1878  ;  composer  an 
director. 

Mader  (ma'-der),  Raoul  (M.),  b.  Pres} 
burg,  Hungary,  June  25,  1856  ;  stU'! 
ied  Vienna  Cons.;  took  ist  prize  fj 
pf.  and  comp.,  and  the  great  silv 
medal  and  the  Liszt  prize  as  bei 
pianist  in  the  Cons.  ;  1S82-95,  ij 
"coach"  for  solo  singers,  Vieni, 
ct. -opera,  also  asst.-cond.  From  18' 
cond.  Royal  Opera,  Pesth;  c.  2  conrj 
operas,  4  ballets,  incl.  "  Die  Sirene\ 
insel,"  and  "  She  "  (after  Rider  HaJ 
gard),  parody  on  Ixlascagni's  CaVi\ 
leria  Rusticana  (Th.  an  der  Wiej 
1892),  choruses,  songs,  etc.  ' 

Mag(g)ini  (mad-je  -ne)  (or  Magin! 
Giov.  Paolo,  Botticino  -  Marii, 
Italy,  1580 — Brescia,  ca.  1631 ;  vl 
maker,  rivalling  Stradivari  and  Gu' 
neri ;  his  double-basses  particula' 
good  :  label,  "  Gio.  Paolo  Maggi 
Brescia." 

Magnus,    D6sire     (rightlv    Magr. 
Deutz),       Brussels,       1828— Pa 
1^84  ;   teacher,  composer  and  critii 

Mahillon    (ma-e-yon),   Chas.  Vict , 
b.    Brussels,   March    10,    1S41  ;    si  ■ 
1877  custodian  of  mus.  instrs.,  Br  • 
sels  Cons.;  editor  and  writer;  m 
ager  wind-inst.  factory  of  his  fathe 


DICTIONARY  OF  MUSICIANS    615 


Mahler  (mii'-Ier),  Gus,,  b.  Kalischt, 
Bohemia,  July  7,  i860  ;  studied  with 
Bruckner  at  Vienna  Cons.;  cond.  at 
Cassel,  1885-S6,  Leipzig,  1888-91  ; 
dir.  Royal  Opera,  Pesth,  1891-97, 
cond.  Hamburg  City  Th.;  1897,  ct.- 
cond.  Vienna  Ct. -Opera,  later  dir.;  c. 
opera  ''Die  drei  Fi7itos"  (after 
Weber's  sketches)  (Leipzig,  1888)  ; 
cantata  ''Das  klagende  Lied,"  iahy 
play,  3  notable  symphonies,  etc. 

\^ahu  (ma -00),  Stephan,  b.  Germany, 
ct. -singer  and  composer,  1538. 

Vlaier  (mi'-er),  (i)  Jos.  Fr.  Bd.  Cas- 
par, cantor  at  Schwabish  Hall  1718- 
41.  (2)  Julius  Jos.,  Freiburg, 
Baden,  1821 — Munich,  1889  ;  teacher 
and  writer. 

vlailhac  (mll'-ak),  Pauline,  b.  Vienna, 
May  4,  1858  ;  pupil  of  Ufifmann,  so- 
prano at  Carlsruhe  many  years. 

/laillart  (m!  -  yar),  Louis  (called 
Aime),  Montpellier,  Herault,  France, 
1817 — Moulins,  Allier,  1871  ;  dram, 
composer. 

^ailly  (mi-ye),  Alphonse  J.  Ernest, 
D.  Brussels,  Nov.  27,  1833  ;  pianist, 
and  organ  virtuoso  ;  pupil  of  Girsch- 
ner,  Brussels  Cons.;  1861  pf. -teacher 
there ;  1868  organ-teacher ;  com- 
poser. 

lainzer(mln'-tser),  Abb6  Jos.,  Trier, 
1807  —  Manchester,  185 1  ;  singing- 
teacher,  writer  and  dram,  composer. 

laitland  (mat'-land)  (J.  Alex.),  Ful- 
ler, b.  London,  April  7,  1856  ;  1882, 
^LA.  Trinity  Coll.,  Cambridge; 
lecturer  and  critic  for  various  papers, 
now  of  London  Times  ;  ed.  the  Ap- 
pendi.x  to  Grove's  Diet.;  pianist  at 
the  Bach  choir  concerts ;  wrote 
"  Masters  of  German  Music  "  (1894), 
ind  many  authoritative  works. 

lajo  (ma -yo),  Fran,  di  (called  Cic- 
cio  di  Majo),  Naples,  1745  (?)— 
Rome,  1770;  organist  and  noted 
composer  of  operas  and  church-mus. 

lajorano.     Vide  cakfarelli. 

tal'colm,  Alex.,  British  writer,   1721. 

[alder  (mal-der),  Pierre  van,  Brus- 
sels, 1724—1768  ;  violinist  and  com- 
poser. 


Malherbe  (mal-arb),  Chas,  Theo- 
dore, b.  Paris,  April  21,  1863  ;  at 
first  a  lawyer,  then  studied  with  Dan- 
hauser,  Wormser,  and  Massenet ; 
also  pub.  some  original  comps.,  and 
transcriptions ;  Danhauser's  sec.  ; 
1896,  asst. -archivist,  Gr.  Opera  ; 
Officer  of  the  Acad,  and  of  Pub.  In- 
struction ;  Chev.  of  various  orders. 
Ed.,  Le  M/nestrel,  and  is  prolific 
writer  on  Wagner,  etc.;  owns  what  is 
probably  the  best  private  coll.  of  mus.- 
autographs  in  the  world ;  ed.  Ra- 
meau's  complete  works. 
Malibran  (mal-!-bran),  (i)  M.  Feli- 
cita  (nee  Garcia),  Paris,  March  24, 
1808 — Manchester,  Sept.  23,  1836 
(from  singing  too  soon  after  being 
thrown  and  dragged  by  a  horse).  In 
some  respects  the  greatest  of  all 
women  vocalists  ;  she  had  a  contralto 
voice  with  an  additional  soprano  reg- 
ister and  several  well  -  concealed 
"head  tones "  between  ;  she  impro- 
vised frequently  on  the  stage,  and 
also  c.  ;  at  5  she  played  a  child's 
part  and  one  evening  broke  out  sing- 
ing the  chief  role  to  the  amusement 
of  the  audience  ;  at  7  studied  with 
Pauseron ;  at  15  studied  with  her 
father  (v.  garcia)  ;  debut,  London, 
1825  ;  she  had  a  personality  that 
compelled  extraordinary  homage. 
She  m.  Malibran  ;  when  he  became 
bankrupt  she  divorced  him,  and  1836 
m.  de  Beriot,  ct. -violinist  with  whom 
she  had  lived  since  1830.  (2)  Alex., 
Paris,  1823 — 1867;  violinist  and  com- 
poser. 
Mallinger  (mal'-llng-er),  Mathilde 
(nee  Lichtenegger),  b.  Agram, 
I-'eb.  17,  1847  ;  soprano  ;  pupil  of 
Giordigiani  and  Vogl,  Prague  Cons., 
and  Lewy,  Vienna ;  debut,  Munich, 
1866;  1868,  created  "Eva"  in  the 
Meistersiuger  ;  m.  Baron  von  Schim- 
melpfennig;  since  1890  singing-teach- 
er, Prague  Cons. 
Malten  (mal'-ten),  Therese,  b.  In- 
sterburg,  East  Prussia,  June  21,  1855; 
soprano  ;  pupil  of  Engel  (voice),  and 
Kahle  (action),  Berlin  ;  at  18  debut, 


6i6 


THE    MUSICAL    GUIDE 


Dresden  as  Pamina,  and  engaged 
there  for  life  ;  created  "  Kundry  " 
{Parsifal)  at  Bayreuth,  18S2  ;  189S, 
ct. -chamber  singer. 
Malzel  (mel'-tsel),  Jn.  Nepomuk,  Rat- 
isbon,  1772 — on  a  voyage,  July  31, 
1838;  mus-teacher ;  inv.  "panhar- 
monion"  (a  sort  of  orchestrion),  an 
automaton-trumpeter,  and  an  auto- 
matic chess-player;  while  experiment- 
ing with  his  "  chronometer,"  a  sort  of 
metronome  (v.  d.d.),  he  saw  Wink- 
el's  invention,  adopted  its  chief  feat- 
ures and  patented  the  result  as  Mael- 
zel's  metronome  (v.  d.d.). 

Mancinelli  (man-chl-nel'-ll),  Lulgi, 
b.  Orvieto,  Papal  States,  Feb.  5, 
184.8 ;  intended  for  commerce,  self- 
taught  on  the  pf.,  and  ran  away  from 
home ;  was  brought  back,  but  per- 
mitted to  study  at  \\  with  .Sbolci 
(Florence,  'cello);  at  15,  3rd  'cellist 
Pergola  Th.,  earning  his  living  the 
ne.xt  8  years;  studied  with  Mabellini 
(comp.j  ;  1870  in  the  orchestra  of  the 
opera  at  Rome ;  1874,  2nd  cond.  ; 
1875,  cond. ;  iSSi,  dir.  Bologna 
Cons.,  which  he  made  one  of  the  best 
in  Italy  ;  18S6-S8,  cond.  at  Drury 
Lane,  London;  188S-95,  Royal  Th. 
Madrid  ;  since  at  Covent  Garden, 
London,  and  Met.  Op.,  New  York  ; 
in  Italy  called  "  il  Wagnerista  "  for 
his  advocacy  ;  c.  opera  "  Isora  di 
Provenza "  (Bologna,  1884) ;  succ. 
'' Ero  e  Leaftdro"  (Madrid,  1897, 
New  York,  1899) ;  an  oratorio,  etc.  ; 
overture  and  entr'acte-mus.  to  Cos- 
sa's  Cleopatra. 

Mancini  (man-che'-ne),  (i)  Fran., 
Naples,  1674 — 1739  ;  cond.  and  dram, 
composer.  (2)  Giambattista,  As- 
coli,  1716— Vienna,  1800  ;  writer. 

Mancio  (man'-cho),  Felice,  Turin, 
1840— Vienna,  1897;  singer  and 
publisher. 

Mangeot  (mafi-zho),  Ed.  Jos.,  Nantes, 
France,  1S34  —  Paris,  1898 ;  pf.- 
maker  and  editor ;  inv.  piano  "  k 
double  clavier  renverse." 

Mangold  (man'-golt),  (i)  G.  M.,  1776 
— 1S35  ;   violinist.     (2)  (Jn.)  Wm., 


Danustadt,  1796 — 1875  ;  conducto 
and  dram,  composer.  (3)  K.  (L 
Amand),  Darmstadt,  1813 — Oberst 
dorf,  .\lgau,  1SS9  ;  bro.  of  above 
dir.,  conductor  and  composer.  (4, 
K.  G.,  1812 — London,  1887;  pianist'[ 
composer  and  teacher. 

Mann,  (i)  Arthur  Henry,  b.  Noif 
wich,  Engl.,  May  16,  1850;  chorister 
at  the  cath.  with  Dr.  Buck  ;  organisj 
various  churches  ;  since  1876,  Kii^'ji 
Coll.,  Cambridge  ;  1S71,  F.  C.  O. 
1882,  Mus.  Doc,  Oxford;  Hand* 
scholar ;  with  Prout  discovered  th. 
original  wind-parts  of  the  Messiah  1 
ed.  the  Fitzzvilliam  Catalogue  witi 
Maitland,  etc.;  c.  ^' Ecce  Homo'i 
withorch.;  '*  Te  Deum''  ''Evening 
Service,"  for  orch.,  etc.  (2)  Jn.  G! 
Hendrik,  b.  The  Hague,  July  i;i 
1S58  ;  pupil  R.  Sch.  of  Mus.  there| 
bandm.,  Leyden  ;  comprser.  i 

Man'ney,  Chas.  Fonteyn,  b.  Broolj 
lyn,  1872  ;  studied  with  \Vm.  Arni 
Fisher  and  J.  Wallace  Goodricli 
Boston  ;  composed  a  cantata,  songj 
etc.  ; 

Manns  (mans),  Aug.  (Fr.),  b.  Stoize' 
berg,  near  Stettin.  jMarch  21,  i82f! 
noted  conductor;  son  of  a  glas, 
blower,  who  with  his  sons  formed 
quintet  (vlns.,  'cello,  horn,  and  Rxxit 
at  15,  apprenticed  to  Urban,  of  IJ 
bing;  later  1st  clar.  of  a  regiment 
band,  Dantzig  ;  1S48,  at  Pose; 
Wieprecht  got  him  a  place  as  ist  vl . 
in  Gungl's  orch.  at  Berlin  ;  1849-5' 
cond.  Kroll's  Garden  ;  regiment' 
bandm.  Konigsberg  and  Colog:. 
(1854)  ;  joined  Crystal  Palace  ban 
London  as  asst.-cond.  to  Schalle 
who  pub.  as  his  own  M.'s  arrang 
ment  of  certain  quadrilles;  whei 
upon  M.  resigned,  publicly  statii. 
the  reason  ;  1859  he  succeeded  S 
he  later  made  the  band  a  full  orcb 
giving  famous  and  verj-  popular  Sj 
urday  Concerts  till  1900,  when  t 
public  ceased  to  support  it ; 
has  also  cond.  7  Triennial  Hanc 
Festivals,  concerts  of  the  Glasgc 
Choral  Union,  i879-=92,  etc. 


DICTIONARY  OF  MUSICIANS    617 


Mannsfeldt  (mans'-felt),  Hn.,  Erfurt, 
i833^Ems,  1S92  ;   conductor. 

Mannstadt  (man'-shtet),  (1)  Fz.,  b. 
Hajjen,  Westphalia,  July  8,  1852  ; 
pupil  Stern  Cons.,  i5erlin ;  1874, 
cond.  at  Mayence  ;  1876,  Berlin 
Symph.  Orch. ;  1879,  pf.-t.  Stern 
Cons.;  1893-97,  cond.  Berlin  Philh.; 
then  returned  to  Wiesbaden,  where 
he  had  been  as  conductor  and  teacher 
1883-97.  (?)  (2)  Wm.,  b.  Bielefeld, 
May  20,  1837  ;  bro.  of  above  ;  con- 
ductor and  stage  manager,  Berlin 
Th.;  editor;  c.  (text  and  music) 
farces  and  operettas. 

Mansfeldt,  E.     Vide  pikkson,  h.  h. 

Mantius  (man'-tsr-oos),  Ed.,  Schwe- 
rin,  1806 — Bad  Ilmenau,  1874  ;  tenor. 

Mantovano,  Al.     Vide  riia. 

Manzuoli  (man-tsoo-6'-le),  Giov.,  b. 
Florence,  ca.  1725  ;  famous  soprano- 
musico. 

Ma'pleson,  Col.  Jas.  H.,  London, 
May  4,  1830 — Nov.  14,  1901  ;  fa- 
mous impresario;  studied  R.  A.  M., 
London ;  a  singer,  and  via. -player 
in  an  orch.;  1861,  managed  Italian 
Opera  at  the  Lyceum  ;  1862-68,  was 
at  FI.  M.'s  Th.;  1869,  Drury  Lane; 
1877,  reopened  II.  M.'s  Th.;  gave 
opera  at  Acad,  of  Mus.,  New  York, 
with  varying  succ.  in  different  seasons. 

Mara  (ma-ra),  Gertrud  Elisabeth, 
(nee  Schmeling),  Cassel,  Feb.  23, 
1749— Keval,  Jan.  20,  1833  ;  phe- 
nomenal soprano,  with  compass, 
g-e'"  (v.  PITCH,  D.D.),  who  reached  a 
high  pinnacle  of  art  over  difficulties 
(ranging  from  rickets  to  the  Moscow 
fire)  not  surpassed  in  the  wildest  fic- 
tion ;  she  m.  in  1773,  the  'cellist 
Mara,  divorced  him  1799  ;  teacher. 

Mara,  La.     Vide  lipsius,  marie. 

Marais  (ma-re'),  (i)  Marin,  Paris, 
March  31,  1656— Aug.  15,  1728;  the 
greatest  viola-da-gambist  of  his  time  ; 
c.  symphonies,  etc.  (2)  Roland, 
son  of  above  ;  solo  gambist ;  pub. 
pes.  for  gamba. 

Mar'beck,  J.  (or  Merbecke),  1523— 
ca.  1 581;  Engl,  organist  and  com- 
poser. 


Marceau  (mar-so),  Jas.   Herbert,  b. 

Napierville,  Canada,  Oct.  31,  1859; 
studied  singing  with  Willard,  N.Y., 
and  with  de  I'adilla  and  Ch.  Doual- 
lier,  Paris;  teacher  Mansion  Sch., 
Wollaston,  Mass. 

Marcello  (mar-chel'-lo),  Benedetto, 
Venice,  Aug.  i,  1686 — Brescia,  July 
24,  1739  ;  noted  composer,  pupil  of 
Gasparini  and  Lotti ;  held  gov't  po- 
sitions ;  pub.  satires,  and  c.  50  psalms, 
etc. 

Marchand  (mar-shan),  Louis,  Lyons, 
1669— in  poverty,  Paris,  1732  ;  an 
org. -virtuoso  whose  fame  wilted  be- 
fore his  failure  to  meet  J.  S.  Bach  in 
a  duel  of  virtuosity. 

Mar'chant,  Arthur  Wm.,b.  London, 
Oct.  18,  1850;  organist  in  several 
English  churches ;  1880-82,  St. 
John's  Cath.,  Denver,  Col.;  since 
1895,  organist,  Dumfries,  Scotland  ; 
wrote  text-books ;  c.  Psalm  48,  with 
orch.;  "  J  Morjiing  Service"  and  an 
'"  Evoiing  Service,"  etc. 

Marchesi  (mar-ka-ze),  (i)  Luigi 
("  Marchesi'ni  "),  Milan,  1755 — In- 
zago,  Dec.  14,  1829  ;  soprano  mu- 
sico.  (2)  Salvatore,  Cavaliere  De 
Castrone  (da-kiis-tro'-ne)  (Mar- 
chese  Delia  Rajata),  b.  Paler- 
mo, Jan.  15,  1S22  ;  studied  mus. 
with  Raimondi,  Lamperti  and  Fon- 
tana  ;  exiled  after  the  Revolution  of 
1848,  and  debut  as  barytone,  N.  Y.; 
then  studied  with  Garcia,  London ; 
a  succ.  concert-singer ;  1852  m.  Ma- 
thilde  Graumann  (v.  infra),  and 
they  sang  together  in  opera,  later 
taught  together  at  Vienna  Cons., 
1865-69,  Cologne  Cons.;  1869-81, 
Vienna,  since  then  in  Paris  ;  pub.  a 
vocal  method,  translations,  etc.;  c. 
songs.  (3)  Mathilde  (nee  Grau- 
mann), b.  Frankfort-on-M.,  March 
26,  1S26 ;  famous  singing-teacher; 
pupil  of  Nicolai,  Vienna,  and  Garcia, 
Paris  ;  sang  in  concert ;  wife  of  above 
(q.  v.)  ;  pub.  a  vocal  method,  vocal- 
ises, and  autobiog.  ''Marchesi  and 
Music,"  enlarged  from  "'Ausmeinem 
Leben  "  (Dusseldorf,  1887  ?). 


6i8 


THE    MUSICAL    GUIDE 


Marchetti  (mar-ket'-tl),  Filippo,  Bo- 
lognola,  Italy,  Feb.  26,  1835 — Rome, 
Jan.  18,  1902 ;  pupil  of  Lillo  and 
Conti,  Royal  Cons. ,  Naples  ;  at  21 
prod.  succ.  opera,  "  Gentile  da  Vara- 
fio"  (Turin),  "  Za  jDemente"  (1857); 
singing-teacher,  Rome  ;  went  to  Mi- 
lan and  prod.  succ.  "  Giulietta  e 
Romeo"  {1865),  and  ''  Ruy-Blas" 
(La  Scala,  1869).  From  188 1,  dir. 
R.  Accad.  di  Santa  Cecilia,  Rome  ; 
prod.  3  other  operas,  symphonies, 
and  church-music. 

Marchet  tus  of  Padua  (Marchetto 
da  Padova),  lived  in  Cesena,  ca. 
1270 — ca.  1320 ;  learned  theorist. 
(Gerbert.) 

Marchi  (mar'-ke),  Emilio  de,  Cheva- 
lier (rightly  Peano),  b.  Voghera, 
Piedmont,  1866  ;  prominent  tenor  ; 
son  of  Italian  general  ;  entered  army 
and  served  with  distinction  in  Africa 
as  lieutenant,  then  studied  voice  with 
Landi,  Florence  ;  debut,  Milan, 
1866,  as  Alfredo  in  "  Zrt  Traviata  "/ 
sang  with  great  success  throughout 
Europe  ;  1S96-97  and  1901-02  in  the 
U.  S.  1900  created  "  Cavardossi  " 
in  Puccini's  "  La  Tosca." 

Marcolini  (-le'-ne).  Marietta  ;  Italian 
soprano,  1805-18  ;  created  Rossini 
roles. 

Marechal  (mar-a-shal),  H.  Chas.,  b. 
Paris,  Jan.  22,  1842  ;  pupil  of  Cons., 
1870,  won  Grand  prix  de  Rome  ; 
prod,  i-act  op. -com.  "'  Les  Aitiottreux 
de  Cathh-ine"  (Op.-Com.,  1876);  also 
3-act  op. -com.  "  Za  Traverne  des 
Ti-abans  "  (ibid.,  '81)  ;  "  De'idatnie  " 
(Or.  Opera,  '93) ;  "Calendar^  (Rouen, 
'94);  c.  sacred  drama  "  Le  Miracle 
de  A^aivi  "  ('91),  etc. 

Marek',  Louis,  Galicia,  1837 — Lem- 
berg  (?);  pianist,  pupil  of  Liszt. 

Marenco  (ma-ren'-ko),  Romualdo,  b. 
Novi  Ligure,  Italy,  March  i,  1841; 
violinist ;  then  2d  bassoon,  Doria  Th., 
Genoa,  where  he  prod,  a  ballet ; 
studied  opt.  with  Fenaroli  and  Mat- 
tel ;  1873,  dir.  of  ballet  at  La  Scala, 
Milan  ;  has  prod.  4  operas,  and  over 
20  ballets. 


Marenzio  (ma-ren'-tsl-6),  Luca,  Coc- 
caglio,  near  Brescia,  ca.  1550 — ("of 
love  disprized ")  Rome,  Aug.  22, 
1599  ;  famous  composer  of  madrigals, 
also  of  motets,  etc. 

Mares  (ma'-resh),  John  A.,  Chotebor, 
Bohemia,  1719 — St.  Petersburg,  1794; 
invented  the  Russian  "hunting-horn 
mus.,"  each  horn  sounding  one  tone. 

Maretzek  (ma-ret'-shek).  Max, 
Brunn,  Moravia,  June  28,  1S21 — 
Pleasant  Plains,  Staten  Island,  N.  Y., 
May  14,  1897;  well-known  impresa- 
rio ;  also  dram,  composer  and  teacher. 

Mariani  (ma-rl-a -ne),  Angelo,  Raven- 
na, Oct.  II,  1822 — Genoa,  June  13, 
1S73  ;  famous  conductor. 

Marimon  (ma-re-moh),  Marie,  b. 
Liege,  1839  ;  pupil  of  Duprez  ;  de- 
but, 1857;  soprano. 

Marin  (ma-rah),  M.  Martin  Mar- 
celle  de,  b.  Bayonne,  France,  Sept. 
8,  1769;  harpist  and  composer.  ' 

Marini  (ma-re'-ne),  (i)  Biagio,  Bres- j 
cia — Padua,  ca.  1660  ;  violinist  and  j 
composer.  (2)  Carlo  A.,  b.  Berga-j 
mo  ;   violinist  and  composer,  1696. 

Mario  (ma'-rl-6),  Giuseppe,  Conte  di ! 
Candia,  Cagliari,  Sardinia,  Oct.  17,  i 
1 8 10 — Rome,  Dec.  11,  1883;  trcA-' 
nent  tenor  ;  pupil  of  Bordogni  and 
Poncharde ;  debut,  Paris  Opera, . 
1838  ;  toured  Europe  and  America* 
with  greatest  success  ;  m.  Giulia  Grisi.  * 

Ma'rius,  clavecin-maker,  Paris,  lythj 
cent. 

Mark,  Paula,  b.  ca,  1870;  soprano;' 
pupil  Vienna  Cons.,  debut,  Leip-j 
zig,  1890  ;  in  1897  m.  the  physician, 
Neusser  (who  had  cured  her  of  a 
throat  trouble),  and  retired  from  the 
stage. 

Markull  (mar-kool'),  Fr.  Wm.,  Reich- 
enbach,  near  Elbing,  1816— Danzig. 
1887  ;  pianist,  critic  and  dram,  com 
poser. 

Markwort  (miirk'-vort),  Jn.  Chr. 
Riesling,  near  Brunswick,  1778— 
Bessungen,  1S66  ;  tenor  and  writer. 

Marmontel  (mar-mofi-tel).  Ant 
Fran.,  Clermont-Ferrand,  Puy-de 
Dome,  July  18,  1816— Paris,  Jan.  17 


: 


DICTIONARY  OF  MUSICIANS   619 


1S98  ;  pupil  Paris  Cons.,  1S4S  ;  pf. - 
teacher  there,  noted  for  famous  pu- 
pils ;  writer  of  historic  and  didactic 
treatises  ;   composer. 

Mar'ny,  Elsa  ;  contralto  ;  pupil  of 
Marchesi  ;  at  S  sang  in  concert,  later 
in  opera  ;  igoo  in  New  York. 
g,iJ.UVIarpurg  (mar'-poorkh),  (i)  Fr,  Wm,, 
Seehausen,  Altmark,  Oct.  i,  1718 — 
Berlin,  May  22,  1795  ;  important 
theorist ;  wrote  treatises  of  great  his- 
toric and  theoretic  value,  much  trans- 
lated. (2)  Fr.,  Paderborn,  1825 — 
Wiesbaden,  18S4  ;  great-grandson  of 
above ;  violinist,  pianist,  cond.  and 
dram,   composer. 

Marschner  (marsh'-ner),  (i)  H.  (Au- 
gust), Zittau,  Saxony,  Aug.  16,  1795 
(not  1796) — Hanover,  Dec.  14,  i86r; 
eminent  opera-composer  of  Weber's 
school  but  great  modernity,  and  re- 
markable brilliance  of  instrumenta- 
tion ;  studied  piano  from  age  of  6  ; 
sang  as  a  boy,  then  pupil  of  Bergt 
(org.);  studied  law  Leipzig  U.  1813, 
then  turned  to  mus.  entirely  ;  pupil 
of  Schicht ;  the  Graf  von  Amadee  be- 
came his  patron,  and  he  went  to  Vi- 
enna ;  later  taught  at  Pressburg  ;  c.  3 
operas,  the  last  prod.  1820  at  Dres- 
den by  C.  M.  von  Weber  ;  1823,  he 
became  co.-dir.  of  opera  there  with 
von  W.  and  Morlacchi  ;  1826,  cond. 
Leipzig  Th.  and  prod.  "  Z?t-r  Vai?i- 
/j'r"  (182S)  and  ''Dei-  Tetnpler  und 
die  Jiidin  /"  both  widely  succ.  and  still 
heard  ,  1B31-59,  ct.-cond.  Hanover, 
when  he  was  pensioned  ;  while  ct.  - 
cond.  he  prod.  ''Hans  Her  ling  "  (Ber- 
lin, i833),also  very  succ.  and  still  alive; 
he  prod.  8  other  operas  ;  c.  incidental 
music,  choruses,  etc.  (2)  Fz.,  b. 
Leitmeritz,  Bohemia,  March  26,  1855; 
pupil  Prague  Cons.,  and  Bruckner, 
Vienna ;  since  1886,  teacher  Female 
Teachers'  Seminary,  Vienna  ;  pub.  a 

j  treatise  on  piano-touch. 

Warsh,  J.,  Dorking,  1750 — 1828;  com- 

[  poser  and  violinist. 

/lar'shall,  V/m.,  Cxford,  1806  — 
Handsworth,  1875  ;  organist,  writer 
and  editor. 


Marsick  (mar-sTk),  Martin  P.  Jos.,  b. 

Jupille,  near  Liege,  Belgium,  March 
9,  1848  ;  prominent  violinist  ;  pupil 
of  Desire  Haynberg,  Liege  Cons. ;  at 
12  organist  of  the  cath.,  and  a  vocal- 
ist ;  pupil  of  Leonard,  Brussels 
Cons.,  later  of  Massenet  at  Paris 
Cons,  (taking  ist  vln.  prize)  ;  and  of 
Joachim  at  Berlin  ;  debut,  Paris, 
1873  ;  toured  Europe  and  (1895-96) 
U.  S.;  1892,  vln. -prof.,  Paris  Cons.; 
c.  3  vln. -concertos,  etc. 

Mar'ston,  George  W.,  Sandwich, 
Mass.,  U.  S.  A.,  1840— Feb.,  1901  ; 
studied  with  Tufts  at  Portland  ;  1. 
Boston  as  teacher  and  composer  of 
pop.  songs  and  pf.-pcs. 

Marteau  (mar-to),  H.,  b.  Rheims ; 
excellent  violinist  ;  pupil  Paris  Cons. ; 

1892,  took    1st   prize  ;  toured  U.S., 

1893,  1898  ;  Russia,  1899 ;  then 
compelled  to  spend  a  year  in  the 
French  army;  founded  "Marteau 
Prize  for  vln. -sonata  c.  by  a  na- 
tive-born American  "  ;  1900  toured 
America. 

Martelli,  E.     Vide  cottrau,  t. 

Martin  (mar-tan),  (i)  Jn.  Blais^, 
Paris,  1769 — 1837;  barytone.  (2) 
P.  Alex,  d.  Paris,  Dec,  1879  ;  org.- 
builder,  and  inv.  of  the  "percussion" 
action  in  the  harmonium.  (3)  (mar'- 
tln),  Jonathan,  1715 — London,  1737; 
organist  and  composer.  (4)  G.  Win., 
182S  — Wandsworth,  18S1  ;  Engl, 
composer,  editor  and  publisher.  (5) 
Sir  George  Clement,  b.  Lambourne, 
Berks,  Sept.  11,  1844;  organist  vari- 
ous churches  ;  teacher  in  R.  Coll.  of 
Mus.;  c.  anthems  ;  knighted,  Easter, 
1889. 

Martin  y  Solar  (mar-ten'-e-s6-lar'), 
Vicente,  Valencia,  Spain,  1754 — St. 
Petersburg,  May,  1810;  organist  at 
Alicante ;  prod,  operas  in  Italy  in 
succ.  rivalry  with  Cimarosa  and  Pai- 
siello  and  in  Vienna  with  Mozart;  his 
best  work  was  "  La  Cosa  Rara," 
1785  ;  17S8-1801,  dir.  Italian  Op.  at 
St.  Petersburg  ;  then  teacher  ;  c.  10 
operas,  ballets,  etc. 


620 


THE    MUSICAL    GUIDE 


Martines  (mar-te'-nes)  (or  Martinez) 
(mar-te'-neth),  Mariannedi.  Vienna, 
1744 — 1S12;  singer,  pianist  and  com- 
poser. 

Martini  (mar-te'-ne),  (i)  Giambat- 
tista  (or  Giov.  Bat.)  (known  as 
Padre  M.),  Bologna,  April  25,  1706 
— Aug.  3,  17S4;  son  and  pupil  of  a 
%-iolinist  ((2)  Antonio  Maria  M.),  he 
studied  with  Predieri  and  Riccieri 
Zanotti  and  Perti  ;  took  orders  1729; 
cond.  from  1725  at  church  of  San 
Francisco,  Bologna  ;  as  a  composer 
of  church-mus.,  a  theorist  and  teacher 
he  won  European  fame  ;  he  also  pub. 
a  history  of  ancient  mus.,  and  trea- 
tises. (3)  (rightly  Schwarzendorf) 
(shvarts'-en-dorf),' Jean  Paul  Egide, 
Freistadt,  Palatinate,  1741 — Paris, 
i8r6;  dram,  composer. 

Martucci  (mar-toot'-che),  Gius.,  b. 
Capua,  Jan.  6,  1856  ;  son  and  pupil 
of  a  trumpet-player  ;  debut  as  pianist 
Naples,  1S67  ;  studied  at  the  Cons.; 
1874,  prof-  there ;  cond.  the  orch. 
and  concerts  estab.  by  Prince  d'Ar- 
dore,  and  dir.  of  the  Societa  del  Quar- 
tette ;  from  1875,  toured  with  succ. 
as  pianist  ;  1SS6-1902,  dir.  Bologna 
Cons.;  1902,  Naples;  c.  symph.,  pf.- 
concerto,  etc. 

Marty  (mar-te),  G.  Eugene,  b.  Paris, 
May  16,  i860;  studied  at  the  Cons. 
1882  ;  won  the  Grand  Pri.\  de  Rome 
with  cantata  ''Edith";  since  1894, 
prof,  for  ensemble  singing  there  ; 
1895-96,  chorusm.  and  cond.  of  the 
Concerts  de  I'Opcra  ;  1901,  dir.  con- 
certs of  the  Cons.  ;  c.  several  suites 
for  orch.,  pantomime,  "  Le  Due  de 
Ferrare"  3-act   opera  (1896),  etc. 

Marx  (marx),  Ad.  Bd.,  Halle,  May 
15'  1799 — Berlin,  May  17,  1866; 
eminent  theorist  ;  founded  with 
Schlesinger,  "  Berliner  allgemeine 
musikalische  Zeituug"  ;  editor,  prof, 
and  mus. -dir.,  1832  ;  c.  opera  ; 
wrote  V.  succ.  and  important  treatises. 

Marxsen  (marx'-zen),  Eduard,  Nien- 
stadten,  near   Altona,    1S06 — Altona, 
1SS7  (8?) ;  organist  and  teacher. 
Marzials    (mar  tsT-als'),    Theodor,  b. 


Brussels,  Dec.  21,  1850  ;  pupil  of  M. 
L.    Lawson,    London  ;  studied    later 
in  Paris  and  Milan  ;  since  1S70,  supt.  \ 
mus.-dept.    British     Museum  ;    bary- 
tone and  composer  of  pop.  songs. 

Marzo  (miir'-tso),  Ed.,  b.  Naples  ;  pu-  ; 
pil  of  Nacciarone,  Miceli  and  Pappa-  ' 
lardo  ;     1S67,    New    York,    as    boy- 
pianist  ;  became    opera  and  concert-  . 
cond.,  and    accompanist    to  Carlotta  ; 
Patti,  Sarasate,  etc.;  organist  at    St.  ' 
Agnes'    Church,  N.  Y.;  later   at   All, 
Saints  ;    1884,  knighted  by  the   King 
of    Italy  ;    1S92,    member   of  the    R. 
Acad,    of    S.    Cecilia  ;  1.  N.   Y.  and 
teaches   singing  ;    pub.  6    masses   (3 
with  orch.),  etc. 

Mascagni    (mas-kan'-ye),    Pietro,   b.  , 
Leghorn,    Dec.   7,    1863.     Son   of  a; 
baker  who  wished  him  to  study  law ;  • 
he  secretly  studied  the  piano,  later  at  • 
Soffredini's    Mus.-Sch.;    studied    pf., 
harm.,   cpt.,    and  comp.;  his  father, 
finding  him  out,    locked  him  in   the . 
house,    whence    he    was    rescued    atj 
14   by   an    uncle  ;    upon   the   uncle's 
death   he   was   befriended   by   Count  i 
Florestan,  while  studying  with  Pon-| 
chielli  and  Saladino,  at    Milan  Cons,  j 
He  was  cond.  of  various  small  troupes, , 
finally  cond.  of  the  mus.-soc.  at  Cerig- 
nola  ;  he  won  the  prize  ofTered  by  the  | 
mus. -pub.     Sonzogno,     for    a    i-actj 
opera,  with  "  Cavalleria  RtisHcana,"  \ 
which  had   a  sensational  succ.  (Cos-' 
tanzi  Th.,  Rome,  1890)  and  has  been 
universally  performed  ;  while  fiercely 
assailed  by  the  critics  it  has  produced: 
a  school   of  short  operas   showing  a^ 
tendency    to    excessive    realism   and 
strenuousness,  yet    offering   a  much-' 
needed  relief  from  the  eternal  classic, 
mythologic  or  costume-play  plots  and 
bringing  serious  opera  as  close  home 
to    real    life    as  comic   opera ;   1895, 
dir.  of    the     Rossini    Cons,    at    Pe-' 
saro.     M.'s   later    operas    have    not^ 
fared  so  well  as  his  "  Cavalleria  Rus- 
ticana";    they    include:    '' LAmicc\ 
Fritz"    (Rome    and    Berlin,     1891), 
''I Rantzau"  (Florence,  1892).  fairlj 
succ.  •   "  Gui^liehno  Rat  cliff"  (Milan, 


i- 


DICTIONARY  OF  MUSICIANS   621 


La  Scala,  1895),  "■' Silvano"  (ibid., 
1S95)  ;  i-act  "  bozzetto  "  "  Zanetto" 
(Pesaro,  1896)  ;  and  the  fairly  succ. 
''Iris"  (Rome,  189S  ;  revised  La 
Scala,  Milan,  1899);  "  Le  Maschere"' 
simultaneously  prod,  without  succ. 
in  6  cities  in  Italy,  Jan.,  1901,  thus 
killing  six  opportunities  with  one 
stone  ;  he  c.  also  (previously  to  Cav. 
Rust.)  2-act  opera  " //  Filanda" 
and  Schiller's  "  Hymn  to  Joy  " ;  also 
a  "  Hvinn  in  Honor  of  Admiral 
Dewcy]  U.  S.  .V."  (July,  1S99),  etc. 
1902,  toured  America  with  his  own 
opera-troupe. 

Maschek  (ma-shak'),  (i)  Vincenz, 
Zwikovecz,  Bohemia,  1755 — Prague, 
1831  ;  pf.  and  harmonica-virtuoso  ; 
organist  and  dram,  composer.  (2) 
Paul,  1761 — Vienna,  1826  ;  bro.  of 
above  ;  pianist. 

Masetti  (ma-set'-te),  Umberto,  b. 
Bologna,  Feb,  18,  1869  ;  studied  at 
the  Cons.,  and  since  1895  prof,  of 
singing  there  ;  member  of  the  R. 
Phil.  Acad.;  c.  the  succ.  "  J^indice" 
(Bologna,  1S91)  ;  a  requiem  with 
orch.,  etc. 

Masini  (ma-se'-ne),  Fran.,  Florence, 
1804  —  in  e.Ktreme  poverty,  Paris, 
1S63  ;  c.  songs. 

Mason,  (i)  Rev.  Wm.,  Hull,  Engl., 
1725 — Aston,  1797  ;  writer  and  com- 
poser. (2)  Lowell,  Boston,  Mass., 
Jan.  24,  1792 — Orange,  N.  J.,  Aug. 
II,  1872  ;  pioneer  in  American  comp. 
and  teaching  ;  c.  v.  succ.  and  remu- 
nerative colls.,  principally  of  sacred 
music.  (3)  Wm.,  Boston,  Mass.,  Jan. 
24,  1829;  prominent  American  teacher 
and  technician;  son  of  above;  studied 
with  Henry  Schmidt  (pf.)  in  Boston  ; 
at  17,  debut  as  pianist  there  ;  1S49, 
studied  with  Moscheles,  Hauptmann 
and  Richter,  at  Leipzig ;  with  Drey- 
schock  at  Prague;  and  Liszt,  at  Wei- 
mar ;  he  played  in  Weimar  Prague, 
and  Frankfort,  London,  and  1854-55 
in  American  cities;  since  1855  lives 
in  New  York  as  teacher  ;  1872,  Mus. 
Doc.  h.  c,  Yale  ;  pub.  the  important 
and    influential   "  Touch    and    Tech- 


ttic,  a  Method  for  Artistic  Piano- 
playing'";  '"A  Method  for  the  Pf." 
with  E.  S.  Hoadley  (1867);  ''Sys- 
tem for  Beginners"  (1871)  ;  "Ma- 
son's Pf. -Technics"  (1878);  and 
"  Memoirs'"  (New  York,  1901);  c.  a 
serenata  for  'cello  and  many  pf.-pcs. 
in  classical  form.  (4)  Luther  Whit- 
ing, Turner,  Maine,  1828 — Bucklield, 
Maine,  1896  ;  devised  the  v.  succ. 
"National  System"  of  mus. -charts 
and  books ;  wrote  "  Die  neue  Ge- 
sangschule." 

Massa  (mas'-sii),  Nicolo,  Calice,  Li- 
gure,  Italy,  1854 — Genoa,  1S94 ;  c. 
operas. 

Massaini  (mas-sa-e'-ne),  Tiburzio,  b. 
Cremona,  i6th  cent.  ;  Augustine 
monk  ;  cond.  and  composer. 

Massart  (mas-sar),  (i)  Lambert  Jos., 
Liege,  July  19,  18 11 — Paris,  Feb.  13. 
1892  ;  violinist  and  prof.  Paris  Cons. 
(2)  Louise  Aglae  (nee  Masson), 
Paris,  1827 — 1887;  wife  of  above; 
pianist  and,  1875,  teacher  at  the 
Cons. 

Mass6  (mas-sa),  Felix  M.  (called 
Victor),  Lorient,  Mar.  7,  1822 — Paris, 
July  5,  1884  ;  pupil  Paris  Cons.  ;  won 
Grand  prix  de  Rome,  prof,  of  cpt. 
there  1872  ;  c.  18  operas,  13  prod., 
incl.  the  still  succ.  "  Les  noces  de 
Jeannette  "  (Op.  Com.  1853).    , 

Massenet  (mas-na),  Jules  /Emile 
Fr.),  b.  Montreaux,  near  St.  Etienne, 
France,  May  12,  1842  ;  eminent 
French  opera  -  composer  ;  pupil  of 
Laurent  (pf.),  Reber  (harm.),  Savard 
and  Ambr.  Thomas  (comp.)  at  the 
Cons. ;  took  first  prizes  for  piano  and 
fugue  ;  1863,  the  Grand  prix  de  Rome 
with  cantata  "  David  Rizzio  ";  1878- 
96  prof,  of  comp.  at  the  Cons.  ; 
1878,  member  of  the  Academie,  Com- 
mander of  the  Legion  of  Honour.  C. 
operas,  almost  all  of  them  succ.  and 
constantly  in  the  repertory  of  the 
Paris  Opera  and  Op.  Com.,  i-act 
comic  opera  "La  Grand  Tanta" 
(1867);  the  operas,  "Don  Ce'sar  de 
Bazan  "  (1872)  \"  Le  Roi  de  Lahore  " 
(1877);   "  HJroiade"  (1884);  "  Ma- 


622 


THE  MUSICAL  GUIDE 


non  Lcscant "  (one  of  the  greatest 
successes  in  the  history  of  the  Op.- 
Com.),  ''  LeCid"  (1885);  fairy-opera 
(1889)  '■'■  Esclarmonde" ;  "  Le  Magt'" 
(1891);  "  IVeri/ier"  (1892);  lyric 
comedy,  "T/iais"  (1894);  i-actcom.- 
op.  "  Le  Portrait  cie  Manon  "  (1894); 
lyric  episode,  "  La  N^avarraise" 
(London,  1894  ;  Paris,  1895)  ;  "  Sa- 
Pho''  (Op. -Com.,  1897);  '' Ccndril- 
lon"  (Op. -Com.,  1899);  also  4-act 
drama  '"  Marie-Magdekine"  (Odcon 
Th.,  1873);  "-£"z'i?,"  a  mystery,  1875; 
oratorio,  "  Za  Vierge"  1880;  conte 
lyrique  "  Griseldis"  (Op.  -  Com., 
1901)  ;  opera,  "  Le  Jongleur  de 
Ndtre-Dame  "  (Monte  Carlo,  1902)  ; 
orch.  suites;  overtures  incl.  '' P/ie- 
dre"  ,•  pf.-pcs.,  songs,  etc. 

Massol  (mas-sol),  J.  Etienne  A. 
Lod^ve,  Ilerault,  1802 — Paris,  1887; 
tenor. 

Mas'son,  Elizabeth,  1806  —  1865  ; 
English  mezzo-soprano  ;  teacher,  and 
composer. 

Masutto  (ma-soot'-t5),  (i)  Giov.,  Tre- 
viso,  1830 — Venice,  1894  ;  critic,  and 
writer.  (2)  Renzo,  b.  Treviso,  April 
25,  1858  ;  son  of  above  ;  bandm. 
27th  Italian  Infantry  regiment  ;  con- 
cert-pianist, violinist  and  dram,  com- 
poser. 

Maszkowsky  (mash-kof'-shkt),  Ra- 
phael, b.  Lemberg,  1838  ;  pupil  of 
the  Vienna  and  Leipzig  Cons.  ;  1885, 
cond.  at  Schaffhausen  ;  1889,  mus.- 
dir.  Coblenz  ;  1890  cond.  of  Orch. 
Soc.  Breslau. 

Materna  (ma-t^r'-na),  Amalie,  b.  St. 
Georgen,  Styria,  July  10,  1847;  noted 
soprano;  daughter  of  a  sch.-master  ; 
sang  in  church  and  concert  at  Graz  ; 
debut  1865  in  opera  as  soubrette  ;  m. 
an  actor,  K.  Friedrich,  and  sang  with 
him  in  operetta  at  the  Carl  Th.,  Vien- 
na ;  1869-96  prima  donna,  Vienna, 
ct. -opera  ;  toured  America  later  ;  she 
created  "  Briinnhilde,"  at  Bayreuth, 
1876,  and  "Kundry"  in  ''Parsi- 
fal," 1882. 

Math'er,  (i)  Wm  ,  1756— 1808  ;  or- 
ganist St.  Paul's,  London.    (2)  Sam- 


uel, 1783 — 1824;  organist  and  com- 
poser. 
Mathews,  Wm.   Smyth   Babcock, 

b.  New  London,  N.  H.,  May  8,  1837; 
prominent  teacher  and  writer  ;  studied 
at  New  London  ;  later  at  Lowell  and 
Boston  ;  1860-63,  pf. -teacher  Macon, 
Ga.;  1867-93, organist  Chicago;  1868- 
72,  ed.  ''Musical  Lndt-poident ;" 
1878-86,  critic  of  Chicago  "  Times,'' 
' '  Alorniiig  A^e'ws,"  and  ' '  Tribune  ;  " 
1891,  founded  and  since  ed.  the  mag- 
azine ' '  Music  ;  "  pub.  many  books  of 
educational  value. 

Mathias  (ma-te'-as),  Georges  (Am6- 
d6e  St.  Clair),  b.  Paris,  Oct.  14, 
1826 ;  pupil  of  Kalkbrenner  and 
Chopin  (pf.) and  of  Paris  Cons.;  1862, 
pianist  and  prof,  there ;  c.  symph., 
overtures,  etc. 

Mathieu  (mat-yu),  (i)  Adolphe  Chas. 
Ghislain,  b.  Mons,  Belgium,  June 
22,  1S40;  custodian  of  MSS., ^Brus- 
sels Library  ;  writer.  (2)  Emile 
(Louis  v.),  b.  of  Belgian  parents, 
I.ille,  France,  Oct.  18,  1844  ;  studied 
Louvain  Mus.  Sch.  and  Brussels 
Cons.;  won  ist  harm,  prize,  and  ist 
pf.  prize,  1869,  and  187 1,  won  2nd 
Grand  prix  de  Rome  ;  1867-73,  prof. 
pf.  and  harm.,  Louvain  Mus.  Sch.; 
1881-98,  dir.  Louvain  Mus.-Sch.;  , 
since    1898,  dir.   R.  Cons,  at  Ghent; 

c.  7  operas,  mostly  comic,  a  ballet,  4 
cantatas  and  2  children's  cantatas,  3 
(text  and  music)  ' '  Poenws  lyriques  et 
synnphoniques,"  3  symph.  poems,  etc. 

Mattei  (mat-ta'-e),  (i)  Abbate  Stan-  ' 
islao,  Bologna,  1750 — 1825  ;  profes- 
sor, conductor  and  writer.  (2)  Tito, 
b.  Campobasso,  near  Naples,  May 
24,  1841;  pianist  to  the  King  of  Italy; 
pupil  at  ir  and  later  "  Professore," 
Accad.  di  Santa  Cecilia,  Rome;  re- 
ceived a  gold  medal  from  Pius  IX. ; 
toured  Europe  ;  1865,  cond.  at  H. 
M.'s  Th.,  London  ;  c.  3  operas  incl. 
''Maria,  di  Gaud''  (H.  M's . 
Th.,    i38o)  ;  ballet,  pop.    songs,  etc. 

Matteis  (mat-ta'-es),  (i)  Nicola,  Ital- 
ian violinist,  1672,  London.  (2)  Ni- 
cola, d.  1749,  son  of  above;  teacher.) 


DICTIONARY  OF  MUSICIANS  623 


Matthai  (mat-ta'-e),  H.  Aug.,  Dres- 
den, 1 78 1 — Leipzig,  1S35  ;  violinist 
and  composer. 

Mat(t)heson  (mat'-te-z5n),  Jn.,  Ham- 
burg, Sept.  28,  i68r — April  17,  1764; 
an  "admirable  Crichton  "  of  music  ; 
a  singer,  composer  and  player  on  the 
org.  and  harps. ;  operatic  tenor  ;  im- 
portant in  the  development  of  the 
church  cantata  afterward  advanced 
by  Bach;  the  first  to  introduce  women 
into  church-service ;  pub.  valuable 
and  controversial  and  progressive 
treatises. 

Matthias  (or  Mattheus),  Le  Mai- 
tre.     Vide  le  maistre. 

Matthieux,  Jna.     Vide  kinkel. 

Matthison-Hansen  (mat'-ti-zon-hiin'- 
zen),  (i)  Hans,  Flensburg,  Den- 
mark, 1S07 — Roeskilde,  i8go;  organ- 
ist and  composer.  (2)  Godfred,  b. 
Roeskilde,  Nov.  30,  1S32  ;  son  of 
above  ;  1859,  organist  German  Frie- 
drichskirche,  Copenhagen  ;  1862, 
won  the  Ancker  scholarship,  and 
studied  at  Leipzig  ;  1867,  organist  at 
St.  John's  and  organ-teacher  Copen- 
hagen Cons.;  from  1877,  asst. -organ- 
ist to  his  father ;  later  organist  of 
Trinity  Ch.;  c.  vln.  sonata,  'cello 
sonata,  etc. 

Mattiolo  (mat-ti-6'-lo),  Lino,  b.  Par- 
ma, Italy,  1S53  ;  graduated  from  the 
Cons,  with  high  honours  ;  'cellist  and 
singing-teacher  at  Cincinnati,  U.  S. 
A.;  c.  songs. 

i^aurel  (m6-rel),  Victor,  b.  Mar- 
seilles, June  17,  1S48  ;  eminent  bary- 
tone ;  studied  Marseilles  and  with 
Vauthrot  at  the  Paris  Cons.,  gaining 
1st  prizes  in  singing  and  opera  ;  de- 
but, 1S69  (?),  at  the  Gr.  Opera  as  "  de 
Nevers"  in  "  Lcs  Huguenots" ;  1870, 
sang  at  La  Scala,  Milan,  then  in 
New  York,  Egypt,  Russia  with  Patti, 
London,  etc.;  1883,  co-director  Th. 
Italien,  Paris,  without  succ;  has  sung 
in  all  the  capitals  as  the  supreme  dra- 
matic artist  of  his  operatic  generation ; 
his  splendid  impersonation  and  vocal 
art  carrying  conviction  after  his  voice 
lost  its  youth;    he   created    "lago" 


in  Verdi's  "  Otello,"  1887,  and  has 
stamped  "  Don  Giovanni"  and  other 
roles  with  his  own  personality  as  a 
criterion.  ' 

Maurer  (mow'-rer),  L.  Wm.,  Pots- 
dam, Feb.  8,  1789 — St.  Petersburg, 
Oct.  25,  1S78  ;  distinguished  violinist 
and  dram,  composer. 

Maurin  (mo-rah),  Jean  Pierre,  Avi- 
gnon, 1822 — Paris,  1894;  violinist 
and  teacher. 

May,  (i)  Edw.  Collett,  Greenwich, 
i3o6 — London,  1887;  vocal  teacher 
and  writer.  (2)  Florence,  pianist, 
London  ;  daughter  of  above. 

May'brick,  Michael  (pseud.  Ste- 
phen Adams),  b.  Liverpool,  1844  ; 
opera  and  concert  barytone  ;  pupil  of 
Best  (org.)  and  of  Leipzig  Cons.; 
vocal  pupil  of  Nava,  Milan  ;  1884, 
toured  the  U.  S.  and  Canada  ;  c. 
popular  songs,  including  ""Nancy 
Lee." 

Mayer  (mi'-er),  (i)  Chas.,  Konigsberg, 
1799 — Dresden,  1862  ;  pianist  and 
composer.  (2)  Emilie,  b.  Fried- 
land,  Mecklenburg,  May  14,  1821; 
pupil  of  Lowe,  Marx  and  Wieprecht; 
lives  in  Berlin  ;  c.  7  symphonies,  12 
overtures,  an  operetta,  '"Die  Fisch- 
er! n"  etc.  (3)  Wm.  (pseud.  W. 
A.  Remy),  Prague,  1831— Graz, 
1S98  ;  excellent  teacher  of  cpt.  and 
comp. ;  composer.  (4)  Vide  mayer. 
(5)  Karl,  b.  Sondershausen,  March 
22,  1852  ;  concert  barytone  ;  pupil  of 
Gotze  ;  lives  in  Schwerin. 

Mayerhoff  (mi'-er-hof),  Fz.,  b.  Chem- 
nitz, Jan.  17,  1864 ;  pupil  Leipzig 
Cons. ;  theatre-cond.  various  cities  ; 
from  1885,  Chemnitz ;  1888,  cantor 
Petrikirche,  and  cond.  Mus.  Soc;  c. 
sacred  choruses,  etc. 

Mayerl  (or  Maierl)  (ml'-erl),  Anton 
von,  Botzen  (?)— Innsbruck,  1839; 
pupil  of  Ladurner  and  Ett  ;  c.  a  Sta- 
bat  Mater,  etc. 

Maylath  (mi'-lat),  H.,  b.  Vienna,  Dec. 
4,  1S33  ;  pupil  of  his  father  (pf.); 
toured,  1865  ;  lived  in  Russia  till 
1867  ;  then  New  York  ;  teacher  and 
composer. 


624 


THE    MUSICAL    GUIDE 


May'nard,     Walter.      Vide    beale, 

IH.   W. 

Mayr  (or  Mayer)  (mir),  (Jn.)  Simon, 
Mandorf,  Bavaria,  June  14,  1763 — ■ 
blind,  Bergamo,  Dec.  2,  1S45  ;  fa- 
mous teacher  and  dram,  composer ; 
pupil  of  Lenzi  and  Bertoni ;  lived  in 
\'enice  as  church-composer ;  1794 
prod.  V.  succ.  opera  '' Saffo"  followed 
by  70  more  ;  1802,  cond.  Santa  Maria 
Alaggiore,  Bergamo,  and  1805,  dir. 
Mus.  Inst.;  wrote  a  life  of  Haydn, 
treatises  and  verse  ;  he  is  said  to  have 
been  the  first  to  use  the  orchestral 
crescendo  in  Italy  ;  biogr.  by  Albor- 
ghetti  and  Galli  (Bergamo,  1S75). 

Mayrberger  (mir'-berkh-er),  K.,  Vien- 
na, 1S28 — Pressburg,  1S81  ;  conduct- 
or and  dram,  composer. 

Mayseder  (mi'-za-der),  Jos.,  Vienna, 
Oct.  26,  1789 — Nov.  21,  1S63  ;  emi- 
nent violinist,  teacher  and  composer  ; 
2nd  vln.  of  famous  "  Schuppanzigh 
Quartet." 

Mazas  (mS-zas),  Jacques  F6r6oI, 
Beziers,  France,  1782 — 1849  !  violin- 
ist, writer  and  dram,  composer. 

Mazzinghi  (mad-zen'-gl),  Jos.,  of 
noble  Corsican  family,  London,  1765 
— Bath,  1844  ;  organist,  teacher  and 
dram,  composer. 

Mazzocchi  (mad-z6k'-kT),  Dom., 
Civita  Castellana,  Rome,  ca.  1590 — - 
ca.  1650 ;  composer. 

Mazzucato  (mad-zoo-kat'-to),  Alber- 
to, Udine,  1813 — Milan,  1877  '<  vio- 
linist, teacher,  editor  and  composer. 

Mead,  Olive,  b.  Cambridge,  Mass., 
Nov.  22,  1874 ;  concert-violinist ; 
pupil  of  J.  Eichberg  and  Fr.  Knei- 
sel. 

Mear(e)s,  Richard,  d.  London,  ca. 
1743  ;  son  and  successor  of  instru- 
ment-maker and  publisher. 

Mederitsch  (ma -de-rltsh),  Jn.  (called 
Gallus),  b.  Nimburg,  Bohemia,  ca. 
1765 — after  1830,  Lemberg  ;  pianist 
and  composer. 

Meerens  (ma-rans),  Chas.,  b.  Bruges, 
Dec.  16,  1831  ;  'cellist  and  acousti- 
cian. 

Meerts  (marts),  Lambert  (Jos.),  Brus- 


sels, 1800 — 1S63  ;  violinist,  professor 
and  composer. 

Mees  (maz),  Arthur,  b.  Columbus, 
Ohio,  Feb.  13,  1850  ;  pupil  of  Th. 
Kullak  (pf.),  Weitzm  mn  (theory),  and 
H.  Dorn  (cond.),  Berlin;  cond.  Cin- 
cinnati May  Festival  Chorus  ;  asst.- 
cond.  various  societies  in  New  York, 
Albany,  etc.;  i8g6,  asst.-cond.  Thom- 
as Orch.,  Chicago  ;  since  1901,  cond. 
Mendelssohn  Glee  Club,  New  York  ; 
writes  analytical  programmes,  and  c. 
pf. -studies  ;  pub.  "  Choirs  and  Cho- 
ral Music,'"  igoi. 

Mehlig  (ma-likh),  Anna,  b.  Stuttgart, 
June  II,  1843;  pianist,  pupil  of  Le- 
bert  and  Liszt ;  m.  Antwerp  mer- 
chant Falk. 

Mehrkens  (mar'-kens),  Fr.  Ad.,  b. 
Neuenkirchen,  near  Otterndorf-on- 
Elbe,  April  22,  1840  ;  pupil,  Leipzig 
Cons.;  lives  in  Hamburg  as  pianist, 
teacher  and  conductor ;  from  1871, 
cond.  of  the  Bach-Gesellschaft  ;  c.  a 
symph.,  a  Te  Deum,  etc. 

M^hul     (ma-ul),    Etienne     Nicolas, 
(Henri),    CHvet,   Ardennes,  June  22, 
1763 — of    consumption,    Paris,    Oct.j 
18,  1817;  one  of  the  great  masters  of 
French    opera,  a    student    of    orch. 
effects,  and   a  special    master  of  the 
overture  ;  son  of  a  cook  ;  pupil  of  an 
old    blind    organist  ;     at    10,  studied 
with  Wm.  Hauser;  at   14,  his  asst.  ,i 
1778,    taught   in    Paris   and    studied' 
with     Edelmann    (pf.     and    comp.)  j 
Gluck's  advice  and  assistance  turnecl 
him    to   dram.   comp. ,  after   a   succ 
cantata  with  orch.  (17S2).     He  c.  ;' 
operas,  never  prod.,  and   now  lost,  r 
4th  was  accepted  but  not  performec 
until  after  the  succ.  of  the  op. -com 
''  Enphrosyue  et  Coradin"  (Th.  Ita 
lien,  1790)  ;   15  other  operas  followet 
with  general  succ.  incl.  '' Straionice 
(1792),  "  Le  Coiigres  des  Rois  "  (1793 
with  II  collaborators;  1705,  inspect 
or  of  the  new  Cons.,    and  a  membc 
of  the  Academic;    1797,  ''''  Le  Jeun 
Llenri "  was  hissed   off   f.s    irreverer' 
toward    Henri   IV.,  though  the  fin 
overture  had  been  demanded  thre 


DICTIONARY  OF  MUSICIANS    625 


times;  the  opera  buffa  ''  L'irafo,  on 
Vemportt!"  (iSot)  made  great  succ. 
and  lightened  the  quality  of  later  op- 
eras ;  his  best  work  was  ^'Joseph  " 
(1807)  ;  for  four  years  he  wrote  only 
ballets  ;  he  left  6  unprod.  operas  incl. 
"  VaL-ntinc  dc  Milan  "  completed  by 
Daussoigne-Mehul,  and  prod.  1822  ; 
he  c.  also  inferior  symphs.  and  pf.- 
sonatas,  and  very  pop.  choruses 
^' Chant  du  depart,'"  "C.  de  victoire'' 
"  Chant  dc  rctoiir,"'  etc.  Biogr.  by 
Vieillard,  1859,  and  A.  Pougin, 
18S9. 

Meibom  (mi  -bom)  (or  Meibomius), 
Marcus,  Tonning,  Schleswig,  1626 
(?) — Utrecht,  1711;  theorist  and  col- 
lector ;  his  great  work  is  a  valuable 
historical  coll.  of  old  composers. 

Meifred  (me-fra),  Jos.  J.  P.  Emile, 
Colmars,  Basses-Alps,  1791 — Paris, 
1867  ;  horn-virtuoso,  professor  and 
writer. 

Meiland  (ml'-lant),  Jakob,  Senften- 
berg.  Upper  Lusatia,  1542 — Celle, 
1577  ;   important  contrapuntist. 

Meinardus  (ml-nar'-doos),  L.  Sieg- 
fried, Hooksiel,  Oldenburg,  1827— 
Bielefeld,  1896  ;  writer  and  dram, 
composer. 

Meiners  (mi'-ners),  Giov.  Bat.,  Milan, 
1826 — Cortenova,  Como,  1897  ;  con- 
ductor and  dram,  composer. 

Meissen  (mls'-sen),  H.  von  (called 
Frauenlob,  "woman-praise");  14th 
cent.  German  singer,  poet,  and  re- 
puted founder  of  the  Meistersinger 
(v.  D.  D.)at  Mainz,  1311. 

Meister  (mi'-shter),  K.  Severin,  Ko- 
nigstein  (Taunus),  1S18 — Montabaur, 
(Westervvald),  1881  ;  teacher  and 
mus.  director. 

Mel  (mel),  Rinaldo  del,  Flemish 
musician,  i6th  cent. 

Mela  (ma -la),  (i)  del  M.  Vide  del 
MKLA.  (2)  Vincenzo,  Verona,  182 1 
— Cologna,  Vaneta,  1897  ;  dram, 
composer. 

Melani  (ma-la' -ne),  Amelia,  b.  Pistoia, 
1876  ;     soprano  ;     pupil   of    Galetti  ; 
debut,  Florence,  i896(?);    has    sung 
elsewhere  with  success. 
40 


Melba  (mel'-bii),  Nellie  (rightly  Mit- 
chell, "  Melba"  being  a  stage-name 
from  her  birthplace),  b.  Melbourne, 
Australia,  1865  ;  one  of  the  chief 
colorature-sopranos  of  her  time,  with 
a  voice  of  great  range,  purity  and 
flexibility  ;  pupil  of  Mme.  Marchesi  ; 
debut  Th.  de  la  Monnaie,  Brussels, 
18S7,  as  "Gilda"  in  ""  Rigoletto" ; 
has  sung  in  Europe  and  America  with 
greatest  succ.  in  both  opera  and  con- 
cert. 

Melcer  (mel'-tser),  H.  von,  b.  Warsaw, 
Oct.  25,  1869;  pianist  and  composer  ; 
1895  won  Rubinstein  prize  with  Con- 
certstiick  for  pf.  and  orch. 

Melchior  (mel-kr-or),  Edw.  A.,  b. 
Rotterdam,  Nov.  6,  1S60 ;  teacher 
and  le.\icographer. 

Melchiori  (mel-kl-6'-re),  Ant.,  Parma, 
1827  —  Milan,  1897;  violinist  and 
composer. 

Melgunow  (mel'-goo-nof), Julius  von, 
b.  Kostroma,  Russia,  1846  ;  pupil  of 
Henselt  and  the  Rubinsteins ;  also 
of  Moscow  Cons,  and  R.  Westphal, 
whose  system  he  adapted  to  Bach's  ; 
pub.  a  coll.  of  folk-songs. 

Mell,  Davis,  English  violinist  and 
composer,  1657. 

Melone.     Vide  bottrigari. 

Meluzzi  (ma-lood'-ze),  Salvatore, 
Rome,  July  22,  1813 — April  17,  1897; 
eminent  organist,  composer  and  con- 
ductor. 

Membr^e  (man-bra),  Edmond,  Valen- 
ciennes, 1820 — Chateau  Damont,  near 
Paris,  18S2  ;  dram,  comooser. 

Mendel  (men'-del),  Hn.,  "Hatte,  1834 
— Berlin,  1876  ;  writer  and  lexicogra- 
pher. 

Mendelssohn,  (i)  (Jakob  Ludwig) 
Felix  (rightly  Mendelssohn-Bar- 
tholdy)  (men'-d'l-zon-bar-t6r-de), 
Hamburg,  Feb.  3,  1809 — Leipzig, 
Nov.  4,  1847  ;  eminent  composer  of 
remarkably  early  maturity.  Great- 
grandson  of  a  Jewish  sch. -master, 
Mendel,  who  adopted  Christianity 
and  had  his  children  reared  in  the 
Christian  faith  ;  grandson  of  the 
prominent  philosopher  Moses  ;  son  of 


626 


THE    MUSICAL    GUIDE 


the  banker  Abraham  M.  Pf. -pupil 
of  his  mother,  Lea  Salomon-Bar- 
tholdy,  as  was  also  his  elder  sister 
Fanny  (v.  hensel).  The  family-life 
of  the  Mendelssohns  is  almost  unique 
in  history  for  its  happiness  and  mutual 
devotion.  M.  studied  also  with  L. 
Berger,  Zelter  (theory),  Hennings 
(vln.)  and  Alme.  Bigot  (pf.)-  At  lo 
he  entered  the  Singakademie,  as  an 
alto  ;  the  same  year  his  setting  of  the 
19th  Psalm  was  performed  by  the 
Akademie.  Every  Sunday  a  small 
orch.  performed  at  his  father's  house, 
and  his  comps.  were  heard  here  early 
and  often ;  he  usually  cond.  these 
concerts  even  as  a  child.  1S25  his 
father  took  him  to  Paris  to  consult 
Cherubini,  who  offered  to  teach  him, 
but  the  father  preferred  to  have  him 
at  home.  At  12  he  began  the  series 
of  44  vols.,  in  which  he  kept  copies  of 
his  comps.  This  year  he  c.  bet.  50 
and  60  pes.,  incl.  a  cantata,  a  mus. 
comedy,  a  pf.-trio,  2  pf. -sonatas,  a 
vln. -sonata,  songs,  etc.  At  9  he  had 
played  the  pf.  in  public  ;  at  12  he 
was  a  notable  improviser  (while  play- 
ing a  Bach-fugue  at  Goethe's  request 
he  extemporised  the  Development 
which  he  had  suddenly  forgotten). 
At  17  he  c.  the  remarkably  original, 
beautiful  and  (in  advance)  Wagnerian 
overture  to  "  ^  Midsuviiner  Alight' s 
Dream"  and  the  superb  octet  for 
strings  (op.  20).  This  same  year  he 
matriculated  at  Berlin  Univ.  with  a 
translation  of  Terence,  said  to  be 
the  first  German  attempt  to  render 
Terence  in  his  own  metres.  He 
also  painted,  and  was  proficient  in 
gymnastics  and  billiards.  At  18 
he  prod,  the  succ.  opera  "  Die  Hoch- 
zeit  dcs  Camacho"  at  the  Berlin 
Opera,  in  which  he  used  the  leit- 
motif (v.  D.  D.).  At  20  he  com- 
pelled and  conducted  the  first  per- 
formance since  the  composer's  death 
of  the  Bach  '''Passion  according  to  St. 
Matthew  "  at  the  Singakademie.  This 
was  the  first  step  in  the  great  crusade 
he  waged,  taking  Bach  out  of  obso- 


lescence into  the  pre-eminence  he 
now  keeps.  1830,  M.  declined  the 
chair  of  mus.  at  the  Berlin  Univ. 
The  year  before  he  had  made  the 
first  of  nine  voyages  to  England, 
where  he  has  stood  next  to  Handel  in 
popularity  and  influence.  He  cond. 
his  symph.  in  C  minor,  at  the  London 
Philh.,  which  gave  him  his  first  offi- 
cial recognition  as  a  composer.  The 
same  year  he  was  invited  (in  vain)  to 
c.  a  festival  hymn  for  the  anniversary 
of  the  emancipation  of  the  natives  of 
Ceylon,  and  in  his  letters  (in  which  his 
sunny  nature  finds  free  play)  he  re- 
ferred to  himself  as  "  Composer  to 
the  Island  of  Ceylon."  He  appeared 
also  with  brilliant  succ.  as  pianist  and 
organist.  He  now  travelled  in  Scot- 
land, Switzerland,  and  elsewhere,  and 
returning  to  London,  conducted  the 
'"Hebrides"  overture,  played  his 
G  min.  concerto  and  B  min.  Capric- 
cio  brillant,  and  pub.  his  first  6 
' '  Songs  without  Words  "  (c.  in  Ven- 
ice, 1830).  His  race  and  his  amazing 
energy  and  succ.  made  him  much  op- 
position at  Berlin,  and  he  was  re- 
fused the  conductorship  of  the  Sing- 
akademie in  1833,  although  he  had 
arranged  a  series  of  concerts  for  the 
benefit  of  the  Orch.  Pension  Fund. 
1833,  he  cond.  the  Lower  Rhine  ; 
ISIus.  Festival  at  Diisseldorf,  and  be-  ■ 
came  Town  Mus.  Dir.  of  the  ch.- 
mus.,  the  opera,  and  two  singing-so- 
cieties, for  a  salary  of  600  Thaler 
(about  $450).  1835,  he  became  cond. 
of  the  Gewandhaus  Orch.,  Leipzig, 
which  (with  Fd.  David  as  leader)  he 
raised  to  the  highest  efficiency  ;  the 
Univ.  made  him,  in  1836,  Dr.  Phil., 
//.  c.  ;  1836,  he  cond.  his  oratorio 
'' Pauhts"  the  Lower  Rhine  Festival, 
Diisseldorf,  in  1837  also  at  the  Bir- 
mingham Festival.  1837,  he  m. , 
Cecile  Charlotte  Sophie  Jeanrenaud 
of  Frankfort,  daughter  of  a  French 
Protestant  clergyman.  She  bore  him 
five  children,  Karl,  Marie,  Paul,  Fe- 
lix, and  "  Lili"  (Elisabeth).  In  \ii,i 
Friedrich  Wilhelm  IV.  invited  him  to 


DICTIONARY  OF  MUSICIANS    627 


take  charge  of  the  grand  orch.  and 
choral  concerts  at  Berlin.  The  hostil- 
ity to  him  was  however  so  general 
that  he  wished  to  resign,  but  at  the 
King's  request  organised  the  cath. 
mus.,  later  famous  as  the  "  Dom- 
chor "  (cath.  choir).  He  was  made 
R.  Gen.  Mus.  Dir.  With  Schumann, 
Hauptmann,  David,  Becker,  and 
Pohlenz,  in  the  faculty,  he  organised 
the  since  famous  Conservatorium  of 
Mus.  at  Leipzig  (since  1876  the  "  R. 
Cons.");  he  again  cond.  the  Gewand- 
haus  Concerts.  1845  he  cond.  "  Eli- 
jah "  at  Birmingham.  He  resigned  the 
Gewandhaus  conductorship  to  Ciade, 
and  the  plano-dept.  to  Moscheles, 
whom  he  invited  from  London.  Upon 
hearing  the  news  of  the  sudden  death 
of  his  idolised  sister,  Fanny  Hensel, 
he  fell  insensible  and  lived  only  6 
months. 

M.  was  kept  from  opera  by  inabil- 
ity to  hnd  a  satisfactory  libretto. 
Besides  "  Die-  Hochzeit  des  Camacko" 
he  left  an  unfinished  opera  "  Lorelei  " 
an  operetta  "  Son  and  Stranger  " 
and  5  small  unpub.  operas.  He  c. 
3  oratorios,  '' Paulus"  (St.  Paul), 
"  j^//rtj"  (Elijah),  and  ''  Christits" 
(unfinished),  the  symph.  cantata 
''  Lobgesang"  op.  52;  the  ballade, 
with  orch.  "  Die  erste  IValpiirgis- 
nacht"  op.  60;  2  ''  Festgesdnge" 
''An  die  Kilnstler  "  (for  male  chorus 
and  brass),  and  "  Zur  Sdcularfeier 
der  Biichdruckerkunst  "  ("  Gutenberg 
Cantata"),  with  orch.;  mus.  to  the 
^Xa.-^?,'"  Antigone"  (op.  55),  ''  Atha- 
lie"  {op.  74),  ''  (Edipus  in  Colonos" 
(op.  93),  and  ''A  Midsummer 
Night's  Dream  "  (op.  61)  ;  c.  also 
vocal  works  with  orch.,  hymn,  "  Tti 
es  Petrus^"  VsaXms  114,  115,  and  95, 
prayer  "  Verleih'  uns  Frieden,"  and 
sopr.  concert-aria  "■  Infelice"  (op. 
94). 

4  Symphonies,  in  C  min.;  A 
min.  (or  '' Scotch  ")\  A  (or  ''Ital- 
ian"); D  (or  "Reformation"). 
Overtures,  "  Sommemachts- 
traum"    ("A     Midsummer   Night's 


Dream"),  op.  21;  "Hebrides" 
"Die  Fingalshohle"  (or  "  Fingal's 
Cave"),  op.  26;  "  Meerstille  iind 
gliickliche  Falirt"  {"  Q^Xxa.  Sea  and 
Prosperous  Voyage"),  "Die  Schone 
Melusine"  ("  The  lovely  Melusine  ") 
(op.^  32),  "Ray  Bias"  (op.  95), 
"  Trumpet"  overture,  and  an  over- 
ture for  wind-band  (op.  24)  ;  c.  also 
andante,  scherzo,  capriccio,  and 
fugue,  for  string-orch.  (op.  81),  funer- 
al march  (op.  103),  and  march  (op. 
108) ;  2  pf. -concertos,  in  G  min.  and 
D  min.;  capriccio  brillant ;  rondo 
brillant,  and  serenade  and  allegro 
giojoso,  for  pf.  with  orch.;  vln. -con- 
certo in  E  min.  (op.  64)  ;  a  string 
octet,  quartets,  2  quintets,  a  pf.-sex- 
tet,  7  string-quartets,  3  pf. -quartets, 
2  pf. -trios,  2  trios  for  clar. ,  basset 
horn,  and  pf. ;  2  'cello-sonatas,  a  so- 
nata for  vln.,  variations  concertantes 
(op.  17)  and  "Lied  ohne  J  Forte" 
(op.  109),  for  'cello  with  pf. ,  relig- 
ious and  secular  choruses,  13  vocal 
duets,  and  83  songs.  For  piano — 3 
sonatas  ;  capriccio  ;  CharakterstUcke; 
rondo  capriccioso  ;  4  fantasias,  incl. 
"  The  Last  Rose  of  Summer"; 
"  Lieder  ohne  Worte  "  ("  Songs  wit'n- 
out  Words  ")  in  8  books;  "  Sonate 
e'cossaise"    6   preludes    and     fugues, 

Variations  st'rieuses"  etc.;  6  Kin- 
derstucke,  3  preludes  and  3  studies, 
op.  104;  "■  Albumblatt"  "  Perpctu- 
um  mobile"  etc.  4-hand  variations  ; 
4-hand  allegro  brillant ;  duo  con- 
certant  (with  Moscheles),  for  2  pfs. 
on  the  march  -  theme  in  Weber's 
"  Preciosa."  FoR  ORG.\N,  3  preludes 
and  fugues  ;  6  sonatas,  op.  65  ;  prel- 
udes in  C  min. 

Biogr.  by  his  eldest  son  Karl 
(1871);  by  Hiller(i874);  S.  Hensel 
(1879)  ;  Eckardt  (1S88)  ;  an  extended 
article  by  Grove  (in  his  Dictionary), 
etc.  Numerous  editions  of  his  letters 
are  published.    See  also  next  page. 

(2)  Arnold,  b.  Ratibor,  Dec.  26. 
1855  ;  grand-nephew  of  above  ;  stud- 
ied with  Haupt,  Kiel,  Grell,  Tau- 
bert  ;  organist    and    teacher    in    the 


628  THE    MUSICAL    GUIDE 


Univ.  at  Bonn;  then  teacher  at  Co-  City    Th.,    1894),  and  ''  Der  Bdren- 

logne  Cons.;  then  at  Darmstadt  pro-  hiiuier"  "  Der  Hagestolz  "for  chorus 


fessor.     C.  operas  "  Z?/.f/"   (Cologne  and  orch. 


Mendelssohn. 

By  Vernon   Blackburn. 

iELIX   MENDELSSOHN  BARTHOLDY  almost  rivalled  Mozart 
the   precocity  of  his   genius.      Music   came  to  him,  as  it  were. 


F' 
straight  out  of  the  skies.  He  played  with  it  from  boyhood,  and  at 
the  age  of  nineteen  wrote  his  greatest  work.  I  refer,  of  course,  to  the  over- 
ture to  ^^A  Midsummer  Night's  Dream.'''  It  would  be  difficult  to  say 
exactly  whence  Mendelssohn  derived  the  leading  motives  of  his  musical  ten- 
dency. Mozart,  of  course,  did  much  for  him,  but  he  was  a  brilliant,  though, 
I  should  imagine,  a  superficial,  student  of  the  great  John  Sebastian  and  of  the 
train  of  German  and  Austrian  composers,  including  Haydn,  which  succeeded 
the  period  of  that  great  master,  Beethoven,  with  whom,  of  course,  he  was 
intimate  from  his  childhood.  One  remembers  the  story  of  his  playing  one 
of  the  symphonies  to  Goethe  ;  but  I  doubt  if  Beethoven  had  a  very  serious  \\:h 
influence  over  this  gay,  companionable,  brilliant  musician  to  whom  music  ■:( 
was  not  so  much  a  spiritual  as  a  pantheistic  influence,  ^j  The  external  world 
to  him  fired  his  brain,  and  his  delicate  genius  responded  to  the  influence. 
His  personality  was  neither  commonplace  nor  profoundly  interesting.  There 
is  a  certain  class  of  German  youth  which  makes  a  point  of  exuberance,  of 
high  spirits  and  somewhat  boisterous  asserdveness  of  the  bright  side  of  life. 
Such  a  temperament  is  usually  accompanied  by  a  certain  shallowness  of  spirit, 
and  by  a  certain  naif  outlook  which  is  just  a  trifle  irritating  to  the  serious 
man.  ^His  place  in  the  art  of  music  has  not,  I  should  imagine,  been  quite 
definitely  settled  even  at  this  day.  While  Sir  George  Grove  would  place 
him  among  the  archangels  of  musical  creation,  there  are  others  who  prefer  to 
rank  him  as  quite  in  the  front  rank  of  the  second  class.  On  the  whole,  my 
judgment  ranges  with  the  latter,  although  there  are  times,  of  course,  when  he 
strayed  into  the  reallv  great  things  of  his  art,  as  for  example  in  the  "  Watch- 
man,'' from  the  **  Hymn  of  Praise,"  or  ♦♦  How  Lovely  are  the  Messengers," 
from  "5/.  Paul."  There  will  be  none,  however,  I  imagine,  not  even  Sir 
George  Grove  himself,  to  rank  Mendelssohn  with  Mozart,  John  Sebastian 
Bach,  and  Handel,  and  that  alone  may  be  taken  as  a  test  as  to  whether  he  , 
really  may  be  placed  among  the  great  gods.  ^If  I  were  asked  to  assign  his 
position,  in  the  flash  of  a  phrase,  I  should  call  him  the  Ganymede,  the  cup- 
bearer of  Jupiter's  table.  He  was  in  the  company  of  the  gods,  and  he  served 
them,  he  pleased   them  well  ;   and  his  dwelling-place  was  in  the  palace  of 


DICTIONARY  OF  MUSICIANS   629 

Jove  ;  but  he  was  not  of  royal  rank,  though  he  wore  the  livery  of  the  great 
kings  of  art.  And  his  influence  has  been  confined  chiefly  to  the  more  elegant 
song- writers  of  the  time,  to  the  composers  of  graceful  and  forgotten  oratorios, 
and  to  the  brilliant  comic  opera  record  of  Sir  Arthur  Sullivan.  And  this, 
though  Mendelssohn,  after  arriving  at  man's  estate,  never  wrote  a  note  that 
indicates  him  as  possessing  one  flash  of  genuine  humour.  The  disciple  has 
here  indeed  outstripped  the  master. 


Mendes  (man-des),  Catulle,  b.  Bor- 
deaux, May  22,  1841.  I'oet  ;  libret- 
tist of  pop.  poems  and  operettas. 

Mengal  (mari-gal),  Martin  Jos,, 
Ghent,  17S4 — 1851  ;  horn-virtuoso 
and  dram,  composer. 

Mengelberg  (meng'-el-berkh),  Wm. 
Jos.,  b.  Utrecht,  May  28,  1870; 
pupil  of  Umland,  Hoi,  Wurff,  and 
Petre  at  Amsterdam,  then  at  Cologne 
Cons.,  i8gi,  dir.  at  Lucerne,  1895, 
Amsterdam  ;  at  8  began  to  compose. 

Mengewein  (meng'-e-vin),  K.,  b. 
Zaunroda,  Thuringia,  Sept.  9,  1852  ; 
from  1881-86,  teacher  at  Freuden- 
berg's  Cons.  Wiesbaden  ;  co-founder 
of  a  Cons,  at  Berlin,  1886  ;  c.  orato- 
rio, festival  cantata,  operetta,  over- 
ture "  Dornroschen"  etc. 

Mengozzi  (men-god'-ze),  Bdo.,  Flor- 
ence, 1758 — Paris,  March,  1800  ; 
tenor,  writer  and  composer  of  13  op- 
eras. 

Menter  (men'-ter),  (i)  Jos.,  Deuten- 
kofen,  Bavaria,  1808 — Munich,  1856; 
'cellist.  (2)  (Menter-Popper)  So- 
phie, b.  Munich,  July  29,  1848; 
daughter  of  above;  eminent  pianist; 
pupil  of  Schonchen,  Lebert  and  Niest; 
debut,  1863;  in  1867,  studied  with 
Tausig ;  i86g,  with  Liszt;  1872,  m. 
the  'cellist  Popper  (divorced  1886)  ; 
ct. -pianist  to  the  Emperor  of  Austria; 
1878-S7,  prof.  St.  Petersburg  Cons.  ; 
lives  at  her  country-seat.  Castle  Itter, 
in  the  Tyrol. 

Merbecke,  J.     Vide  marbeck. 

Mercadante  (mer-ka-dan'-te),  Fran. 
Saverio,  Altamura,  Sept.  17,  1795^ 
Naples,  Dec.  17,  1S70  ;  pupil  of  Zin- 
garelli  and  in   1840  his  successor  as 


dir.  of  Naples  Cons.;  in  1819  prod, 
an  opera  with  great  succ.  and  fol- 
lowed it  with  60  others,  incl.  "  Elisa 
e  Claudia  "  (Naples,  1866),  "  //  Giu- 
ramento  "  (Milan,  1837)  ;  he  lived  in 
various  cities  ;  1833  cond.  at  Novara 
Cath.;  1862  he  went  blind  ;  he  c.  also 
2  symphonies,  4  funeral  symphonies, 
20  masses,  etc. 

Mercadier  (mer-kad-ya),  J.  Bap.,  Bel- 
esta,  Ariege,  France,  April  18,  1750 
— Foix,  Jan.  14,  1815  ;  theorist. 

Merck,  Louis,  Landau,  1832 — Brus- 
sels, April  15,  1900  ;  horn-virtuoso. 

Mer  cy  (or  Merci),  Louis,  Engl,  virt- 
uoso on  the  beak-flute,  1735  ;  com- 
poser. 

Mereaux  (ma-ro),  (i)  J.  Nicolas 
Am6d6e  Lefroid  de,  Paris,  1745 — 
1797  ;  C)rganist  and  dram,  composer. 

(2)  Jos.  N.  L.  de,  b.  Paris,  1767; 
son  of   above  ;  organist,  and  pianist. 

(3)  J.  A.  L.  de,  P'aris,  1803 — Rouen, 
1874  ;  son  of  above  ;  pianist,  com- 
poser and  writer. 

Merian  (ma'-rl-an),  Hans,  d.  Leipzig, 
1902  ;   writer. 

Mdric  (ma-rlk).     Vide  lalande. 

Meriel  (ma-rt-el),  Paul,  Mondoubleau, 
1818  —  Toulouse,  1897  ;  violinist, 
cond.  and  dram,  composer  ;  dir.  Tou- 
louse Cons. 

Merighi  (ma-re'-ge),  Antonia,  Italian 
contralto  profondo  in  Handel's  op- 
eras, London,  1729-38. 

Merk  (mark),  Jos.,  Vienna,  1795 — 
Ober-Dobling,  1852  ;  violinist  and 
composer. 

Merkel  (mar'-kel),  (i)  Gustav  (Ad.), 
Oberoderwitz,  Saxony,  Nov.  12,  1827 
— Dresden,  Oct.    30,  1885  ;  org.   and 


630 


THE    MUSICAL    GUIDE 


composer.  (2)  K.  L.,  wrote  treatises 
on  throat,  etc.  • 

Merklin  (mar'-klen),  Jos.,  b.  Oberhau- 
sen,  Baden,  Jan.  17,  18 19  ;  org.- 
builder  at  Brussels  ;  son  of  an  org.- 
builder  ;  took  his  brother  -  in  -  law, 
F.  Schiitze,  into  partnership,  as 
"  Merklin-Schlitze,"  1858  ;  in  1855, 
est.  a  branch  in  Paris. 

Mersenne  (mer-sen),  Marie,  Oize 
(Maine),  France,  Sept.  8,  158S  — 
Paris,  Sept.  i,  1648  ;  writer  of  mus. 
treatises. 

Mertens  (mar'-tens),  Jos.,  Antwerp, 
Feb.  17,  1S34 — Brussels,  July,  1901; 
1st  vln.  at  the  opera  there  and  teach- 
er at  the  Cons.;  1878-79,  cond. 
Flemish  Opera,  Brussels  ;  later,  dir. 
at  Royal  Th.,  The  Hague;  prod, 
succ.  Flemish  and  French  operettas 
and  operas,  incl.  "  Z't'  Zwarte  Kapi- 
iein  "  (The  Hague,  1877). 

Mertke  (mert  -ke),  Ed.,  Riga,  1833 — 
Cologne,  1S95  ;  pianist,  violinist, 
composer  and  collector. 

Mertz  (marts),  Jos.  K.,  Pressburg, 
Hungary,  1806 — Vienna,  1856  ;  gui- 
tar-virtuoso. 

Merula  (ma-roo'-la),  Tarquinio,  b. 
Bergamo  ;  violinist  and  composer, 
1623-40. 

Merulo  (ma-roo'-l6)  (rightly  Merlot  ti), 
Claudio  (called  "Da  Coreggio"), 
Coreggio,  April  8,  1533  —  Parma, 
May  4,  1604  ;  eminent  organist, 
dram,  composer  and  famous  teacher  ; 
pupil  of  Menon  and  G.  Donati  ;  he 
was  a  leader  of  the  Venetian  sch.  and 
bordered  on  the  new  tonality. 

Merz  (marts),  K.,  Bensheim,  near 
Frankfort-on-Main,  1836 — Wooster, 
Ohio,  1890;  teacher  and  writer. 

Messager (m6s-sa-zha),  Andre  (Chas. 
Prosper),  b.  Montlucon,  Allier, 
France,  Dec.  30,  1853  !  pi-ipil  of  Nie- 
dermeyer  .School  and  of  Saint-Saens  ; 
1874,  organist  of  the  choir,  St.  Sul- 
pice;  cond.  at  Brussels;  organist  at  St. 
Paul-Saint-Louis ;  Paris,  cond.  at 
Sainte  Marie  des  Batignolles  ;  1898, 
cond.  Op.  Com.  ;  Chev.  of  the  Legion 
of  Honour  ;   1901,   mus. -dir.   Covent 


Garden,  London  ;  completed  Berni- 
cat's  unfinished  score,  "  Franfois  les 
Bas  Bleiis  "  (Folies  -  Dramatiques, 
1883),  following  it  with  about  20 
other  comic  operettas,  and  operas, 
incl.  the  succ.  "  Le  Chevalier  d'llar- 
tuental"  (Op. -Com.,  1896)  ;  "/,« 
Basoihe"  (Op. -Com.,  1890,  Bremen, 
1892,  as  Z7Vti  A'onige)  ;  m.  Hope 
Temple  (q.  v.). 

Messerschmidt  -  Griinner  (mes'-ser- 
shmit-grln'-ner)  (Frau),  Vienna,  ca. 
1847 — 1S95  ;  founded  at  Vienna  the 
first  "  Ladies'  Orchestra." 

Mestrino  (mas-tre'-no),  Niccolo,  Mil- 
an, 174S — Paris,  1790;  violinist,  con- 
ductor, and  composer. 

Metastasio  (ma-tas-ta'-zI-6)  (rightly 
Trapassi,  but  changed  to  M.,  a 
pun.  on  T.  to  please  his  patron  Gravi- 
na),  P.  Ant.  Dom.  Bonaventura, 
Rome,  Jan.  3,  169S — Vienna,  April 
12,  1782  ;  poet  and  dramatist  ;  wrote 
librettos  set  to  mus.  by  Gluck  and 
Mozart. 

Methfessel  (maf-fes-sel),  (i)  Albert 
Gl.,  Stadtilm,  Thuringia,  1785 — 
Heckenbeck,  1869  ;  dram,  composer. 
(2)  Fr.,  Stadtilm,  1771 — 1807  ;  bro. 
of  above  ;  composer.  (3)  Ernst, 
Miilhausen,  1802 — Berne,  1878,  rel- 
ative of  above;  conductor.  (4) 
Ernst  M.,  iSii — 1886,  conductor. 

Metra(ma-tra),  (Jules  Louis)  Olivier, 
Rheims,  1830 — Paris,  1889  ;  violinist 
and  double-bass  player,  conductor 
and  dram,  composer. 

Mettenleiter  (met-ten-lT-ter),  (i)  Jn. 
G.,  studied  Ulrich,  near  Ulm,  1812 — 
Ratisbon,  1858;  organist  and  compos- 
er. (2)  Dominicus,  Tannenhausen, 
Wiirtemberg.  1822 — Ratisbon,  1868; 
brother  of  above;  writer  and  compos- 
er. (3)  Bernhard,  cousin  of  above  ; 
composer  at  Kempten,  Bavaria. 

Metzdorff  (mets'-dorf),  Richard,  b. 
Danzig,  June  28,  1844  ;  pupil  of  Fl. 
Geyer,  Dehn,  and  Kiel,  Berlin  ;  cond. 
at  various  cities;  c.  opera  "' Hosa' 
miinde  "  (Weimar,  1875);  succ."  I/ag 
dart  und  Signe  "  (Weimar,  1893) ;  c 
also  3  symph.  incl.  "  Tragic  "  ;  over 


L 


DICTIONARY  OF  MUSICIANS  631 


ture  "  Kiug  Lear  "  ;  "  Frau  Alice" 
ballade,  with  orch.,  etc. 

Metzler  (mets'-ler),  (i)  &  Co.,  Lon- 
don, mus.-pubs. ,  founded  by  Valen- 
tine M.,  1790.  (2)  Metzler-Lowy 
(mets'4er-la'-ve),  Pauline,  b.  The- 
resienstadt,  iS5o(?)  ;  contralto;  1875- 
87,  Leipzig  City  Th.;  iSSi,  m.  the 
pf. -teacher,  (3)  Fd  M. 

Meurs,  de.     Vide  muris,  de. 

Meursius  (mur'-sl-oos),  Jns.,  Looz- 
duinen,  near  The  Hague,  1579 — 
Denmark,  1639  ;  prof,  and  writer. 

Meusel  (moi-zel),  Jn.  G.,  Eyrichshol, 
1743  —  Erlangen,  1820;  writer  and 
editor. 

Meyer  (mi'-er),  (i)  Joachim,  Perle- 
berg,  Brandenburg,  166 1 — Gottingen, 
1732  ;  prof,  and  writer.  (2)  Ld.  von 
(called  "  De  Meyer"),  Baden,  near 
Vienna,  18 16 — Dresden,  1S83  ;  pia- 
nist and  composer.  (3)  Julius  Ed., 
Altenburg,  Germany,  1822 — Brook- 
lyn,   U.   S.  A.,   1899;  vocal-teacher, 

.  from  1852,  at  Brooklyn.  (4)  Jenney, 
Berlin,  1834 — 1894;  concert-singer; 
1865  teacher,  1888  proprietress  Stern 
Cons.  Berlin.  (5)  Felix,  b.  Berlin, 
Feb.  5,  1850  ;  son  of  (6)  Bernard 
(mus. -director)  ;  pupil  of  David  ;  vio- 
linist in  ct.  chapel,  Berlin.  (7)  Wal- 
demar,  b.  Berlin,  Feb.  4,  1853  ;  vio- 
linist, pupil  of  Joachim;  1873-81, 
member  of  the  Berlin  ct.  orch.  (8) 
Gustav,  b.  Konigsberg,  Prussia, 
June  14,  1859  ;  pupil  of  Leipzig 
Cons.;  cond.  various  cities;  1895, 
Leipzig  City  Th.;  c.  4-act  farce,  bal- 
let-pantomime, etc. 

Meyerbeer  (mi'-er-bar),  Giacomo 
(rightly  Jakob  Liebmann  Beer; 
by  adding  the  name  "  Meyer"  he  se- 
cured a  large  inheritance  from  a 
wealthy  relative  ;  he  then  Italianised 
"Jacob  "  as  "Giacomo"),  Berlin,  Sept. 
5,  1791  (94?) — Paris,  May  2,  1864; 
son  of  a  Jewish  banker  ;  a  precocious 
and  remarkable  pianist ;  pupil  of 
Lauska  and  Clementi ;  at  7  played  in 
public  ;  studied  with  Zelter,  Anselm, 
Weber;  1810,  was  invited  by  Abbe 
Vogler  to  live  in  his  house  as  a  son 


and  pupil ;  did  so  for  2  years,  one  of 
his  fellow-pupils  being  his  devoted 
friend  C.  M.  von  Weber.  Here  he 
c.  an  oratorio  and  2  operas  ''  Jepk- 
thas  Geliibde"  (Ct.-Op.,  Munich, 
1813)  and  "■  Abitnilek"  (Munich, 
18 1 3),  the  first  a  failure,  the  latter 
accepted  for  Vienna,  whither  he  went 
and  made  a  great  succ.  as  pianist 
though  his  opera  was  not  a  succ.  In 
his  discouragement  Salieri  told  him 
he  needed  only  to  understand  the 
voice,  and  advised  an  Italian  jour- 
ney. He  went  to  Venice  in  18 15 
and,  carried  away  with  Rossini's 
vogue,  c.  6  Italian  operas  which  had 
succ,  especially  "  IlCrociato  in  Egit- 
to"  (Venice,  1824).  While  writing 
this  last  he  went  to  Berlin  hoping  to 
prod.  3-act  German  opera,  ''Das 
Brandenbuiger  Thor";  though  he 
found  no  hearing,  Weber  begged  him 
not  to  give  himself  up  to  Italian  in- 
fluences. In  the  6  years  of  silence 
that  followed,  occurred  his  marriage, 
his  father's  death,  and  the  death  of 
his  two  children.  In  1826,  he  went  to 
Paris  to  live,  and  made  a  profound 
and  exhaustive  study  of  French  op- 
era from  Lully  down,  forming  his 
third  style,  in  which  ace.  to  Mendel 
"  he  united  to  the  flowing  melody  of 
the  Italians  and  the  solid  harmony  of 
the  Germans  the  pathetic  declama- 
tion and  the  varied,  piquant  rhythm 
of  the  French."  He  made  a  coali- 
tion with  the  sophisticated  librettist. 
Scribe,  and  his  first  French  opera, 
"Robert  le  Diable"  (Gr.  Opera, 
1S31),  was  an  enormous  succ,  finan- 
cially establishing  the  Opera  itself, 
though  M.  had  had  to  pay  the  man- 
ager Veron  a  large  sum  to  secure  its 
production.  Less  pop.  succ.  at  first, 
but  more  critical  favour  attended 
"Z«  Huguenots"  {liiit);  its  prod, 
at  Berlin,  1842,  led  KingFr.  Wm.  IV. 
to  call  him  there  as  Gen.  Mus.-Dir. 
His  opera  "  Das  Feldlager  in  Schle- 
sien"  (1843),  had  only  mod.  succ. 
until  Jenny  Lind  sang  it  in  1844. 
1847,  he  visited  Vienna  and  London; 


632 


THE    MUSICAL    GUIDE 


returning  to  Berlin  he  prod.  Wagner's 
new  work  "'Riciizi";  later  he  ob- 
tained '^  The  Flying  Dutchman'^ 
performance,  after  its  rejection  else- 
where. The  extent  to  which  he  be- 
friended Wagner  is  matter  of  bitter 
controversy,  some  claiming  that  he 
gave  only  formal  assistance  while 
Wagner  was  obscure,  and  fought  him 
with  underhanded  methods  and  a 
"press-bureau,"  when  Wagner  at- 
tained power.  At  any  rate  Wagner 
despised  and  publicly  assailed  the 
music  of  Meyerbeer.  Yet,  wheth- 
er or  no  Wagner  borrowed  money 
from  M.,  he  certainly  borrowed  num- 
berless points  of  artistic  construction 
from  him.  In  1849,  "  Zt'  Proplicte" 
(finished  1S43)  was  prod,  at  the  Paris 
Gr.  Opera  (1849)  followed  by  the 
successes  ''  L'Etoile  du  N^ord"  (Op.- 
Com.,  1854),  some  of.it  taken  from  his 
"  Das  Feldlager  in  Schlesien  "  ;  and 
"■'  Dinorah,  ou  le  Pardon  de  Ploh-- 
meV  (Op.  Com.,  1S59).  ''  L'Afri- 
caine  "  (worked  on  with  constant  and 
characteristic  changes  from  1838)  was 
prod,  at  the  Paris  Gr.  Opera,  1S65,  a 
year  after  his  death.  M.  left  by  will 
10,000  thaler  ($7,500)  for  the  founda- 
tion of  a  Meyei  beer  Scholarship,  for 
which  only  Germans  under  28,  and 
pupils  of  the  Berlin  "  Hochschule," 
the  Stern  Cons.,  and  the  Cologne 
Cons.,  are  eligible.  Competitors 
must  submit  a  vocal  fugue  a  8  (for 
double  chorus),  an   overture   for  full 


orch.,  and  a  dram,  cantata  (J  j,  with 
orch.  (te.xt  of  cantata,  and  text  and 
theme  of  fugue  being  given).  The 
fund  gives  six  months  in  Italy,  six  in 
Paris,  and  six  more  in  Vienna,  Mu- 
nich and  Dresden  together.  M.  c. 
also  incid.  music  to  "  Struensee"  (the 
tragedy  by  his  brother,  Michael  Beer; 
Berlin,  1846),  choruses  to  ^schylus' 
"'  Eumenides" ;  festival-play  ''Das 
Iloffest  von  Ferrara "/  monodrama 
"  Thcvclindens  Liebe"  for  sopr.  solo, 
chorus  with  clar.  obbJigato  (Vienna, 
1S13);  cantatas,  "  Gutenberg"  and 
''Maria  und  ilir  Genius"  (for  the 
silver  wedding  of  Prince  and  Princess 
Carl  of  Prussia);  "  Der  Genitts  der 
JMiisik  am  Grabe  Beethoven  "y  sere- 
nade '  'Braittgcleiie  aus  der  Heimath  " 
(for  the  wedding  of  Princess  Louise  of 
Prussia) ;  ode  to  Rauch  (the  sculptor), 
with  orch.;  7  sacred  odes  a  cappella ; 
Festhynimis  (for  the  King  of  Prus- 
sia's silver  wedding);  3  "  Fackel- 
tiinze,"  for  wind-band,  also  scored 
for  orch.  (for  the  weddings  of  the 
King  of  Bavaria,  and  the  Princesses 
Charlotte  and  Anna  of  Prussia)  ; 
grand  march  for  the  Schiller  Centen- 
ary (1859);  overture  in  march-form 
(for  opening  of  London  Exhibition, 
1S62)  ;  coronation  march  for  King 
Wilhelm  I.  (1S63)  ;  church-music; 
pf.-pcs.,  etc.  Biog.  by  A.  de  La- 
salle  (1864);  H.  Blaze  de  Bury 
(1865);  Ella  (i£6S);  H.  Mendel 
(1868),  and  J.  Schucht,  1S69. 


Meyerbeer.  ■ 

By  Irenaeus  Prime-Stevenson.  | 

WITHIN  a  decade  or  so,  especially  since  the  Wagnerian  measuring-' 
rule  was  applied  right  and  left,  up  and  down,  to  almost  all  the 
lyric  drama,  more  in  enthusiasm  than  in  good  judgment,  and 
also  since  opera-making  has  come  to  be  talked  of  as  a  sort  of  exact' 
science — Meyerbeer  has  been  ungraciously  handled  by  a  certain  school  oi 
criticism.  This  school  is  rich  in  Podsnaps.  If  we  can  believe  these  arbi- 
ters and  observers,  Meyerbeer  was  a  feeble  charlatan  in  French  opera,  or  \t 


DICTIONARY  OF  MUSICIANS  633 


any  kind  of  opera,  a  vulgar  and  bawdy  melodist  and  a  commonplace  orches- 

trator.      Moreover,  we  must,  by  such  critics,  believe  that  the  public  as  well 

as  the  critics  have  so  thoroughly  "  found  him  out,"  that  the  popular  interest  in 

his  works  is  over  ;  that  •*  The  Huguenots,''''  "  U  Africa'ine,^^  and  **  Le  Pro- 

pbete^'  are  works  that  bore  everybody  of  true  musical  intelligence — '*  the  souls 

of  them  fumed  forth,  the  hearts  of  them  torn  out."     ^Unfortunately  for 

these  undiscerning  prophets,  their  premises  are  obviously   wrong,  and  their 

results    are    short-sighted.      Meyerbeer  is    a  composer  full  of   faults.      His 

inconsistencies    are  a  continual    irritation.      His    shortcomings    are    plain  to 

the  ear.      His    superficial,    emotional    side,    too,  is   indisputable.       He    was 

never  sure  of  himself,  or  rarely  so  ;  and  that  is  fatal  often  to  artistic  strength. 

But  when  all  is  counted  against  him,  Meyerbeer  is  still  a  great  composer,  an 

operatic  master  to  be  reckoned  with  for  a  long  operatic  time  to  come  ;   and 

as  for   the  world   in  general    it  is   far   from  setting  him    aside  when  his  best 

scores  are  the  question.      ^His  splendid  subtler  mastery  of  true  dramatic  effect 

is,  after  all,  as  emphatic  as  his  cheaper  method  of  making  a  point.      He  does 

not,   alas  !  sustain   his   melodies.      He   does  not  work  out  good  themes   as 

iif  j  they  deserve,  over  and  over.      He  gives-out,  he  resorts   to   noise   and  clap- 

:«'■  i  trap.     His  favourite  rhythm  k^^    1    is  tedious.      ^But  notwithstanding  all, 

,'j(  1  he  is  a   genius    in    dramatic,    pathetic   melody.      He  is    constantly    able  to 

move  us   legitimately  by    his   beautifiil   art  as   an    orchestral   colourist.      He 

writes   for    the  operatic  actor   as  a  singer,  perfectly  and  consistently,  as  well 

as  for   the    operatic  artist  as  a  declaimer.      He  is  a   king  at  great  musical 

■pj'  j  phrases,  words  and  music  so  linked  that  we   cannot  think  of  them  as  not 

jtf  I  together.      And  as    a  merely   French  composer    Meyerbeer  is   of  the  first 

''i  j  rank.      A    sincere    and    learned    musician  himself,   especially  influenced   by 

, '  I  the  greatest  and  even  severest  German  and  Italian  musicians,  he  is  disdnctly 

[g.\  a  descendant  in  artistic  speech  of  no  less    than   Gluck.      One  often   finds 

1!  a  Gluck-like  nobility  of  phrase   in   Meyerbeer's   dialogue,  a  Gluck-like  out- 

-  '  start  of  melody,  to  atone  for  all  that  is  savoury  of  Offenbach  or  worse.     ^As 

for  Meyerbeer's  influence  on  not  only  the  French  opera  but  in  far  wider  range, 

that  is  undeniable.     French  opera  since  his  day  has  never   set  his  monitions 

aside,  from  Halevy  to  Reyer  :   and  Wagner  (heretical  as  it  sounds  to  say  so) 

never  quite  drew  away  from  the  French  principles  in  dramatic  opera  that  he 

I  I  often  most  repudiated — exactly  as  he  repudiates  his  eternal  practical  debts  to 

:,  Meyerbeer  for  no  vague  kindness.      ^Meyerbeer  is  the  Scott,  the  Jokai,  of 

■  '  (»era,  forever.  Just  as  we  forgive  technical  error  or  error  of  sentiment  in  both 

;■'  '  here  and  there,  so  must  we  forgive   Meyerbeer  :   and  in  admiring  his  best 

scenes  much  indeed  is  to  be  forgot  !    ^Personally,  he  was  a  large-souled  and  a 

[     good  man  as  well    as  a  man  of  finest   cultivation   and  polish.      His    charities 

°'l     were  numberless  and   his  large  bequests  have  continued   them.     Take  him 


634 


THE  MUSICAL  GUIDE 


all   in  all,   he   is  a  creator  and  an   influencer   of,   we  may   say,  permanent' 
dignity  and  honour  in  the  general  gallery  of  the  really  great,  not  merely  the-| 
pseudo-great,  operatic  sovereigns. 


Meyer-Helmund  (mi'-er-hel-moont), 
Erik,  b.  St.  Petersburg,  April  13 
(25  new  style),  1861;  pupil  of  his  father 
and  of  Kiel  and  Stockhausen  ;  prod. 
3  comic  operas,  incl.  the  succ.  ''  Der 
Liebeskampf"  (Dresden,  1892)  ;  succ. 
ballet  '' Riibezahr''  {ov  '' Der  Berg- 
geist")  (Leipzig,  1893)  ;  i-act  bur- 
lesque "  Tischka"  (Riga,  1894)  ;  and 
pop.  songs. 

Meyer-Lutz  (ml'-er-loots),  Wm.,  b. 
Mi'innerstadt,  near  Kissingen,  1829; 
pupil  of  Eisenhofer  and  Keller, 
Wiirzburg  ;  184S,  in  England,  organ- 
ist at  Birmingham,  then  Leeds,  later 
St.  George's  R.  C.  Ch. ,  London; 
1869,  cond.  at  Gaiety  Th.;  c.  8  op- 
eras, masses,  etc. 

Meyer-Olbersleben  (ml'-er-ol'-bers- 
la-ben),  Max,  b.  Olbersleben,  near 
Weimar,  April  5,  1S50  ;  pupil  of  his 
father,  of  Muller-IIartung  and  Liszt, 
on  whose  recommendation  he  was 
given  a  stipend  by  the  Duke,  and 
studied  with  Rheinberger  and  WtUl- 
ner  ;  1877,  teacher  of  cpt.,  and  comp. 
R.  Cons,  of  Mus.,  Wurzburg  ;  1S79, 
cond.  the  ''  Licderiafel" ;  1SS5, 
"Royal  Prof."  ;  1896,  dir.  "'Detitsch- 
er  SdngerbioiJ"  and  co-dir.  the  Fifth 
National  Sdngerfest,  Stuttgart  ;  c. 
succ.  romantic  opera  ' '  Clare  Dettin  " 
(Wurzburg,  1896),  and  a  comic  op- 
era "■  Ddr  Ilatibni  Krieg"  (Munich 
Opera);  overtures,  ''  Feierkldnge" 
and  "  Festouverliire";  fine  choruses  ; 
chamber-mus. ,  etc. 

M^zeray  (maz-re),  L.  Chas.  Lazare 
Costard  de,  I'runswick,  iSio — As- 
nieres,  near  Paris,  April,  1887;  bary- 
tone and  dram,  composer. 

Miceli  (me-cha'-le),  Giorgio,  Reg- 
gie di  Calabria,  1836 — Naples,  1895  ; 
c.  6  operas,  2  biblical  operas,  etc. 

Michaelis(me-kiia'-a-li;s),(i)Chr.  Fr., 
Leipzig,     1770 — 1834;    writer.       (2) 


Gustav,  Ballenstedt,  1S28— Berlin, 
1S87  ;  cond.  and  composer.  (3) 
Theodor,  Ballenstedt,  1831— Ham- 
burg, 1SS7  ;   bro.  of  above  ;  organist. 

Micheli  (me-ka'-le),  Romano,  Rome, 
ca.  1575 — ca.  1660  ;  conductor,  writer 
and  composer  of  notable  canons,  etc. 

Mickwitz  (mlk'-vlts),  Harald  von,  b. 
Helsingfors,  May  22,  1859;  pianist; 
pupil  of  Brassin  and  Rimsky-ICorsa- 
kov,  St.  Petersburg  Cons.,  and  of 
Leschetizky,  Vienna  ;  1886,  pf.-prof.  1 
Carlsruhe  Cons.  ;  1893,  Wiesbaden 
Cons.  ;  composer. 

Mierzwinski  (mTrzh-vTn'-shkl),  La-  ■ 
dislas,  b.  Warsaw,  Oct.  21,  1850;! 
untrained  tenor  of  short-lived  fame. 

Mihalovich  (me-hii  -16-vich),  Edmund  , 
von,  b.    Fericsancze,  Slavonia,   Sept.  ■ 
13,    1842  ;  pupil    of   liauptmann  and  : 
von  Bulow  ;  dir.  R.   Acad,  of  Mus.,: 
Pesth  ;  c.  romantic  opera  ''  Hagbarih' 
tniii   Sigiie"'  {Y)rtsdtn,    1SS2)  ;   succ.' 
opera    ''"  Toldi"    (Pesth,   1893);  bal- 
lads   for    full    orch.    {''Das    Geister- 
schiff"  ''Hero  und  Leaiider"  "La 
roude   du    sabbat,"   "Die    A^ixe"),  a, 
symph.,  etc.  , 

Miksch  (meksh),  Jn.  Aloys,  Georg-' 
enthal,  Bohemia,  1765  —  Dresden, 
1S45  ;  barytone  and  celebrated 
teacher.  : 

Mikuli  (me'-koo-le),  Karl,  Czernowitz,, 
Bukowina,  1821  —  Lemberg,  1897; 
pupil  of  Chopin  and  ed.  of  standard 
edition  of  his  works  ;   composer. 

Milanollo  (niT-lan-ol'-lo),  (i)  Teresa, 
b.  Savigliano,  near  Turin,  Aug.  28, 
1827  ;  at  4  hearing  a  vln.  at  church 
she  became  so  frantic  for  one  that 
she  was  given  lessons  :  studied  with, 
Ferrero,  Gebbaro,  and  Mora,  at  Tu- 
rin, and  played  in  public  at  6  ;  after-i 
wards  touring  with  great  succ.  till  in 
1S57  she  m.  military  engineer,  Par- 
mentier ;    lived   in    Toulouse.      Hei 


I 


DICTIONARY  OF  MUSICIANS   635 


companion  on  her  tours  was  her  sis- 
ter (2)  Maria,  1S32 — (of  consump- 
tion) Paris,  1S4S.  Also  a  violin- 
ist. 

Milchmeyer  (mllkh'-mi-er),  Ph.  Ja- 
kob, Frankfort- on  -  Main,  1750 — 
Strassburg,  1813,  pf. -teacher  ;  inv.  a 
3-manual  pf.;  composer. 

Milde    (mel'-de),    (i)   Hans   Feodor 

.  von,  b.  Petronek,  near  Vienna,  April 
13,  1821  ;  pupil  of  Hauser  and  Man- 

.  uel  Garcia  ;  created  "  Telramund  "  in 
Lohengrin,  Weimar,  1850  ;  life-mem- 
ber of  the  Weimar  ct. -opera.  (2) 
Rosa  (nee  Agthe),  b.  Weimar, 
June  25,  1827  ;  wife  of  above  ;  cre- 
ated "  Elsa,"  sang  at  Weimar  till 
1S76.  (3)  Fz.  von,  b.  Weimar, 
March  4,  1S55  ;  son  and  pupil  of  (i) 
and  (2)  ;  barytone,  since  187S  at  Han- 
over ct.-th.  (4)  Rudolf  von,  b.  Wei- 
mar, Nov.  29,  1859  ;  son  and  pupil 
of  (i)  and  (2)  ;  barytone  ;  debut  1883 
at  the  ct.-th.  and  sang  there  till  1886, 
then  in  the  New  York  Opera  till  1888  ; 
teacher  Stern  Cons,  till  1894,  then 
sang  at  Dessau  ct. -opera  ;  1897  sang 
"  Gunther  "  at  Bayreuth. 

Milder-Hauptmann  (mel'-der-howpt- 
man),  Pauline  Anna,  Constantino- 
ple, 17S5 — Berlin,  1838  ;  soprano  ; 
Beethoven  wrote  the  role  of  "  Fide- 
lio  "  for  her. 

Mildner  (melt'-ner),  Moritz,  Turnitz, 
Bohemia,  1812 — Prague,  1865  ;  vln.- 
teacher. 

Mililotti  (me-le-16t  -te),  (i)  Leopoldo, 
b.  Ravenna,  Aug.  6,  1835  ;  studied 
at  Rome  and  lives  there  as  singing- 
teacher  ;  pub.  songs  and  writes.  His 
brother  (2)  Giuseppe,  1833 — 1883, 
prod.  2  operettas. 
Millard',  Harrison,  b.  Boston,  Mass., 
Nov.  27,  1830;  studied  in  Italy; 
tenor  concert-singer ;  toured  Great 
Britain  ;  lived  in  New  York  from  1856, 
as  singer  and  teacher  ;  c.  an  opera, 
grand  mass;  and  many  pop.  songs, 
incl.  "  Waiting." 

Miller,  Edw.,  Norwich,  1735 — Don- 
caster,  1807  ;  organist,  composer,  and 
writer. 


Milleville  (mll-le-vil'-le),  (i)  Fran.,  b. 
Ferrara,  ca.  1565  ;  conductor  and 
composer  ;  son  and  pupil  of  (2)  Ales- 
sandro  M.,  organist,  and  composer 
to  the  Ducal  Court. 

Millico,  Giuseppe,  b.  Modena,  1739; 
male  soprano,  and  dram,  composer. 

Millocker  (mll'-lek-er),  K.,  b.  Vienna, 
March  29,  1842  ;  pupil  of  the  Cons.; 
1S64,  th.-cond.  at  Graz  ;  1866,  Har- 
monie-Th.,  in  Vienna  ;  from  1869, 
Th.  an  der  Wien  ;  c.  many  graceful 
and  succ.  operettas,  and  comic  op- 
eras, incl.  2  prod,  at  23,  "  Der 
todte  Gast"  and  "  Diepeiden  Binder  " 
(Pesth,  1865);  "  Das  veriuiinschene 
Schloss  "  (1878),  with  songs  in  Upper 
Austrian  dialect ;  the  widely  pop. 
''Der  Bettelstudent"  (Dec.  6,  1881  ; 
in  Italian  as  "  //  Giiitarrera"  in 
English  "  The  Beggar  Student  ")  ; 
"  Die  siehen  Schwaben "  (1887,  in 
Engl.  "The  7  Swabians");  "Der 
arme  Jonathan"  (1890,  in  Engl. 
"Poor  Jonathan");  ''Das  Sonn- 
tagskind"  (1892);  "  Nordlicht" 
(1S97)  ;  c.  also  pf.-pcs. 

Mills,  (i)  Sebastian  Bach,  Cirences- 
ter, England,  March  i,  1838 — Wies- 
baden, Dec.  21,  1898  ;  organist  ;  pf.- 
teacher.  New  York.  (2)  Watkin,  b. 
Painswich,  Engl.,  ca.  1861  ;  oratorio 
and  concert  basso  cantante,  range 
E&-/'  (v.  PITCH,  D.D.) ;  pupil  of  Ed- 
win Holland  at  the  R.  A.  M.,  and  of 
F.  Blasco,  Milan  ;  of  Sir  J.  Barnby, 
Randegger,  and  Blume  ;  debut.  Crys- 
tal Palace,  1SS4  ;  in  America,  1894- 
95- 

Milon  (me-16h).     Vide  trial. 

Milton,  J.,  d.  1646(7?);  father  of  the 
English  poet ;  a  scrivener  in  London, 
and  an  excellent  musician  and  com- 
poser. 

Mingotti  (men-got'-H),  Regina  (nee 
Valentini) ;  b.  Naples,  1728  ;  so- 
prano. 

Minoja  (me-no'-ya),  Ambrosio,  Ospe- 
daletto,  1752 — Milan,  1825  ;  singing- 
teacher  and  composer. 

Mirande  (me-rahd),  Hippolyte,  b. 
Lyons,    May  4,    1862  ;   pupil  of   Du- 


636 


THE    MUSICAL    GUIDE 


bois  and  Guiraud,  Paris  Cons.;  1886- 
90,  prof.  Geneva  Cons.;  iSgo,  Sec- 
Gen.  Gr.  Th.,  Lyons,  and  prof,  of 
mus.  histor}',  Lyons  Cons.;  critic  ; 
organist  at  the  synagogue  ;  c.  v.  succ. 
ballet,  "  Une  Fete  Di7-ectoire"  (Ly- 
ons, 1895);  overtures,  ^'  Jiodogune" 
' '  Frithjof, "  "  Macbeth,'"  ' '  Fromif- 
the'e"  and  "  La  mart  de  Roland,"  etc. 

Mirus  (me'-roos),  b.  Klagenfurt,  1856; 
studied  in  Italy ;  barytone  and  com- 
poser ;  since  1891,  lives  in  Vienna. 

Miry  (me'-re),  Karel,  Ghent,  1823 — 
1SS9  ;  professor  and  dram,  composer. 

Missa  (mis'  -  sa),  Edmond  Jean 
Louis,  b.  Rheims,  June  12,  1861  ; 
pupil  of  Massenet,  Paris  Cons.  ;  won 
Prix  Cressent  ;  lives  in  Paris,  as 
teacher  ;  c.  an  op. -com.,  ''Jtige  et 
Fat-lie"  (Op.-Com.,  1886),  followed 
by  others,  also  pantomimes,  revieus, 
Ninon  deLenclos,  lyric  episode  (1895), 
etc. 

Mitterwurzer  (mlt'  -  tSr  -  voor  -  tser), 
Anton,  Sterzing,  Tyrol,  18 18 — Dob- 
ling,  near  Vienna,  1S72  ;  barj'tone. 

Mizler  (mlts  -ler),  Lorenz  Chp.  (en- 
nobled as  M.  von  Kolof ),  Heiden- 
heim,  Wlirtemberg,  171 1 — Warsaw, 
1778  ;  writer,  editor  and  composer. 

MIynarski  (m'le-nar'-shkl),  Emil,  b. 
Poland,  1850;  violinist;  dir.  opera, 
Warsaw. 

Modernus  (mo-der'-noos).  Jacobus 
(rightly  Jacque  Moderne  ;  called 
Grand  Jacques,  or  J.  M.  de  Pin- 
g^ento,  because  of  his  stoutness) ; 
cond.  at  Notre  Dame,  Lyons ;  pub. 
and  composer.  1732-58. 

Moffat,.  Alfred  E.,  b.  Edinburgh, 
Dec.  4,  1866  ;  pupil  of  L.  Bussler, 
Berlin  ;  c.   cantatas. 

Mohr  (mor),  Hn.,  Nieustadt,  1830 — 
Philadelphia,  1S96  ;  composer. 

Mohring  (ma'-rlng),  Fd.,  Alt-Ruppin, 
1S16 — Wiesbaden,  1SS7  ;  organist, 
teacher,  and  dram,  composer. 

Moir,  Frank  Lewis,  b.  Market  Har- 
borough,  Engl.,  April  22,  1852  ; 
studied  painting  at  S.  Kensington, 
also  mus. ;  won  scholarship  Nat . 
Training    Sch.    (1876) ;    c.   a    comic 


opera,  church  -  services,  madrigal 
"  When  at  Chloes  Eyes  I  Gaze" 
(Madr.  Soc.  prize,  1881),  many  pop. 
songs,  etc. 

Mol,  de.     Vide  demol. 

Molique  (mol-ek),  Wm.  Bd.,  Ntirn- 
berg,  Oct.  7,  1802 — Cannstadt,  May 
10,  1869  ;  eminent  violinist  ;  son  and 
pupil  of  a  town-musician  ;  studied 
with  Rovelli  on  royal  stipend  ;  1820, 
successor  of  R.  as  leader  of  Munich 
orch.;  studied  with  Spohr  ;  1826, 
"  Musik-direktor  "  at  Stuttgart;  1S49- 
66,  London  ;  also  toured  with  great 
succ;  c.  an  oratorio.  6  famous  vln.- 
concertos,  etc. 

Mollenhauer  (mol'-len-how-^r),  three 
brothers,  b.  at  Erfurt,  (i)  Fr.,  1818— 
1901;  violinist  and  composer.  (2)  H., 
1825  ;  'cellist.  (3)  Ed.,  April  12 
1827;  violinist;  pupil  of  Ernst,  and  of 
Spohr;  1853,  New  York,  founded  a 
vln.-sch. ;  one  of  the  originators  of 
the  "  Conservatory  System "  in 
America  ;  c.  2  operas  ;  3  symphonies, 
incl.  the  ''  Fassion"  string-quartets, 
vln.-pcs.,  etc.  (4)  Emil,  b.  Brook-i 
lyn,  U.  S.  A.,  1855  ;  son  of  (i)  ;  vio-' 
linist  at  9,  then  with  Boston  Symph. 
Orch.,  now  cond.  Boston  Handel 
and  Haydn  Societies. 

Moller  (or  Moller)  (mol'-lgr,  or  mel- 
ler),  Joachim.     Vide  burgk. 

Molloy',  Jas.  Lyman,  b.  Comolore, 
Ireland,  1837 ;  c.  operettas  ;  pub. 
Irish  melodies  with  new  accompani- 
ments and  c.  pop.  songs. 

Moraigny  (rao-men'-ye),  Jerome  Jos. 
de,  Philippeville,  1762 — ?  ;  organist, 
theorist  and  dram,  composer. 

Momolet'to.     Vide  .-vlbertini,  >r. 

Monasterio  (m6-nas-ta'-rl-6),  Gesii 
b.  Botes,  Spain,  March  21,  1836 
violinist  ;  debut  at  9,  then  pupil  o; 
De  Beriot,  Brussels  Cons.;  made  y 
succ.  tours ;  1861  founded  Quarte 
Soc,  Madrid;  ct.-vioHnist,  prof.,  anc- 
(1894)  dir.  Madrid  Cons.;  c.  pop 
vln.-pcs. 

Monbelli  (mon-bel'-le),  Marie,  b 
Cadiz,  Eeb.  13,  1843  ;  soprano  ;  pu 
pil  of  Mme.  Garcia,  Paris. 


i 


DICTIONARY  OF  MUSICIANS    637 


Mondonville  (moii-don-ve'-yfl),  J. 
Jos.  Cassanea  de  (de  M.  being  his 
wife's  maiden  name),  Narbonne, 
171 1 — Belleville,  near  Paris,  1772  ; 
violinist,  conductor  and  dram,  com- 
poser. 

Moniuszko  (mo-nl-oosh'-ko),  Stanis- 
law,  Ubiel,  Lithuania,  May  5,  1813 
— Warsaw,  June  4,  1872  ;  pupil  of 
Freyer  and  Jiungenhagen  ;  1.  Berlin, 
then  at  Wifria  ;  c.  15  notable  Polish 
operas,  also  masses,  songs,  etc.;  or- 
ganist, director,  professor.  Biogr.  by 
A.  Walicki  (Warsaw,  1S73). 

Monk,  (i)  Edwin  G.,  b.  Frome, 
Engl.,  December  13,  1819;  pupil  of 
G.  A.  Macfarren  ;  Mus.  Doc.  Oxon, 
1856;  1S59-83,  organist  York  Minster; 
ed.   choral    books,   etc.;     c.   2    odes, 

•  unison  service,  etc.  (2)  Wm.  H., 
London,  1823 — Stoke  Newington, 
London,  1889  ;  organist,  professor  of 
vocal  mus.;  editor. 

Monpou  (moh-poo)  (Fran.  L.)  Hip., 
Paris,  1S04 — Orleans,  1841  ;  c.  of 
light  operas  and  songs. 

Monro',  H.,  b.  Lincoln,  1774  ;  Engl, 
organist  and  composer. 

Monsigny  (moh-sen-ye),  P.  Alex., 
Fauquembergue,  near  St.-Omer,  Oct. 
17,  1729 — Paris,  Jan.  14,  1817  ;  ill- 
trained  but  melodious  French  comic 
opera  writer  of  noble  birth  but  left 
poor  on  his  father's  death  ;  became  a 
clerk,  later  steward  to  the  Duke  of 
Orleans  ;  he  had  studied  the  vln.  as 
a  child  and  now  studied  harm,  for  5 
months  with  Gianotti  ;  at  30  prod. 
a  succ.  i-act  op.,  followed  by  12 
others,  the  last,  "  Felix,  oit  V enfant 
irotivJ"  {iT]-;),  the  greatest  succ.  of 
all  ;  immediately  m.,  ceased  to  write; 
his  stewardship  and  his  royalties  had 
brought  him  riches,  which  the  Revo- 
lution swept  away  ;  he  was  gi\en  a 
pension  of  2,400  francs  ($480)  a 
year  by  the  Op.  Com.;  1800-02,  in- 
spector at  the  Cons.  ;  18 13,  member 
01  the  Acad.;  18 16,  Legion  of  Hon- 
our. Biogr.  by  Alexandre  (i8ig), 
and  Hedouin,  1820. 


Montaubry  (mofi-to-bre),  Achille  F., 
Niorte,  Nov.  12,  1816 — Angers,  1898; 
tenor. 

Monte  (mon'-te),  Filippo  (or  Philip- 
pus  de)  (Philippe  de  Mons)  (dii- 
mohs),  probably  at  Mons  (or  Ma- 
lines),  1521 — Vienna,  July  4,  1603; 
conductor  and  celebrated  composer. 

Mont  Eclair  (moh-ta-kiar),  Michel 
Pignolet  de,  Chaumont,  1666 — 
Saint  -  Denis,  n.  Paris,  Sept.,  1737  ; 
double-bass  player ;  dram,  composer 
and  writer  of  methods. 

Monteverde  (mon-ta-ver'-de)  (he 
signed  his  name,  Monteverdi), Clau- 
dio  (Giov.  A.),  Cremona  (bapt.. 
May  15),  1567 — Venice,  Nov.  29, 
1643  ;  eminent  composer ;  when 
young,  via. -player  in  the  orch  of  Duke 
Gonzaga,  Mantua,  and  studied  cpt. 
with  Ingegneri.  At  17  and  at  20 
pub.  Canzonette  a  3,  and  madrigals, 
in  which  appeared  (among  many  un- 
intentional or  unbeautiful  effects)  the 
harmonic  innovations  for  which  he  is 
famous  and  which  led  Rockstro  to 
call  him  "  not  only  the  greatest  mu- 
sician of  his  own  age,  but'  the  in- 
ventor of  a  system  of  harmony  which 
has  remained  in  uninterrupted  use  to 
the  present  day."  His  progressions 
include  the  unprepared  entrance  of 
dissonances,  the  dominant  seventh 
and  the  ninth  (v.  D.  D.,  CHORD,  pro- 
gression, SUSPENSION,  PREPARA- 
TION, etc.).  He  was  bitterly  assailed 
in  pamphlets,  particularly  by  Artuso, 
and  he  replied  in  kind.  The  outcome 
was  his  complete  triumph  and  the  es- 
tablishment of  the  new  school  of 
song  and  accompaniment.  His  vic- 
tory, while  salutary  for  art  in  general 
and  dramatic  song  in  particular,  was 
too  complete  ;  for  the  bigoted  defend- 
ers of  polyphonic  music  dragged 
down  with  them  in  their  ruin  the 
splendid  edifice  of  church-mus.  built 
to  perfection  by  Palestrir.a  and 
others.  1603,  M.  became  his  teach- 
er's successor  as  Maestro  to  the 
Duke  and  c.  for  the  wedding  of  the 
Duke's  son  to  Margherita  of  Savoy 


638 


THE    MUSICAL    GUIDE 


the  opera."  Aria  fifie,"  in  which  Ari- 
adne's erief  moved  the  audience  to 
tears.  In  160S  he  prod,  his  opera 
"  Orfco  "  with  the  unheard-of  orches- 
tra of  36  pieces  (Riemann  states  that 
"  Arja/me"  was  the  2d  work  and 
Orfeo  the  first).  Orfeo  was  pubHshed 
in  1609  and  in  1615,  and  the  score 
shows  g^reat  modernity,  Rockstro 
comparing  its  preludes  with  one  bass- 
note  sustained  throughout  to  the  In- 
troduction to  "Das  Rheitigold"  and 
its  continual  recitative  also  to  that  of 
Wagner. 

In  160S  appeared  his  mythological 
spectacle  "  Ballo  deile  Itigrate.''' 
Vespers  and  motets  (pub.  1610)  gave 
him  such  fame  that  he  was  in  1613 
made  Maestro  di  Cappella  at  San 
Marco,  Venice,  at  the  unprecedented 
salary  of  300  ducats  (the  usual  salary 
had  been  200),  but  it  was  raised  to 
500  in  1616,  and  a  house  and  travel- 
ling expenses  given  him.  1621,  his 
very  romantic  Requiem  was  given  with 
effect.  In  1624,  he  introduced  the 
theii  startling  novelty  of  an  instru- 
mental tremolo  (which  the  musicians 
at  first  refused  to  play)  into  his 
Dramatic  Interlude;  " //  Combat- 
timento  di  Tancredi  e  Cloriyida  "/ 
1627  he  c.  5  dramatic  episodes  incl. 
"  Bradamante  "  and  "  Dido"  for  the 
court  at  Parma  ;  1630,  opera  "  Pro- 
serpiiie  Rapita  ";  in  1637  in  the  first 
opera-house  opened  at  Venice,  the 
Teatro  di  S.  Cassiano,  operas  having 
hitherto  been  performed  at  the  pal- 
aces of  the  nobility  (v.  peri),  M. 
prod,  the  operas  "  Adone"  (Venice, 
1639)  ;  "  Le  Nozze  di  Eneta  con  La- 
vinia  "  (1641),  "  //  RHorno  di  Ulisse 
in  Patria  "  (1641),  and  "  L' Incorona- 
zione  di  Poppea  "  (1642).  He  earned 
the  title  of  "  the  father  of  the  art  of 
instrumentation"  ;  was  the  most  pop- 
ular and  influential  composer  of  his 
time. 

In  1663  he  joined  the  priesthood 
and  is  heard  of  no  more.  C.  masses, 
psalms,  hymns,  magnificats,  motets, 
madrigals,  etc. 


Monticelli  (mon-tl-chel'-le),  Angelo 
Maria,  Milan,  1710 — Dresden,  1764, 
soprano  musico. 

Montigny-Remaury  (ni6h-ten-ye-ra- 
mo-re),  Caroline,  b.  Pamiers,  Jan.21, 
1843  ;  sister  and  pupil  of  Mnie.  Ani- 
broise  Thomas  ;  studied  at  the  Cons, 
and  took  3  prizes  ;  one  of  the  best 
French  pianists  of  her  time  ;  1S66,  ni. 
Leon  M.,  a  journalist. 

Moore,  (i)  Thos.,  Dublif,  1779 — "ear 
Devizes,  1S52  ;  famous  poet  ;  pianist 
and  singer.  (2)  Homer,  b.  America  ; 
teacher  at  St.  Louis,  Mo.;  prod, 
there  1902,  opera  "  T/w  Puritans." 

Moorehead,  J.,  b.  Ireland — d.  1S04  , 
composer. 

Mooser  (m5'-zer),  Aloys,  Fribourg, 
1770 — 1829;   Swiss  org. -builder. 

Morales  (m6-ral -as)  (Cristotero), 
Cristofano,  b.  Sevilla ;  entered  the 
Papal  chapel  ca.  1540;  emment 
Spanish  contrapuntist  and  composer. 

Moralt   (mo'-riilt),    the   name    of    four 
brothers  famous  at  Munich  as  a  quar-  '■ 
tet.     (i)   Jos.,     Schwetzingen,     neai 
Mannheim,      1775 — Munich,      1828  ;  j£ 
1st  violinist.     (2)    Jn.    Bpt.,  Mann-  I 
heim,    1777 — Munich,    1S25  ;  2d  vio-  a 
linist ;  composer.     (3)  Philipp,  Mu- 
nich,   1780 — 1829  ;     'cellist.      (4)  G., 
Munich,  1781 — 18 18  ;  via. -player. 

Moran-Olden  (rightly  F.  Tappen- 
horn)  (mo'-ran-6l  -den),  Fanny,  b. 
Oldenburg,  Sept.  28,  1855  ;  pupil  of 
Haas  and  Gotze  ;  debut  as  "  Fanny 
Olden"  at  the  Gewandhaus,  1877; 
1878,  leading  sopr.,  Frankfort  ;  18S8- 
89,  New  Vork  ;  ni.  in  1879  the  tenor' 
K.  Moran  ;  1897,  m.  Bertram,  ct.- 
singer  at  Munich. 

Morel  (mo-rel),  Auguste  Fran.,  Mar- 
seilles, 1809 — Paris,  1881;  dir.  of  the 
Marseilles  Cons,  and  dram,  compos- 
er. 

Morelli  (mo-rel'-le),  (i)  Giacomo, 
Venice,  1745 — 1819;  librarian,  San' 
Marco.  (2)  Giov.,  Italian  bass,  in 
London,  1787. 

Morelot  (ni6r-16),  Stephen,  b.  Dijon, 
Jan.  12,  1820  ,  from  1845,  co-ed. 
"  Revue  de  la  Miisique  " ;  1847,  seni 


[ 


DICTIONARY  OF  MUSICIANS   639 


by  the  ^Ministry  of  Pub.  Instruction 
to  study  church-mus.  in  Italy  ;  wrote 
a  woriv  on  plain-chant,  an  attempt  to 
revive  ancient  harmonisation,  etc. 

Morret'ti,  Giov.,  Naples,  1807 — Ceg- 
lie,  near  Naples,  1884  ;  cond.  and 
dram,  composer. 

Morgan,  (i)  G.  Washbourne,  Glou- 
cester, Engl. ,  1S22 — Tacoma,  U.  S. 
A.,  1892  ;  organist  and  conductor. 
(2)  J.  Paul,  Oberlin,  Ohio,  1841 — 
Oakland,  Cal.,  1879;  organist  and 
composer. 

Mori  (m5'-re),  (i)  Nicolas,  London, 
1793 — 1839  ;  violinist.  (2)  Frank, 
d.  Aug.,  1873  ;  son  of  above;  com- 
poser. 

Moriani  (m5-rl-a'-ne).  Napoleon, 
Florence,   1806 — 1878  ;  tenor. 

Morichelli  (mo-rT-kel'-le),  Anna  Bo- 
sello,  Reggio,  1760  ;  violinist ;  after 
1794,  opera-singer. 

Morja,  pen-name  of  Moriz  Jaffe 
(q.  v.). 

Morlacchi  (mor-Iak'-ke),  Fran.,  Peru- 
gia, June  14,  1784 — Innsbruck,  Oct. 
28,  1841;  pupil  of  Zingarelli,  Padre 
Martini,  etc.,  from  1810  cond.  of  Ital- 
ian opera,  Dresden  ;  c.  many  succ. 
operas,  also  church-music,  incl.  Tuba 
Mirum,  inspired  by  Michelangelo's 
^^  Last  Z'udginent";  biog.  by  Count 
Rossi-Scotti  (1870). 

Mor'ley,  (i)   Thos.,  i5s7 — 1604;  pu- 

.  pil  of  Byrd  ;  1588,  Mus.  Bac,  O.x- 
ford  ;  1592,  Gentleman  of  the  Chapel 
Royal ;  also  Epistler  and  Gospeller  ; 
c.  the  only  contemporary  Shakespear- 
ean song  extant,  " //  IVas  a  Lover 
and  His  Lass"  from  ".4 j  You  Like 
Ll"  pub.  1600  in  one  of  his  very 
numerous  colls. ;  he  wrote  the  first 
P2nglish  treatise  on  mus.  (1597)  still 
valuable,  and  ed.  (1599)  a  curious 
treatise  on  ensemble  playing  ;  some  of 
his  madrigals  and  melodious  ballets 
are  still  heard.  (2)  Wm.,  d.  1731  ; 
Mus.  Bac.  Oxford,  1713  ;  1715,  Gent, 
of  the  Chapel  Royal  ;  c.  one  of  the  ear- 
liest known  double-chants,  songs,  etc. 
Morn  ington,  Garret  Colley  Welles- 
ley,  Earl  of  ;   Dangan,  Ireland,  1735 


— 1 781;  father  of  the  Duke  of  Wel- 
lington ;  prof,  of  music  at  Dublin  U. 
and  composer. 

Morse,  Chas.  H.,  b.  Bradford,  Mass., 
Jan.  5,  1853  ;  1873,  graduate  New 
Engl.  Cons.;  studied  with  Perabo, 
and  Baermann,  1879;  1873,  teacher  N. 
E.  Cons.;  1875-84,  Mus.  Dir.  Wel- 
lesley  Coll.;  from  1891,  organist 
Plymouth  Church,  Brooklyn ;  pub. 
collections  of  organ-pieces  and  com- 
posed. 

Mortier  de  Fontaine  (mort-ya  dii 
foh-ten),  H.  Louis  Stanislas,  Wis- 
niewiec,  Russia,  18 16 — London, 
1883  ;    pianist. 

Mortimer,  Peter,  Putenham,  Surrey, 
1750— Dresden,  1828 ;  a  Moravian 
brother ;  writer. 

Mosca  (mos'-kii),  (i)  Giuseppe,  Na- 
ples, 1772 — Messina,  1839  ;  conduc- 
tor and  dram,  composer.  (2)  Luigi, 
Naples,  1775 — 1824  ;  bro.  of  above  ; 
prof,  of  singing. 

Moscheles  (mo'-she-les),  Ignaz, 
Prague,  May  30,  1794 — Leipzig, 
March  10,  1870;  son  of  a  Jewish  mer- 
chant ;  at  10  pupil  of  Dionys  Weber, 
Prague  Cons.;  at  14  played  publicly 
a  concerto  of  his  own  ;  studied  with 
Albrechtsberger  and  Salieri  while 
earning  his  living  as  a  pianist  and 
teacher  ;  at  20  was  chosen  to  prepare 
the  pf. -score  of  "Fidelia"  under 
Beethoven's  supervision  ;  as  a  pianist 
a  succ.  rival  of  Hummel  and  Meyer- 
beer ;  he  could  not  comprehend  or 
play  Chopin  or  Liszt,  but  had  large 
influence  on  subsequent  technic ; 
after  tours,  he  lived  in  London  1821— 
46,  when  Mendelssohn,  who  had 
been  his  pupil,  persuaded  him  to  join 
the  newly  founded  Leipzig  Cons.,  of 
which  he  became  one  of  the  pillars  ; 
c.  8  pf. -concertos,  incl.  ''  fantas- 
tiqtie"  '' pathtftiqiie"  and  ''pastor' 
al" ;  ''Sonata"  and  "Senate  sym- 
phonique"  for  pf.  4  hands,  and 
"  Sonate  caracteristique"  "  Sonate 
iiielancoliqne"  and  many  standard 
studies ;  biog.  (1872)  by  his  wife 
Charlotte  (nee  Embden). 


640 


THE    MUSICAL    GUIDE 


Mosel  (mo'-zSl),  Ignaz  Fz.,  Edler 
von,  Vienna,  1772 — 1844;  conduc- 
tor, writer  and  dram,  composer. 

Mosenthal  (mo'-zen-tal),  Jos.,  Cassel, 
Nov.  30,  1834 — New  York,  Jan.  6, 
1896  ;  from  1867,  cond.  Mendelssohn 
Glee  Club,  New  York,  also  violinist, 
organist  and  composer. 

Moser  (mo'-zer),  (i)  K.,  Berlin,  1774 — 
185 1 ;  violinist  and  conductor.  (2) 
Aug.,  Berlin,  1825 — (while  touring 
America)  1859  I  so'^  ^f  above  ;  com- 
poser and  violinist. 

Mosewius  (m6-za -vl-oos),  Jn.  Th., 
Kcinigsberg,  178S  —  Schaffhausen, 
185S  ;  opera-singer  and  writer. 

Mosonyi  (rightly  Michael  Brandt), 
Boldog-Aszony,  Hungary,  1814 — 
Pesth,  1870  ;  pf. -teacher  and  com- 
poser. 

Mos'sel,  Jan.,  b.  Rotterdam,  April  22, 
1870  ;  'cellist ;  pupil  of  Kohler  and 
Eberle  ;  i836  toured  ;  since  1888  lives 
in  Amsterdam  as  soloist  and  teacher 
in  the  Cons. 

Moszkwa  (moshk'-va).  Prince  de  la 
(Jos.  Napoleon  Ney),  Paris,  1803 
— St.  Germain-eu-Laye,  1857  ;  eldest 
son  of  Marshal  Ney  ;  a  senator.  Brig- 
adier Gen.  under  Napoleon  III.,  also 
a  finished  musician  ;  cond.  and  dram, 
composer. 

Moszkowski  (mosh-kof'-shkl),  (i) 
Moritz,  b.  Breslau,  Aug.  23,  1854; 
son  of  a  wealthy  Polish  gentleman; 
pupil  of  Dresden  Cons.,  Stern  and 
Kullak  Cons.;  teacher  Stern  Cons,  for 
years  ;  later  debut  with  succ.  as  pi- 
anist, Berlin,  1873  ;  until  1S97  Ber- 
lin then  Paris,  as  a  composer,  prod, 
succ,  opera,  "  Boabdil  der  Maiiren- 
konig"  (Berlin,  1882);  symph.  poem 
''Jeanne  d'Arc  "  /  "  Phantastischer 
Zug"  for  orch. ;  2  orchestral  suites  and 
a  vln. -concerto  ;  c.  many  pop.  pf.- 
pcs.,  incl.  "  Ahs.  alien  Herren  Liin- 
der"  and  "  Spanische  Tdnze."  (2) 
Alex.,  b.  Pilica,  Poland,  Jan.  15, 
185 1  ;  bro.  of  above  ;  critic,  editor 
and  writer  at  Berlin. 

Mottl  (mot'-'l),  (i)  Felix,  b.  Unter-St. 
Veit,   near    Vienna,   Aug.    24,   1856  ; 


prominent  conductor  ;  as  a  boy-so- 
prano, entered  Lowenberg  "  Kon- 
vikt,"  then  studied  at  the  Vienna 
Cons.,  graduating  with  high  honours  ; 
cond.  the  Academical  Wagnerverein 
for  some  time;  1S80,  ct.-cond.  at; 
Carlsruhe,  also,  until  1892,  cond.  1 
Philh.  Concerts;  1893  the  Grand  | 
Duke  app.  him  Gen.  Mus.  Dir. ;  1886,! 
cond. -in-chief,  Bayreuth  ;  invited  to 
be  ct.-cond.  but  he  declined ;  1898; 
declined  a  similar  call  to  Munich  ;j 
gives  succ.  concerts  London  and; 
Paris  ;  1892,  he  m.  (2)  Henriettel 
Standhartner  (b.  Vienna,  Dec.  6,. 
1866,  now  ct.  opera  singer  at  Weimar 
and  Carlsruhe).  He  c.  succ.  operas, 
"  Agnes  Bernaner  "  (Weimar,  1880); 
and  the  i-act  ''  Fiii-st  und  Sanger" 
(Carlsruhe,  1893),  prod,  also  a  "  Fest- 
spiel,"  ''  Eberstein"  songs,  etc. 

Moun'sey,  (i)  Ann  Shephard,  b.; 
London,  181 1  ;  composer,  teacher, 
and  organist.  (2)  Elizabeth,  b.  Lon- 
don, 1819;  organist,  pianist,  guitar- 
player  and  composer. 

Mount-Edg'cumbe,  Richard,  Earl 
of,  1764 — Richmond,  Surrey,  1S39: 
wrote  ''Reminiscences  of  an  Am- 
atenr'"  ;  c.  opera  "  Zenobia." 

Mouret  (moo-ra),  J.  Jos.,  Avignon, 
1682  —  insane  asylum,  Charenton, 
1738  ;  conductor  and  composer. 

Moussorgsky.     Vide  mussorgski. 

Mouton  (moo-ton)  (Jean  de  Hollin- 
gue  (fM-lang)  (called  "  Mouton  ")) 
Holling(?),  near  Metz — St.  Wuentin 
Oct.  30,  1522  ;  important  contrapun- 
tist. 

Mouzin  (moo-zSn),  P.  Nicolas  (callec 
^douard),  b.  Metz,  July  13,  1822 
studied  at  Metz  branch  of  the  Pari; 
Cons.  ;  1842,  teacher  there,  1854 
dir.;  1S71,  teacher  at  the  Paris  Cons, 
writer;  c.  2  operas,  symphs. ,  etc. 

Mozart  (mo'-tsart)  (originally  Mot- 
zert),  (i)  (Jn.  G.)  Ld.,  Augsburg' 
1719 — Salzburg,  1787;  father  of  W 
A.  M.;  dram  composer.  (2)  (Maria 
Anna  (called  "  Nannerl "),  Salz 
burg,  1751 — 1829;  daughter  and  pa 
pil  of  above  ;  pianist ;  c.  org.  pes. 


I 


DICTIONARY  OF  MUSICIANS    641 


(3)  Wolfgang  Amadeus  (bap- 
tised Jns.  Chrysostomus  Wolf- 
gangus  Theophilus),  Salzburg, 
Jan.  27,  1756 — Vienna,  Dec.  5,  1791  ; 
son  of  (i),  and  bro.  of  (2)  ;  one  of 
the  major  divinities  of  music.  Of  un- 
rivalled precocity  in  performance, 
composition,  and  acoustic  sensitive- 
ness ;  at  3  his  talent  and  his  discov- 
ery of  thirds  (v.  d.d.),  led  his  father 
to  teach  him.  He  began  at  once  to 
compose  little  minuets  which  his  fath- 
er and  later  he  himself  noted  down. 
He  and  his  sister  made  a  joint  debut 
at  Munich,  when  he  was  barely  6, 
though  he  had  appeared  as  a  per- 
former 4  months  before  in  a  comedy 
at  the  Univ.  at  Salzburg.  He  ap- 
peared the  same  year  in  Vienna,  fas- 
cinating the  court.  He  now  learned 
the  vln.  and  org.  without  instruction. 
At  7  he  was  in  Paris,  where  his  lirst 
works  were  pub.,  "  //  Senates poui-  le 
clavecin."  The  next  year  he  was  in 
London,  delighting  royalty,  winning 
the  honest  praise  of  musicians  and 
coming  victoriously  out  of  remark- 
able tests  of  his  ability  as  sight-read- 
er and  improviser.  During  his  fath- 
er's illness,  while  silence  was  required, 
he  c.  his  first  symph.  Here  his  6 
sonatas  for  vln.  and  harps,  were 
pub.  and  his  first  symph.  performed 
frequently.  He  won  the  friendship 
of  J.  Chr.  Bach,  and  was  given  sing- 
ing lessons  by  Manzuoli.  Before 
leaving  England  he  wrote  a  motet  to 
English  words  in  commemoration  of 
a  visit  to  the  British  Museum.  The 
family  stopped  at  various  cities  on 
the  way  home,  the  children  playing 
at  courts  with  constant  succ,  a  con- 
cert being  given  at  Amsterdam  in 
1766,  at  which  all  the  instrumental 
music  was  M.'s.  At  Biberuch  he 
competed  as  organist  without  result 
against  a  boy  2  years  older,  Sixtus 
Bachmann.  Returning  to  Salzburg, 
in  1766,  M,  was  set  to  studying  Fux, 
etc.  1767  he  c.  an  oratorio,  1768,  an 
opera.  "  Za  Finta  Semplice"  at  the 
Emperor's   request.      Its   production 

41 


was  postponed  by  the  now  jealous 
musicians  till  1769.  Meanwhile  a 
German  opera  "'  Bastien  und  Basti- 
enne  "  had  been  performed,  and  M. 
made  his  debut  as  cond.  in  176S  ((^ged 
12),  with  his  solemn  mass.  The  Arch- 
bishop made  him  Konzertmeister, 
with  salary,  but  his  father  wished  him 
to  enjoy  study  in  Italy.  His  concerts 
were  sensations,  the  Pope  gave  him 
the  order  of  the  Golden  Spur  (also 
given  to  Gluck),  and  at  his  father's 
iaehest  he  signed  a  few  compositions 
by  his  new  title  Signor  Cavaliere 
Amadeo,  but  soon  dropped  this. 
After  tests  he  was  elected  a  member 
of  the  Accademia  F'ilarnionica  of  Bo- 
logna. At  14  he  gave  a  concert  at 
Mantua  in  which  according  to  the 
programme  he  promises  to  play  "a 
Symphony  of  his  own  composition  ; 
a  Clavichord-concerto,  which  will  be 
handed  to  him,  and  which  he  will  im- 
mediately play  at  sight  ;  a  Sonata 
handed  him  in  like  manner,  which  he 
will  provide  with  variations,  and  after- 
wards repeat  in  another  key  ;  an 
Aria,  the  words  for  which  will  be 
handed  to  him,  and  which  he  will  im- 
mediately set  to  music  and  sing  him- 
self, accompanying  himself  on  the 
clavichord  ;  a  Sonata  for  clavi- 
chord on  a  subject  given  him  by  the 
leader  of  the  violins  ;  a  Strict  Fugue 
on  a  theme  to  be  selected,  which  he 
will  improvise  on  the  clavichord  ;  a 
trio,  in  which  he  will  execute  a  violin- 
part  a//'  improvviso  ;  and  finally,  the 
latest  Symphony  composed  by  him- 
self." In  Rome,  after  twice  hearing 
AUegri's  famous  ''  H/isercre"  long 
kept  secret,  he  correctly  wrote  out  the 
entire  score  from  memory.  At  Milan 
he  prod.  3-act  opera  seria  "  Miiridaie, 
re  di  Pontc  "  (1770),  which  had  20  con- 
secutive performances  under  his  di- 
rection. 1 77 1,  he  brought  out  a 
dramatic  serenade,  '' Ascanio  in 
Alba,''  for  the  wedding  of  Archduke 
Ferdinand.  1772  his  friendly  protec- 
tor, the  Archbishop  of  Salzburg,  died  ; 
his  successor,  Hieronjmous,  Count  of 


642 


THE    MUSICAL    GUIDE 


Colloredo,  treated  M.  with  the  great- 
est inappreciation,  compelling  him  to 
sit  with  the  servants  (though  M.  was 
frequently  entertained  at  the  houses 
of  the  nobility  with  great  distinction); 
and  when  M.  demanded  his  discharge 
in  1781,  he  had  him  kicked  out  by  a 
servant.  It  was  for  his  installation 
that  M.  had  c.  the  dramatic  "// 
Sogno  di  Scipione"  (1775),  ''  Litcio 
Silla"  {1-J12),  and  "  Za  Fiiita  Giar- 
diniera"  prod,  at  Milan,  under  his 
own  direction.  1775  ;  later  "  //  Re 
Fastore"  at  Salzburg  during  Arch- 
duke Maximilian's  visit.  177S  he  went 
with  his  mother  to  I'aris,  where  he 
won  little  attention  in  the  struggle 
between  Gluck  and  Piccini.  At  length 
after  his  mother's  death  he  returned 
to  Salzburg  as  Konzertmeister,  and 
ct. -organist  ;  but  settled  in  Vienna, 
after  prod,  the  opera  '"  Idomeneo" 
(Munich,  Jan.,  1781).  On  commis- 
sion for  the  Emperor  he  wrote  {"Bel- 
vionte  iind  Constance,  oder)  Die  Ent- 
fuhrung  aus  dem  Serail"  prod,  with 
great  succ,  despite  the  machinations 
of  the  theatrical  clique,  17S2  ;  a 
month  later  he  ra.  Constance  Weber 
(the  sister  of  Aloysia,  whom  he  had 
loved  in  Mannheim).  She  bore  him 
six  children,  four  sons  and  two  daugh- 
ters. The  small  receipts  for  compo- 
sitions and  concerts  were  quickly 
spent  0:1  hi.xuries  beyond  their  means, 
and  as  neither  was  a  good  manager 
of  resources,  many  hardships  fol- 
lowed. .\fter  two  unfinished  operas 
he  prod,  a  mus.  comedy,  ''  Der 
Schauspieldirector "  (Schonbrunn, 
1786).  May  I,  ia  Vienna,  his  opera 
buffa  "  Le  Nozze  di  Figaro  "  ("  Mar- 
riage of  Figaro ")  was  rescued  from 
intrigues  into  a  very  great  succ.  The 
then  famous  librettist  Da  Ponte  next 
wrote  the  book  for  "  Djn  (iiovanni" 
(Don  Juan),  which  made  a  very  great 
succ.  at  Prague  (1787),  and  led  the 
Emperor  to  appoint  M.  "chamber 
composer,"  at  800 gulden  ($400)  a  year 
(Gluck,  just  deceased,  had  2,000  guld- 
en).   1789  he  accompanied  Prince  Karl 


Lichnowski  to  Berlin,  playing  for  the 
Dresden  court,  and  at  the  Thomas- 
kirche,  Leipzig.  King  Er.  Wm.  II., 
hearing  him  at  Potsdam,  offered  him 
the  post  of  1st  Royal  cond.  with 
3,000  thaler  ($2,250)  a  year,  but 
M.  would  not  abandon  his  "good 
Kaiser ;"  still  Fr.  Wm.  II.  ordered 
three  quartets,  for  which  he  paid  well. 
Hearing  this,  the  Emperor  ordered 
the  opera  buffa  "■Cost  fan  Futie" 
(Vienna,  1790).  Soon  after  its  produc- 
tion the  Emperor  died  ;  his  successor 
Ld.  II.  cared  little  for  M.,  leaving  [ 
him  in  greatest  hardship.  His  de-  : 
voted  friend  Jos.  Haydn  now  went  to  j 
London.  M.  made  a  tour,  pawning 
his  plate  to  pay  the  expenses.  For 
the  coronation  of  Leopold  II.,  as 
King  of  Bohemia,  at  Prague,  he  was 
invited  to  write  the  festival  opera 
"  Zrt!  Clenienza  di  Fito"  performed 
1791.  He  returned  to  Vienna  and  c. 
'  Die  Zanberjlote"  ("Magic  Flute," 
Vienna,  Sept.  30,  1791),  a  work  in 
which  are  e.xploited  the  allegories  ot 
the  Masonry  of  which  M.  was  a  mem- 
ber. It  made  a  decided  succ.  He 
was,  however,  growing  weaker  and 
suffering  from  fainting  fits,  claiming 
that  he  had  been  poisoned.  A  mys- 
terious stranger  had  commissioned 
him  to  write  a  requiem,  and  M.  be- 
gan it  with  a  superstitious  dread  that 
the  messenger  had  come  from  the  i 
other  world  to  announce  his  death.  1 
It  has  since  been  learned  that  he  was  ; 
Leutgeb,  the  steward  of  Count  von  i 
Walscgg,  who  gave  the  work  out  as  j 
his  own,  not,  however,  destroying  the  ! 
MS.  The  work  was  not  quite  com- i 
pleted  by  Mozart,  who  had  his  pupil  I 
Sussmaycr  fill  out  the  incomplete ! 
portions,  Mozart  died  of  malignant; 
typhus.  A  violent  rain-storm  coming 
up  in  the  midst  of  the  funeral,  the  party 
turned  back  leaving  the  body  to  be, 
interred  in  some  spot,  never  after  dis- 
covered, in  the  ground  allotted  tc 
paupers  in  the  St.  Mary  cemetery. 
The  profits  of  a  Mus.  Festival  given 
by    the     Frankfort    "  Liederkranz  "' 


DICTIONARY  OF  MUSICIANS   643 


June  25,  1S38,  were  devoted  to  found- 
ing a  Mozart  Scholarship,  the  interest 
amounting  in  1S96  to  1500  marks, 
applied  quadrennially  to  the  aid  of 
talented  young  composers  of  limited 
means.  At  ^^Izhurg  the  A/ozar/eia/i, 
a.  municipal  musical  institute  founded 
in  his  memory,  consists  of  an  orch.  soc. 
pledged  to  perform  his  church-music 
in  the  14  churches  of  the  town,  to 
give  12  concerts  yearly,  and  to  sus- 
tain amus.-sch.  in  which  the  musicians 
of  the  orch.  give  instruction. 

A  complete  ed.  of  M.'s  works  pub. 
by  Breitkopf  e\:  Hartel  (1876-86),  con- 
tains much  church-mus.  inc.  15  masses, 
cantatas  '' Davidde  penitente"  (ma- 
sonic), ''  Alaurerfrende"  and  '' Kleine 
Freimatirrercantate,"  etc.  ;  stage- 
works,  besides  those  mentioned,  "  Die 
Schiddigkeit  dcs  crsten  Gclwts"  (only 
partially  his  own),  "  Apollo  et  Ilyacin- 
thiis"  (Latin  comedy  with  mus.) ; 
"' Zai'dc'"  (unfinished);  ''  Thamos, 
A'd)iig  in  Aegyptcn"  (choruses  and 
entr'actes  ;  Berlin,  1786)  ;  "  Ido- 
tiieiico,  re  di  Crcta,  ossia  Ilia  ed  Ida- 
7>tante."  Orch.  Works:  4isymph.; 
2  symph.  movements  ;  31  diverti- 
menti,  serenades,  and  cassations  ;  9 
marches;  25  dances,  '"  Masonic  Fu- 
neral-Music "  ;  ''A  Musicaljest  "  for 
string-orch.    and    2   horns ;  a  sonata 


for  bassoon  and  'cello  ;  phantasie  for 
Glockenspiel  ;  andante  for  barrel-or- 
gan, etc.;  6  vln. -concertos,  bassoon- 
concerto,  a  concerto  for  flute  and 
harp,  2  flute-concertos,  horn-concer- 
tos, a  clarinet-concerto,  25  pf. -con- 
certos, a  double  concerto  for  2  pfs.,  a 
triple  concert  for  3  pfs.  Chambkr- 
Music  :  7  string-quintets  ;  26  string- 
quartets  ;  "  Nachtmusik  "  for  string- 
quintet  ;  42  vln. -sonatas,  etc.  Pf.- 
Music  :  for  4  hands  ;  5  sonatas,  and 
an  andante  with  variations  ;  for  2 
pfs.,  a  fugue,  and  a  sonata  ;  17  solo 
sonatas  ;  a  fantasie  and  fugue  ;  3 
fantasias  ;  36  cadenzas  to  pf. -con- 
certos ;  rondos,  etc.;  17  organ  sona- 
tas, etc.  Vocal  Music  :  27  arias,  and 
I  rondo  for  sopr.  with  orch.;  German 
war-song  ;  a  comic  duet  ;  34  songs  , 
a  song  with  chorus  and  org. ;  a  3-part 
chorus  with  org.  ;  a  comic  terzet  with 
pf.;  20  canons. 

The  best  of  many  biographies 
is  by  Otto  Jahn  (1S56-59,  4  vol- 
umes in  English,  London,  1S82), 
etc. 

His  letters  have  aJso  been  published 
and  translated  in  two  volumes.  One 
of  his  two  overtures  was  found  at  the 
Paris  Cons.  1901.  Six  unpublished 
sonatas  were  found  in  Buckingham 
Palace,  1902. 


Mozart. 

By   Vernon    Blackburn. 

JOHN  CHRYSOSTOM  WOLFGANG  AMADEUS  MOZART, 
the  son  of  a  tolerably  good  musician,  by  name  Leopold,  from  his  ear- 
liest years  displayed  the  most  extraordinary  sense  of  musical  precocity. 
At  the  age  of  three  years  he  was  able  to  pick  out  harmonies  on  the 
harpsichord  ;  by  the  time  he  was  seven,  he  had  already  burdened  his  young 
soul  with  the  responsibility  of  various  compositions  which  are  more  interesting 
than  such  compositions  might  be  expected  to  be.  The  darling  of  courts  in  his 
childhood  (for  his  father  took  him  early  on  his  travels  for  purposes  of  exhibi- 
tion as  a  musical  prodigy),  the  intensely  industrious  youth,  the  creator  of  a 
dramatic  art  in  music,  separate  and  by  itself  in  the  world,  the  greatest  master 


644  THE  MUSICAL  GUIDE 

of  melody  that  this  earth  has  ever  seen,  the  writer  of  innumerable  symphonies, 
innumerable  songs,  innumerable  sonatas,  the  possessor  of  a  musical  memory 
such  as  had  never  been  conferred  on  the  son  of  man  before,  he  was  the  brill- 
iant artist  of  high  spirits,  the  man  who  lived  life  to  the  very  last  drop  of  the 
glass,  ^yin  a  word,  a  genius,  in  art  and  in  living,  of  the  highest  flower.  He 
went  down  to  his  grave  before  he  was  forty  years  of  age^  buried  no  man 
knows  where,  deserted  of  friends,  deserted  even  in  his  last  journey  to  the 
Vienna  cemetery  by  his  wife  ;  abjectly  poor,  with  not  a  soul  to  weep  for 
him,  not  a  soul  to  care  what  became  of  these  sacred  relics.  Here  was,  in- 
deed, a  combination  of  glory  and  the  darkest  tragedy  which  can  scarcely  be 
found  outside  the  Attic  drama.  ^Yet,  from  the  critical  point  of  view,  it  can 
scarcely  be  said  that  Mozart  was  in  any  sense  a  revolutionary  ;  he  was  the 
glorious  link  which  combined  the  music  of  the  last  century  with  the  music  of 
this.  The  strictest  formalist,  the  impeccable  master  of  counterpoint,  the 
respecter  in  every  way  of  traditions,  you  can  see  him,  as  it  were,  on  the 
tiptoe  of  the  future,  bearing  on  his  brilliant  soul,  and  bearing  it  lightly,  all  the 
burdens  of  the  past.  ^But  it  is  as  a  writer  of  opera  that  his  fame  is.  like  to  last 
longest,  for  it  is  here  that  he  brought  the  brilliant  qualities  of  the  consummate 
musician  to  combine  with  the  scarcely  less  brilliant  qualities  of  the  dramatist. 
Many  men  who  might  have  written  music  equally  noteworthy  could  not  have 
touched  the  dramatic  significance  of  it.  *'Doti  Giovanni,^''  that  glory  of  our 
blood  and  state,  "L^  Noxze  di  Figaro,''^  "Cost  Fan  Tutte,''^  "Die  Zauber- 
fiote,^''  these  remain  as  noble  a  testimony  of  his  great  genius  in  the  musico- 
dramatic  world  as  the  centuries  are  likely  to  bring  forth.  Then  consider  the 
G  minor  symphony — so  different  in  qualitv  from  the  quality  of  Beethoven  at 
his  best,  and  therefore  not  comparable  to  the  great  nine,  but  in  its  way  the 
very  flower  of  musical  genius.  Then  again,  such  work  as  he  brought  into 
the  Requiem  declares  him  to  be,  as  a  master  of  the  emotions,  of  supernatural 
terror,  unsurpassed  ;  I  wou  d  almost  say  unsurpassable.  In  a  word,  here 
was  the  golden  child  of  music,  adding  to  the  simplicity  of  his  childishness  the 
complex  wisdom  of  the  serpent.  ^Poor  Mozart !  Yet,  who  is  ordinary  man 
that  he  should  say  *'poor"  of  such  an  immortal  creature?  Poor  ac.  it  seems 
to  us,  yet  it  is  not  likely  that  he  would  have  given  up  one  golden  moment  ot 
his  glorious  inspiration  in  exchange  for  the  comforts  of  a  Sultan.  He  was  an 
artist,  every  inch  of  him. 


(4)  Wolfgang    Amadeus,    Vien-  Muck  (mock),  K.,  b.  Darmstadt,  Oct. 

na,    July    26,    1791 — Carlsbad,    July  22,1859;  Dr.  Philh.,  Leipzig;  pupil  of 

30,    1844;    son    of    above;    pianist,  Leipzig  Cons.,  cond.  at  various  cities  ; 

teacher  and  composer  of  pf.-concer-  since  1892,  ct.-cond.  Royal  Op.,  Ber- 

tos,  sonatas,  etc.  lin.  . 


_L 


DICTIONARY  OF  MUSICIANS    645 


Mu'die,  Thos.  Molleson,  Chelsea, 
1809 — London,  1876  ;  teacher,  or- 
ganist and  composer. 

Muffat  (moof'-fat),  (i)  G.,  b.  Passau, 
1704  ;  organist,  conductor  and  com- 
poser. (2)  Aug.  Gl.,  1683 — Vienna, 
1770 ;  son  of  above ;  organist  and 
composer. 

Muhldorfer  (mlll'-dgrf-er),  (i)  Wm., 
1S03 — Mannheim,  1897  ;  ct. -inspector 
of  theatres,  Mannheim.  (2)Wm.  K., 
b.  Graz,  Styria,  March  6,  1837  ;  son 
of  above  ;  studied  at  Linz-on-Dan- 
ube  and  Mannheim;  actor;  1855,  th.- 
cond.,  Ulm ;  1867-S1,  2d  cond.  at 
Cologne  ;  c.  4  operas,  incl.  success- 
ful '■'■  lolanthe"  (Cologne,  1S90),  over- 
tures, etc. 

Muhlfeld  (miil'-felt),  Richard,  b. 
Salzungen,  Feb.  28,  1856  ;  clarinet- 
tist for  whom   Brahms  c.  a  trio  and 

*  sonata ;  studied  with  Buchner  at 
Meiningen,  where  he  lived  since  1873, 
also  1875-96,  1st  clarinet  at  Baj-- 
reuth. 

Miihling  (mil'-llng),  Aug.,  Raguhne, 
1786 — Magdeburg,  1847;  organist 
and  composer. 

Miihlberger-Leisinger  (ll'-zlng-gr), 
Elizabeth,  b.  Stuttgart,  May  17, 
1863 ;  colorature-soprano ;  studied 
with  Viardot-Garcia  :  debut,  R.  op- 
era, Berlin  ;  sang  in  Paris,  1887. 

Miiller  (mul'-ler),  (i)  Chr.,  org.-builder 
at  Amsterdam,  ca.  1720-70.  (2) 
Wm.  Chr.,  Wassungen,  Meiningen, 
1752 — Bremen,  1S31;  mus.  director 
and  writer.  (3)  Aug,  Eberhard, 
Nordheim,  Hanover,  1767 — Weimar, 
1817;  son  and  pupil  of  an  organist ; 
organist,  ct. -conductor  and  dram, 
composer.  (4)  Wenzel,  Tyrnau, 
Moravia,  1767 — Baden,  near  Vienna, 
1835  ;  conductor  and  composer  of 
200  operas.  (5)  Fr.,  Orlamunde, 
1786— Rudolstadt.  1871;  clarinettist, 
conductor  and  composer,  (6)  Ivan 
(I  wan),  Reval,  1786 — Buckeburg, 
1854 ;  inv.  of  the  clarinet  with  13 
keys,  and  altclarinet ;  finally  ct.-mus. 
(7)  Peter,  Kesselstadt ;  Hanau,  1791 
— Langen,  1877;    c.   operas,  and   id^- 


moMS  '' Jiigc-ndliedtr"  eic.  (8)  Two 
famous  German  quartet  parties,  (a) 
The  bros.  K.  Fr.  (1797— 1873), 
Th.  H.  Gus.  (1799— [855),  Aug. 
Th.  (1802  —  1875),  and  Fz.  Fd. 
G.  (1808— 1855),  sons  of  (9)  Aegi- 
dius  Chp.  M.  (d.  184 1,  Hofmus. 
to  Duke  of  Brunswick),  all  b.  Bruns- 
wick, and  in  the  orch.  there — K. 
as  Konzertmeister,  Th.  ist  'cello, 
Gv.  symph. -director,  and  G.  con- 
ductor, (b)  The  four  sons  of  the 
Karl  Fr.  above,  who  organised  1S55 
a  ct. -quartet.  Hugo,  2d  vln.  (1832 
— 1SS6);  Bd.,  b.  Feb.  24,  1825, 
viola  ;  Wm.,  b.  June  i,  1834,  'cello; 
Karl,  jr.,  b.  April  14,  1829,  ist  vln. 
Since  1823  this  last  lives  in  Stutt- 
gart and  Hamburg;  m.  Elvina  Berg- 
haus  and  took  name  Miiller-Berg- 
haus,  under  which  he  has  c.  a  symph., 
etc.  (10)  (Rightly  Schmidt)  Ad. 
Sr.,  Tolna,  Hungary,  1801 — Vienna, 
1S86 ;  singer,  conductor  and  dram, 
composer.  (ri)  Ad.,  Jr.,  Vienna 
1839 — 1901,  son  of  above;  1875, 
cond.  German  opera  at  Rotterdam;- 
prod.  4  operas  and  5  operettas,  inel. 
the  succ.  "  Der  Blondin  von  N^amur" 
(Vienna,  1898).  (12)  Jns.,  Coblenz, 
1801— Berlin,  1858 ;  writer.  (13) 
Fz.  K.  Fr.,  Weimar,  1806— 1S76  ; 
one  of  the  first  to  recognise  Wagner ; 
pub.  treatises  on  his  work.  (14) 
Aug.,  1810— 1S67,  eminent  double- 
bass.  (15)  K.,  Weissensee.  near 
Erfurt,  1S18— Frankfort,  1894;  con- 
ductor and  composer.  (16)  Bd., 
Sonneberg,  1824 — Meiningen,  1883  ; 
cantor.  (17)  K.  Chr.,  b.  Saxe- 
Meiningen,  July  3,  1831;  pupil  of 
F.  W.  and  H.  Pfeiffer  (pf.  and  org.), 
Andreas  ZoUner  (comp.)  1854,  New 
York;  since  1879,  prof,  of  harm.  N. 
Y.  Coll.  of  Mus.;  translator,  etc. 
(t8)  Richard,  b.  Leipzig,  Feb.  25, 
1830  ;  pupil  of  Zollner,  Hauptmann 
and  Reitz ;  until  1893,  cond. 
"Arion,"  then  the  "  Hellas,"  and  the 
"  Liedertafel  ;  "  teacher  singing,  Ni- 
kolai Gvmnasium ;  c.  motets,  etc. 
(19)  Jos'.,  1839— Berlin,  1880  ;  writer. 


646 


THE    MUSICAL    GUIDE 


(20)  Wm.,  b.  Hanover,  Feb.  4, 
1845  ;  tenor  at  the  ct. -opera,  Berlin. 

(21)  Hans,  Cologne,  1854— Berlin, 
1S97;  prof,  and  writer.  (22)  Gus- 
tav.     Vide  brah-muller. 

Muller-Hartung,  K.  (Wm.),  b.  Sui- 
za, May  19,  1834  ;  pupil  of  Kuhm- 
stedt,  Eisenach  ;  mus.-dir.  and  teach- 
er at  the  Seminary;  1864,  prof.; 
1869,  opera-cond.  Weimar;  1872, 
founder  and  dir.  Or.  Ducal  "  Or- 
chester-und-Musikschule  ;  "  wrote  a 
system  of  music  theory  (vol.  i.  ^'  Har- 
vionielchre"  appeared  in  1879);  com- 
poser. 

Miiller-Reuter  (roi-t^r),  Theodor, 
b.  Dresden,  Sept.  i,  1858  ;  pupil  of 
Fr.  and  Alwin  Wieck  (pf.) ;  J.  Otto 
and  Meinardus  (comp.)  ;  and  the 
Hoch  Cons.,  Frankfort;  1S79-87, 
teacher  Strassburg  Cons.;  1887, 
cond.  at  Dresden;  1892,  teacher  in 
the  Cons.;  c.  2  operas,  Paternoster, 
with  orch ;  ' ' Hackelberend  'j  Funeral" 
for  chorus  and  orchestra  (1902), 
etc. 

Muiler  von  der  Werra  (rightly  Fr. 
Konrad  Miiller),  Ummerstadt, 
Meiningen,  1S23  —  Leipzig,  1S81  ; 
popular  poet  and  ed.,  founded 
"  Deutscher  Sangerbund." 

Miinchhoff  (mlnsh'-hof),  Mary,  b. 
Omaha,  U.S.A.;  colorature  soprano  ; 
studied  in  Germany  1897  ;  sang  in 
Austria,  etc.;   1902,  U.S.A. 

Munck,  de.     Vide  demunck. 

Munzinger   (moonts'-tng-^r),    Edgar, 

b.  Olten,  Switz.,  Aug.  3,  1847;  stud- 
ied Leipzig  Cons,  and  with  Kiel  and 
Ehrlich,  Berlin,  where  he  is  pf. -teach- 
er, and  1893-98  dir.  Eickelberg  Cons. ; 

c.  3  symphonies:  No.  i  " /«  de7- 
Nacht"  No.  3  "  Nero"  an  opera,  2 
symphonic  poems,  etc. 

Muris  (dCi  mii-res),  Jns.  de  (or  de 
Meurs)  (dii  miirs),  eminent  theorist  ; 
wrote  treatise  "  Sptciilum  Musicae" 
(probably  ca.  1325)  (Coussemaker). 

Murschhauser  (moorsh'-how-a^r),  Fz. 
X.  Anton,  Zabern,  near  Strassburg, 
ca.  1670 — Munich,  1724  ;  conductor 
and  theorist. 


Murska  (moor'-shka),  lima  di,  Croa- 
tia, 1836 — Munich,  Jan.  16,  1889  ; 
famous  dramatic  soprano,  with  re- 
markable compass  of  nearly  3  octaves. 

Musard  (mii-zar),  (i)  Philippe,  Paris, 
1793 — 1859  ;  c.  pop.  dances.  (2) 
Alfred,  1828  —  1881  ;  orch. -cond., 
and  composer  ;  son  of  above. 

Musin       (moo-zen),      Bonaventura. 

Vide  FURl.ANETTO. 

Musin  (mii-zan),  Ovide,  b.  Nandrin, 
n.  Liege,  Sept.  22,  1854  ;  violinist  ; 
pupil  of  Liege  Cons.;  at  11  took  ist 
vln. -prize ;  studied  then  at  Paris 
Cons.;  at  14  won  the  gold  medal  for 
solo  and  quartet  playing  ;  taught  a 
year  at  the  Cons,  then  toured  Europe 
with  great  succ;  later  organised  a 
concert-troupe  and  toured  America, 
then  the  world  ;  1897,  returned  to 
Liege  as  vln. -teacher  at  the  Cons.; 
1898,  vln. -professor. 

Musiol  (moo'-zl-5l),  Robt.  Paul  Jn., 
b.  Breslau,  Jan.  14,  1846;  from  1873- 
91  teacher  and  cantor  at  Rohrsdorf, 
Posen  ;  pub.  mus.  le.xicons  ;  c.  part- 
songs,  etc. 

Mussorgski  (moos-sorg'-shkl).  Mo- 
dest Petrovitch,  Toropetz,  Russia, 
March  28,  1839  —  St.  Petersburg, 
March  28,  1881  ;  army  officer,  then 
pupil  of  Balakirev;  c.  operas,  '"Boris 
Godunoff"  (ImT^.O^era., 'it.  P.,  1874), 
"  Chovanstchina  "  (1893)  ;  c.  pf.- 
pcs.,  etc. 

Mustel  (mus-tel),  Victor,  b.  Havre, 
1815  ;  mfr.  and  improver  of  the  har- 
monium. 

Muzio  (moo'-tsT-6),  Emanuele,  b. 
Zibello,  near  Parma,  Aug.  25,  1825  ; 
pupil  of  Provesi  and  Verdi,  and  (for 
pf.)  of  Verdi's  first  wife.  Margherita 
Barezzi  ;  1852,  cond.  It.  Opera, 
Brussels;  later,  London,  New  Vork 
(Acad,  of  Mus.)  ;  1875  noted  singing 
teacher,  Paris  ;  c.  4  operas,  etc. 

Myrzwinski  (mersh-vln'-shkl), ; 

tenor  in  Paris. 

Mysliweczek  (me-sle'-va-chek),  Jos. 
(called  "  II  Boemo,"  or  "  Venatori- 
ni"),  near  Prague,  March  9,  1737 — 
Rome,  Feb.  4,  1781  ;  prod,  about  30 


DICTIONARY  OF  MUSICIANS    647 


pop.  operas  in  Italy;  c.  syniphs.,  pf.- 
sonatas  praised  by  Mozart,  etc. 

N 

Naaff  (naf),  Anton  E.  Aug.,  b.  Wei- 

tentrebelitzsch,  Bohemia,  Nov.  28, 
1850;  mus.  editor  and  poet  at  Vi- 
enna. 

Nachbaur  (nakh'-bowr),  Fz.,  Schloss 
Giessen,  near  Friedrichshafen,  March 
25,  1835 — Munich,  March  21,  1902  ; 
pupil  of  Pischek  ;  sang  at  theatres  in 
Prague  and  other  cities ;  1S66-90, 
"  Kammersanger,"  Munich. 

Nachez  (na'-ches)  (Tivadar  (Theo- 
dor)  Naschitz  (na'-shlts)),  b.  Pesth, 
May  I,  1S59  ;  vln. -virtuoso  ;  pupil  of 
Sabatil,  Joachim  and  Leonard ; 
toured  the  continent  ;  lived  in  Paris 
and  (1889)  London;  c.  2  concertos  for 
vln.,  2  Hungarian  Rhapsodies,  requi- 
em mass,  with  orch.,  etc. 

Nadaud(na-d6),  Gv.,  Roubaix,  France, 
Feb.  20,  1820 — Paris,  1893  ;  cele- 
brated poet,  composer  of  chansons  ; 
also  c.  3  operettas. 

Nadermann  (na'-der-man),  Francois 
Jos.,  Paris,  1773— 1835  ;  harpist, 
teacher  and  composer.  (2)  H.,  b. 
1780 ;  bro.  of  above  and  his  asst.- 
harpist  in  the  King's  music,  and  asst.- 
professor. 

Nagel  (na  -gel),  (i)  Julius,  Gotha, 
1837 — St.  Petersburg,  1892  ;  'cellist, 
teacher  and  composer.  (2)  Dr.  Wil- 
libald,  German  writer  ;  pub.  "  Ge- 
schichte  der  Alusik  in  England" 
(1897). 

Nageli  (na'-gel-e),  Jn.  Hans  G., 
Wetzikon,  near  ZUrich,  1773 — 1836; 
mus. -publisher,  writer  and  composer. 

Nagiller  (na'-gtl  -  ler),  Matthaus, 
Miinster,  Tyrol,  1815 — Innsbrtick, 
1874;  conductor  and  dram,  composer. 

Naldi  (nal'-de),  (i)  Giuseppe,  Bologna, 
1770 — Paris,  ca.  1820  ;  actor,  singer, 
pianist,   'cellist    and    composer.     (2) 

daughter   of   above    singer ; 

•iebut,  18 19  ;  retired,  1824  ;  m.  Conte 
ii  Sparre. 


Nal'son,    Rev.    Valentine,   d.    1722 ; 

Engl,  composer. 
Nanini  (na-ne'-ne)  (incorrectly  Nani- 
no),  (i)  Giov.  M.,  Vallerano,  Italy, 
ca.  1540 — Rome,  March  11,  1607  ; 
noted  Italian  composer ;  pupil  of 
Goudimel  ;  cond.  at  Vallerano, 
1571-75,  at  Santa  Maria  Maggiore, 
Rome  (vice  Palestrina);  1575  founded 
a  pub.  mus.-sch.  in  which  Palestrina 
was  one  of  the  teachers  ;  1577-  papal 
singer  ;  1604  cond.  Sistine  Chapel  ; 
his  6-part  motet  ''  Ilodie  nobis  calo- 
rmn  rex "  is  still  sung  there  every 
Christmas  morning.  (2)  Giov.  Ber- 
nardino, Vallerano,  ca.  1560 — Rome, 
1624;  younger  bro.  (Riemann  says 
nephew)  and  pupil  of  above  ;  con- 
ductor and  notable  composer. 
Nantier  -  Didi^e  (naht-ya  ded-ya), 
Constance  Betsy  R.,  He  de  la  Re- 
union, 1S31 — Madrid,  1867  ;  v.  succ. 
mezzo-soprano. 
Napoleon,  Arthur,  b.  Oporto,  March 
6,  1843;  pianist  and  cond.;  at  g 
made  a  sensation  at  the  courts  of 
Lisbon,  London  (1852),  and  Berlin 
1854),  then  studied  with  Halle,  at 
Manchester  ;  toured  Europe,  and  N. 
and  S.  America.  1868  (1871  ?)  settled 
in  Rio  de  Janeiro  as  mus. -seller,  etc. 
Napravnik  (Ndprawnik),  (na-praf- 
nek)  Eduard,  b.  Bejst,  near  Konig- 
gratz,  Aug.  24,  1839  ;  pupil  Prague 
Org.-Sch. ;  from  1856  teacher  Maydl 
Inst,  for  Mus.,  Prague;  1861,  cond. 
to  Prince  Yussupoff  at  St.  Peters- 
burg ;  then  organist  and  2nd  cond. 
Russian  Opera  ;  from  1869  ist  cond.; 
1870-82,  cond.  the  Mus.  Soc;  c.  4 
operas,  incl.  the  succ.  ''  Dubroffsky' 
(St.  P.,  1895);  symph.  poem  "  'J'/ii 
Demon"  overtures,  incl.  "  Vlasta  " 
(1861),  etc. 
Nardini  (nar-de'-ne),  Pietro,  Fibiana, 
Tuscany,  1722  —  Florence,  May  7, 
1793  ;  noted  violinist  ;  pupil  of  Tar- 
tini  ;  ct. -musician  at  Stuttgart  and 
Florence  ;  composer. 
Nares  (narz),  Jas.,  Stanwell,  Middle- 
sex, 1715— London,  Feb.  10,  1783; 
organist  and  composer. 


648 


THE    MUSICAL    GUIDE 


Naret-Koning  (nii'-ret-ko-nlng),  Jn. 
Jos.  D.,  b.  Amsterdam,  Feb.  25, 
183S  ;  violinist  ;  pupil  of  David, 
Leipzig:  from  1878  leader  City  Th., 
Frankfort ;  pub.  songs,  etc. 

Nasolini  (na-s6-le'-ne),  Sebastiano, 
Piacenza,  ca.  1768 — (?);  prod.  30 
operas  in  Italy. 

Natale  (na-ta'-le),  Pompeo,  choir- 
singer  and  composer  at  S.  Maria 
Maggiore,  Rome,  1662. 

Nathan,  Isaac,  Canterbury,  1792 — 
Sydney,  Australia,  1S64  ;  writer. 

Natorp  (nii'-torp),  Bd.  Chr.  L., 
Werden-on-Ruhr,  Nov.  12,  1774 — 
Munster,  Feb.  S,  1846  ;  reformer  of 
church  and  sch.-mus. ;  writer. 

Nau  (na'-oo),  Mana  Dolores  Bene- 
dicta  Josefina,  b.  of  Spanish  par- 
ents, New  York,  March  18,  1818 ; 
soprano  ;  pupil  of  Mme.  Damoreau- 
Cinti,  Paris  Cons.,  taking  ist  prize  in 
1834 ;  debut  at  the  Opera,  1S36  ; 
sang  minor  roles  there  6  years,  etc. ; 
1844-48  and  1851-53,  leading  roles, 
singing  in  other  cities  ;  retired,  1856. 

Naubert  (now'-bert),  Fr.  Aug., 
Schkeuditz,  Saxony,  1839 — Neubran- 
denburg,  1897  ;  organist  and  singing- 
teacher. 

Naudin  (na -oo-den),  Emilio,  b.  Par- 
ma, Oct.  23,  1823  ;  tenor ;  pupil  of 
Panizza,  Milan ;  debut,  Cremona. 
Meyerbeer  in  his  will  requested  him 
to  create  the  role  of  "  Vasco "  in 
"  L Africaine"  (1865),  which  he  did. 

Naue  (now'-e),  Jn.  Fr.,  Halle,  1787 — 
1 868  ;  organist  and  composer. 

Nauenburg  (now'-en-boorkh),  Gv.,  b. 
Halle,  May  20,  1803  ;  barytone  and 
singing-teacher  ;  writer  and  com- 
poser. 

Naumann  (now'-man),  (i)  Jn.  Gl. 
(Italianised  as  Giov.  Amadeo), 
Blasevvitz,  near  Dresden,  .-Vpril  17, 
1741 — Dresden,  Oct.  23,  iSoi;  pupil 
of  Tartini  and  Padre  Martini  ;  1764, 
ct.-cond.,  Dresden;  1776,  cond.; 
prod.  23  operas  and  excellent  church- 
music.  (2)  Emil,  Berlin,  Sept.  8, 
1827 — Dresden,  June  23,  188S  ; 
grandson    of    above  ;    court    church 


mus.-dir.,  Berlin  ;  c.  an  opera,  a  fa- 
mous oratorio  "  Christiis  der  Frie- 
dcnsbote  " ;  pub.  many  valuable  trea- 
tises. (3)  K.  Ernst,  b.  Freiberg, 
Saxony,  Aug.  15,  1832  ;  grandson  of 
(i),  studied  with  Hauptmann,Richter, 
Wenzel  and  Langer,  Leipzig  (1850), 
Dr.  Philh.  at  the  Univ.,  1S58  ;  stud- 
ied with  Joh.  Schneider  (org.)  in 
Dresden ;  mus.-dir.  and  organist, 
Jena  ;  prof.,  1877;  pub.  many  valu- 
able revisions  of  classical  works,  for 
the  Bach-Gesellschaft ;  c.  the  first  so- 
nata for  via.,  much  chamber-mus.,etc. 

Nava  (na'-va),  (i)  Ant.  Maria,  Italy, 
1775 — 1826;  teacher  and  composer 
for  guitar.  (2)  Gaetano,  Milan, 
1802 — 1875  ;  son  and  pupil  of  above  ; 
prof,  at  the  Cons,  and  composer. 

Naval  (na-val),  Fz.,  b.  Laibach,  Aus- 
tria, Oct.  20,  1865  ;  tenor  at  Vienna  ; 
pupil  of  Gansbacher. 

Nawratil  (na-vra'-tel),  K.,  b.  Vienna, 
Oct.  7,  1836;  pupil  of  Nottebohm 
(cpt.)  ;  excellent  teacher  ;  pub.  Psalm 
XXX  with  orch.,  an  overture,  cham- 
ber mus.,  etc. 

Nay'lor,  (i)  J.,  b.  Stanningly,  near 
Leeds,  1838 — at  sea,  1897  ;  organist 
and  composer.  (2)  Sidney,  Lon- 
don,   1S41 — 1893  ;   organist.   ' 

Neate  (net),  Chas.,  London,  1784 — 
Brighton,  1877  ;  pianist,  'cellist  and 
composer. 

Nebe  (na'-be),  Karl,  bass ;  pupil  of 
Jahn  at  Wiesbaden  ;  1890,  at  Carls- 
ruhe  ;  sang  "  Alberich"  and  "  Beck- 
messer "  at  Bayreuth  and  London  ; 
1900,  Berlin. 

Ned'bal,  Oscar,  b.  Tabor,  Bohemia, 
March  25,  1874;  via. -player  in  the 
"  Bohemian  "  string-quartet ;  studied 
Prague  Cons.  (comp.  with  Dvorak) ; 
c.  a  scherzo-caprice  for  orch.,  etc. 

Neeb  (nap),  H.,  Lich,  Upper  Hesse, 
1807 — Frankfort,  1878  ;  conductor 
and  dram,  composer. 

Needier,  H.,  London,  1685 — 1760; 
pianist,  violinist  and  composer. 

Neefe  (na'-fe).  Chr.  Gl.,  Chemnitz, 
1748 — Dessau,  1798  ;  mus. -director 
and  conductor. 


DICTIONARY  OF  MUSICIANS    649 


Nef  (naf),  (Dr.)  K.,  Swiss  writer;  pub. 
a  treatise  on  the  amateur  musical  as- 
sociations of  the  17th  and  iSth  cen- 
turies. 

Neff,  Fritz,  notable  composer,  lives  at 
Munich;  c.  "Chorus  of  the  Dead" 
with  orch.  (1902),  etc. 

Nehrlich  (nar-likh),  Chr.  Gf.,  Ruh- 
land,  Upper  Lusatia,  1802 — Berlin, 
1868  ;  teacher  and  writer. 

Neidhardt  (nit-hart),  Jif.  G.,  d.  Ko- 
nigsberg,  1739;    writer. 

Neidlinger  (nlt'-lIng-Sr),  Wm.  Ha- 
rold, b.  Brooklyn,  N.  Y.,  July  20, 
1863  ;  pupil  of  Dudley  Buck  and 
Miiller  ;  teacher  of  singing  in  Paris, 
then  Chicago;  c.  a  mass,  etc.,  pop. 
songs  and  valuable  books  of  mus. 
for  children. 

Neithardt  (nlt'-hiirt),  Aug.  H,, 
Schleiz,  1793 — Berlin,  1861;  oboist, 
teacher  of  singing,  conductor  and 
dram,  composer. 

Neitzel  (nit'-tsel),  Otto,  b.  Falken- 
burg,  Pomerania,  July  6,  1852  ;  pu- 
pil of  Kullak's  Acad. ,  Berlin  ;  Dr. 
Philh.,  1875,  at  the  Univ.;  toured  as 
pianist;  1879-81,  teacher  Moscow 
Cons.;  then  Cologne  Cons.;  since 
1887,  also  critic ;  prod.  3  operas : 
"  Angela  "  (Halle,  18S7),  text  and  mu- 
sic of,  ''Dido"  (Weimar,  1888)  and 
''  Der  Alte  Dessauer"  (Wiesbaden, 
1889). 

Nel'li,  Romilda,  b.  Italy,  i882(?) ; 
colorature  and  operatic  soprano  ;  pu- 
pil of  Galletti. 

Nen'na,  Pomponio,  b.  Bari,  Naples  ; 
pub.  madrigals,  1585 — 1631. 

Neri  (na'-re),  Filippo,  Florence,  July 
21,  1515 — Rome,  May  26,  1595  ; 
preacher  in  the  oratory  (It.  oratorio) 
of  San  Girolamo.  From  the  music  c. 
for  illustrations  by  Animuccia  and 
Palestrina  arose  the  term  "oratorio." 

Neruda  (na-roo'-da),  (r)  Jakob,  d. 
1732  ;  violinist.  (2)  Jn.  Chrysos- 
tom,  Rossiez,  1705 — 1763;  violinist; 
son  of  above.  (3)  Jn.  Baptist  G., 
Dresden,  1707 — 1780;  composer,  son 
of  Jakob.  (4)  (Normann-Neruda) 
(or  Lady    Hall 6)    Wilma    Maria 


Fran.,  b.  BrUnn,  March  29,  1839; 
noted  violinist  (daughter  of  (5)  Josef, 
an  organist)  ;  she  studied  with  Jansa  ; 
at  7  played  in  public  at  Vienna  with 
her  sister  (6)  Amalie  (a  pianist)  ; 
then  toured  Germany  with  her 
father,  sister  and  bro.  (7)  Fz.  (a  'cel- 
list);  1864,  in  Paris,  she  m.  L.  Nor- 
mann  ;  since  1869  has  played  annu- 
ally in  London  ;  she  m.  Halle  (q.v.), 
1888,  and  toured  Australia  with  him, 
1890-91;  1899,  America. 

Ness'ler,  Victor  E.,  Baldenheim,  Al- 
satia,  Jan.  28,  1841 — Strassburg,  May 
28,  1S90  ;  studied  with  Th.  Stern  at 
Strassburg ;  1864,  prod.  succ.  opera, 
''  Fleiirelte" ;  studied  in  Leipzig,  be- 
came cond.  of  the  "  Sangerkreis " 
and  chorusm.  City  Th.,  where  he 
prod,  with  general  succ.  4  operettas 
and  4  operas,  incl.  two  still  pop.  '' Der 
Rattenfdnger  von  Havteln"  (1879), 
'' Der  Trompeter  von  Scikkiiigcn" 
(1884)  ;  c.  also  "  Der  Bhuncn  Rache," 
ballade,  with  orch.;  pop.  and  comic 
songs,  etc. 

Nesvad'ba,  Jos.,  Vyskef,  Bohemia, 
1824 — Darmstadt,  1876  ;  conductor 
and  dram,  composer. 

Nesvera  (nesh-va'-rii),  Jos.,  b.  Pros- 
koles,  Bohemia,  Oct.  24,  1842  ;  now 
cond.  Olmfitz  Cath. ;  c.  succ.  opera 
''  Perdita"  (Prague,  1897);  masses, 
De  Profundis,  with  orch.,  etc. 

Netzer  (net'-tser),  Jos.,  Imst.  Tyrol, 
1808 — Graz,  1864;  teacher,  con- 
ductor and  dram,  composer. 

Neubauer  (na'-oo-bow-er),  Fz.  Chr., 
Horzin,  Bohemia,  1760 — Buckeburg, 
1795  ;  violinist,  conductor  and  com- 
poser. 

Neuendorff  (noi'-en-dorf),  Ad.,  Ham- 
burg, June  13,  1843 — New  York, 
Dec.  4,  1897  ;  at  12  taken  to  Ameri- 
ca ;  pianist,  concert-violinist,  promi, 
nent  conductor  and  composer  of  comic 
operas. 

Neukomm  (noi'-kom),  Sigismund, 
Ritter  von,  Salzburg,  1778 — Paris, 
1858  ;  organist,  conductor  and  com, 
poser. 

Neumann  (noi'-man),  Angelo,   b.  Vi- 


650 


THE    MUSICAL    GUIDE 


enna,  Aug.  18,  1838  ;  studied  sing- 
ing witli  Stilke-Sessi,  debut  as  lyric 
tenor,  1859 ;  1862-76,  Vienna  ct.- 
opera ;  1876-S2,  Leipzig  opera;  as 
manager  of  a  travelling  company 
prod.  Wagner  operas  ;  1882-85,  man- 
ager Bremen  opera ;  then  German 
opera,  Prague. 
Neumark  (noi'-mark),  G.,  Langensalza, 

1621 — Weimar,  16S1 ;  composer. 
Neusiedler  (noi -zet-ler)  (or  Newsid- 
ler),  (i)  Hans,  b.  Pressburg,  Niirn- 
berg,  1563  ;  lute-maker.  (2)  (or 
Neysidler)  Melchior,  d.  Numberg, 
1590 ;  lutenist  and  composer  at  Augs- 
burg ;  2  books  of  lute  mus.  (Venice, 
1566),  etc. 
Nevada  (ne-va -da)  (riglitly  Wixon), 
Emma,  b.  Austen,  Nevada,  U.  S.A., 
1862  ;  eminent  colorature-soprano  ; 
pupil  of  Marchesi  in  Vienna  ;  debut 
London,  1880;  sang  in  various  Italian 
cities;  1883  and  1S98  Paris,  Op.- 
Com.  ;  1885  sang  Opera  Festival 
Chicago,  and  again  in  i88g  ;  1898, 
Op.-Com.,  Paris;  1885  m.  Dr.  Ray- 
mond Palmer;  sang  "  Mignon  "  a 
whole  year  in  Paris;  1900  America. 
Nevin  (nev'-tn),  (i)  Ethelbert  (Wood- 
bridge),  Edgeworth,  Penn. ,  Nov. 
25,  1862 — New  Haven,  Conn.,  Feb. 
17,  1901 ;  prominent  American  com- 
poser ;  pupil  of  von  der  Heide  and 
E.  GUnther  (pf.)  at  Pittsburg;  of 
von  Bohme  (voice),  at  Dresden,  1877- 
78  ;  of  Pearce  (N.  Y.),  B.  J.  Lang 
and  Stephen  A.  Emery  (Boston)  ; 
von  Billow,  Klindworth,  and  K.  Bial, 
Berlin ;  lived  in  Florence,  Venice, 
Paris,  and  New  York  as  teacher  and 
composer  ;  after  igoo  at  Sewickley, 
near  Pittsburg,  Pa.;  c.  a  pf. -suite  ; 
song-cycles  "In  Arcady,"  and  a 
posthumous  "  The  Quest  of  Heart's 
Desire  "  ;  highly  artistic  piano  pieces 
and  many  song  albums  of  well-de- 
served popularity.  His  songs  are 
genuinely  lyrical,  with  an  exuberance 
of  musical  passion,  and  accompani- 
ments full  of  colour,  individuality  and 
novelty.  (2)  Arthur,  b.  Sewickley, 
Pa.,  187 1  ;  bro.  of  above  ;  from  1891 


studied  Boston,  then  at  Berlin  witl 
Boise  and  Klindworth  ;  lives  in  Ne\ 
York  ;  c.  songs,  etc. 

Newman,  Ernest,  b.  Liverpool,  Nov 
30,  1868  ;  prominent  critic  ;  studiec 
for  the  Indian  Civil  Service,  but  hi 
health  broke  down  from  over-study  [ 
engaged  in  business  in  Liverpoc' 
where  he  has  since  lived  ;  in  iSS* 
wrote  "  Gluck  and  the  Opera",  whicl 
was  published  in  1S95  ;  "^  Study  o_ 
Wagner"  1899.  Has  contributed  nu, 
merous  scholarly  essays  on  musici: 
and  other  topics  to  various  magazine; 

Newsidler,    Neysidler.     Vide    nei 

SIEDLER. 

Ney.     Vide  moszkva. 

Niccold  de  Malta,     Vide  isquard. 

Nichelmann  (n!kh'-el-man),  Chp 
Treuenbrietzen,  Brandenburg,  171 
— Berlin,  1762  ;  cembalist  and  write 

Nicholl  (nlk'-61),  Horace  Wadhan 
b.  Tipton,  near  Birmingham,  Engl 
March  17,  1848  ;  notable  contempt 
rary  contrapuntist  ;  son  and  pupil  ( 
a  musician  John  N.;  studied  wit 
Samuel  Prince ;  1867-70  organist  ; 
Dudley  ;  1S71  organist  at  Pittsburj 
Pa.,  U.  S.  A.;  1878  editor  New  Yorl 
1888-95  prof,  at  Farmington,  Conn 
contributed  to  various  periodical; 
pub.  a  book  on  harmony  ;  his  mo 
notable  compositions  are  his  12  syr 
phonic  preludes  and  fugues  for  orga- 
displaying  his  remarkable  contrapu: 
tal  ability  (i  in  quadruple  cpt.,  i 
triple,  4  in  double)  ;  he  c.  also 
suite  for  full  orch.  (op.  3)  ;  a  cycle 
4  oratorios  with  orch.;  symph.  poe 
"  Tartarus" ;  2  symphonies  ;  a  ps 
chic  sketch  ''Hamlet"  etc. 

Nicholson,  Chas.,  Liverpool,  1795 
London,  1837  ;  flutist  and  compose 

Nick'lass-Kempt'ner,  Selma, 
Breslau,  April  2,  1849  ;  noted  color 
ture  soprano  and  teacher  ;  studied 
Stern  Cons.;  debut,  1867;  sang 
Rotterdam  10  yrs.  ;  then  teach 
Vienna  Cons.;  1893,  Berlin  ''Prof, 
soria" 

Nicode    (ne'-ko-da),    Jean  Louis, 
Jerczik,  near    Posen,  Aug.  12.  iSs 


DICTIONARY  OF  MUSICIANS    651 


pupil  of  his  father  and  the  organist 
Hartkas,  and  at  Kullak's  Acad.;  Hves 
in  Berlin  as  a  pianist  and  teacher,; 
1878-85  pf. -teacher  Dresden  Cons.; 
1897,  cond.  Leipzig  "  Riedel  Verein"; 
c.  symph.  poem  ''Maria  Stuart"; 
^'  Faschitigsbilder"  "  Sinfonische 
Variationen"  op.  27;  "  Das  Meer" 
symph.  ode,  for  full  orch.;  "  Erbar- 
men,"  hymn  for  alto  with  orch.,  etc. 

Nicolai  (ne'-k5-ll),  (i)  Otto,  Konigs- 
berg,  June  9,  18 10 — of  apoplexy, 
Berlin,  May  11,  1849  ;  son  and  pupil 
of  a  singing-teacher  ;  studied  with 
Zelter  and  Klein,  later  with  Baini  at 
Rome,  where  he  was  organist  at  the 
embassy  chapel;  1837-38  theatre- 
cond.  at  Vienna  ;  again  in  Rome  ; 
1841-47  ct.-cond.  at  Vienna  and 
founded  the  Phil.,  1842  ;  1847  cond. 
of  the  opera  and  cath. -choir,  Berlin; 
prod.  5  V.  succ.  operas,  incl.  "  // 
Templario"  {TviXXVi,  1840;  known  in 
Germany  as  '■'■  Der  T^'w/ZtT,"  based 
on  Scott's  '"Ivanhoe")  ;  and  the  unct- 
uous and  still  popular  opera  "  Die 
lustigen  Weiher  von  Windsor"  based 
on  and  known  in  English  as  "  The 
Merry  Wives  of  Windsor  "  (Berlin, 
1849);  he  c.  also  a  symph.,  etc.;  biog. 
by  Mendel  (Berlin,  1868) ;  his  diary 
("  Tagebucher  ")  was  pub.  Leipzig, 
1893.  (2)  Wm.  Fr.  Gerard,  Ley- 
den,  Nov.  20,  1829 — The  Hague, 
April  25,  1896;  professor;  notable 
conductor  and  composer. 

Niccolini  (nek-ko-le'-ne),  (i)  Giusep- 
pe, Piacenza,  Jan.  29,  1762 — Dec. 
18,  1842 ;  conductor  and  operatic 
composer.  (2)  (Rightly  Ernest 
Nicholas)  Tours,  France,  Feb.  23, 
1834— Pau,  Jan.  19,  1898  ,  tenor  ; 
1886  m.  Adelina  Patti. 

Nic'olson,  Richard,  d.  1639  ;  Engl, 
organist. 

Niecks  (neks),  Frederick  (Friede- 
rich),  b.  Diisseldorf,  March  3,  1845  ; 
lecturer,  critic,  etc.;  pupil  of  Lang- 
hans,  Grtinewald,  and  Auer  (vln.)  ; 
debut  at  12  ;  1868,  organist,  Dum- 
fries, Scotland,  and  viola-player  in  a 
quartet  with  A.  C.  Mackenzie  ;  stud- 


ied in  Leipzig  Univ.  (1877),  ^nd 
travelled  Italy;  critic,  London;  1891, 
Ried  Prof,  of  Mus. ,  Edinburgh  Univ. ; 
pub.  notable  biog.  of  "  Frederic 
Chopin  as  a  Man  and  a  Musician  " 
(1888);  a  ''Diet,  of  Mus.  Terms" 
etc. 

Nieden,  Zur.     Vide  zur  nieden. 

Niedermeyer  (ne'-der-mi-er),  Louis, 
Nyon,  Switzerland,  1802  —  Paris, 
1861  ;  dramatic  composer  and  theo- 
rist. 

Niedt  (net),  Fr.  Erhardt,  d.  Copen- 
hagen,   1717  ;  writer. 

Niemann  (ne'-man),  (i)  Albert,  b. 
Erxleben,  near  Magdeburg,  Jan.  15, 
1831  ;  1849,  without  study  sang  in 
minor  roles  at  Dessau  ;  then  studied 
with  F.  Schneider,  and  the  bar. 
Nusch  ;  sang  at  Hanover,  then  stud- 
ied with  Duprez,  Paris ;  1860-66, 
dram,  tenor,  Hanover,  since  at  the 
ct. -opera,  Berlin  ;  Wagner  chose  him 
to  create  "  TannhJiuser "  (Paris, 
1861),  and  "  Siegmund  "  (Bayreuth, 
1876)  ;  retired  1889.  (2)  Rudolf 
(Fr.),  Wesselburen,  Holstein,  1838— 
Wiesbaden,  1898  ;  pianist  and  com- 
poser. 

Nietzsche  (net'-she),  Fr.,  Rocken, 
near  Lutzen,  Oct.  15,  1844 — (insane) 
Aug.,  1900;  prof,  at  Basel  Univ.  ; 
notable,  if  eccentric,  philosopher  ;  as 
a  partisan  of  Wagner  he  pub.  "  Die 
Geburt  der  Tragodie  aus  don  Geiste 
der  Musik"  "Richard  Wagjier  in 
Bayreuth" ;  while  "Der  Fall  Wag- 
ner" and  "  Nietzsche  contra  Wag- 
ner" attack  Wagner  as  violently  as 
he  once  praised  him  ;  his  philosophi- 
cal work  "  Also  sprach  Zarathustra  " 
provides  the  title  of  R.  Strauss' 
symph.  poem. 

Niggli  (nlg'-gle),  Arnold,  b.  Aarburg, 
Switzerland,  Dec.  20,  1843 ;  since 
1875  sec.  to  the  Aarau  town  council; 
writer. 

Nikisch  (nTk'-tsh),  Arthur,  b.  Szent, 
Miklos,  Hungary,  Oct.  12,  1855  ; 
eminent  conductor ;  son  of  the 
head-bookkeeper  to  Prince  Lichten- 
stein ;  pupil  of    Dessoff  (comp.)  and 


652 


THE    MUSICAL    GUIDE 


Hellmesberger  (vln.),  Vienna  Cons., 
graduating  at  19  with  prizes  for  vln., 
and  for  a  string-sextet  ;  violinist  in 
the  ct.-orch.;  then  2nd  cond.  Leipzig 
Th. ;  1S82-S9,  ist.  cond.;  18S9-93, 
cond.  Symph.  Orch.,  Boston  (tj.  S. 
A.) ;  1S93-95,  dir.  Royal  Opera, 
Pesth,  and  cond.  Philh.  Concerts  ; 
since  1895  cond.  Gewandhaus  Con- 
certs, Leipzig  (vice  Reinecke),  also 
Phil,  concerts,  Berlin  ;  he  conducts 
usually  without  score ;  1902,  dir. 
Leipzig  Cons. 

Nikita  (nt-ke'-ta)  (stage-name  of 
Louisa  Margaret  Nicholson),  b. 
Philadelphia,  Aug.  18,  1872  ;  colora- 
ture-soprano ;  pupil  of  ^L  Le  Roy, 
Washington  ;  sang  in  various  cities, 
with  an  opera-troupe,  then  studied 
with  Maurice  Strakosch,  Paris  ;  sang 
in  concerts  with  much  succ;  1894, 
prima  donna  soprano,  Paris  Opera. 

Nikom'achus  (called  Gerasenus),  b. 
Gerasa,  Syria  ;  Greek  writer  on  mus., 
2nd  century,  A.  D. 

Nilsson  (nels'-s5n),  Christine,  b.  on 
the  estate  Sjoabel,  near  We.xio, 
Sweden,  Aug.  20,  1843  ;  eminent  so- 
prano, compass  2^  octaves  (g-d") ; 
pupil  of  Baroness  Leuhausen  and 
F.  Berwald,  Stockholm ;  later,  in 
Paris,  of  Wartel ;  debut,  1864,  Th.- 
Lyrique,  Paris,  engaged  for  3  years  • 
there ;  1868-70,  Opera ;  toured 
America  and  Europe  ;  1S72,  she  m. 
Auguste  Rouzaud  (d.  1S82) ;  1887, 
m.  Count  Casa  di  Miranda. 

Nini  (ne'-ne).  Ales.,  Fano,  Romagna, 
1805 — Bergamo,  1880;  cond.  and 
dram,  composer. 

Nisard  (ne-zar),  Theodore  (pen-name 
of  Abbe  Theodule  Eleazar  X. 
Norman),  b.  Quaregnon,  near  Mons, 
Jan.  27,  1812  ;  chorister  at  Cambrai  ; 
studied  in  Douay ;  1839,  dir.  En- 
ghien  Gymnasium,  and  1842,  2d  chef 
de  chant  and  organist  St. -Germain, 
Paris;  then  confined  himself  to  writ- 
ing valuable  treatises  on  plain-chant, 
etc. 

Nissen  (nls'-sen),  (i)  G.  Nicolaus 
von,   Kardebsleben,    Denmark,  1761 


I 


— Salzburg,  March  24,  1826  ;  coun 
cillor  of  State  ;  m.  the  widow  of  Mo-  |i 
zart,  1S09,  and  aided  her  in  preparing 
his  biog.  (1828).  (2)  (Nissen-Salo- 
man)  Henriette,  Gothenburg,  Swe- 
den, March  12,  1819 — Harzburg, 
Aug.  27,  1879 ;  great  singer  and 
teacher ;  pupil  of  Chopin  and  Ma- 
nuel Garcia ;  debut  Paris,  1843; 
1850,  m.  .Siegfried  Saloman,  from 
1859  teacher  St.  Petersburg  Cons. 
(3)  Erica.     Vide  lie. 

Nivers  (ne-vars),  Guillaume  Gabriel,  j 
Melun,  1617 — after  1701;  organist,! 
singer  and  composer. 

Nixon,  (i)  H.  G.,  Winchester,  1796 — 
1849 ;  organist  and  composer.  (2) 
Jas.  Cassana,  1823 — 1842  ;  violin- 
ist ;  son  of  above.  (3)  H.  Cotter, 
b.  1-ondon,  1842  ;  organist  and  com- 
poser at  St.  Leonard's.  : 

Nob  (nap),  Victorine.     Vide  stoltz.J 

Nohl  (nol),  (K.  Fr.)  L.,  Iserlohn.j 
1 83 1— Heidelberg,  1885  ;  1880,  pro-) 
fessor  and  writer ;  wrote  biogs.  of' 
Beethoven,  Mozart,  etc.,  and  pub- 
lished many  colls,  of  the  letters  of 
composers. 

Nohr  (nor),  Chr.  Fr.,  Langensalza, 
Thuringia,  1800 — Meingen,  1875 
violinist  and  dram,  composer. 

Norblin  (nor-blih),  (i)  Louis  Pierrt 
Martin,     Warsaw,      1781 — Chateau 
Conantre,    Marnp,  1854  ;  'cellist  anci 
professor.     (2)  Emile,    1821 — 1880 
son  of  above  ;  'cellist. 

Nor  dica,  Lillian  (stage-name  o 
Mrs.  Lillian  Norton  (Gower 
Doeme),  b.  Farmington,  Me.,  1859, 
pupil  of  John  O'Neill  and  of  N.  E 
Cons.,  Boston  ;  concert-debut.  Bos 
ton,  1876  ;  1878,  toured  Europe  witli 
Gilmore's  Band  ;  studied  opera  witl 
San  Giovanni,  Milan ;  debut  a 
Brescia,  1880;  1881,  Gr.  Opera 
Paris  ;  1882,  m.  Frederick  A.  Gower 
1885,  he  made  a  balloon  ascensioi, 
and  never  returned  ;  she  retired  til 
1887,  then  sang  Covent  Garden,  Lon 
don,  1893  ;  since  then  has  sung  reg 
ularly  in  U.  S.,  England,  etc.;  189 
chosen  to  sing  "  Elsa"  at   Bayreuth 


( 


DICTIONARY  OF  MUSICIANS   653 


1S96,  m.  Zoltan   F.   Doeme,  Hunga- 
rian singer. 

Norman.     Vide  nisard. 

Nor'man(n),  L.,  Stockholm,  1831 — 
1884  ;  conductor,  professor  and  com- 
poser.    Vide  NERUDA. 

Nor'ris,  (i)  Wm.,  d.  ca.  1710;  Eng- 
lish composer.  (2)  Thos.,  ca.  1745- 
1790  ;  English  male  soprano,  organist 
and  composer.  (3)  Homer  A,,  b. 
Wayne,  Maine,  U.  S.  A.;  notable 
theorist ;  studied  with  Marston,  Hale, 
Chadwick  and  Emery,  Boston  ;  lives 
there    as    teacher ;     also    studied    4 

.  years  in  Paris  with  Dubois,  Godard, 
Gi'gout  and  Guilmant  ;  c.  overture 
^''Zoroaster"  cantata  ''Nain"  and 
songs;  pub.  "Harmony"  and 
"Counterpoint"  on  French  basis. 
ndwiNorth,  (i)  Francis,  Lord  Guilford, 
Rougham.  Norfolk,  ca.  1640 — 1685  ; 
siom  amateur  musician  and  writer.  (2) 
Hon.  Roger,  Rougham  Lane,  1650 
— 1733  ;  bro.  of  above  ;  writer. 

Noszkowski  (nosh-kof'-shk!),  Sigis- 
mund  (Zygismunt  von),  b.  Warsaw, 
May  2,  1846  ;  pupil  of  Warsaw  Mus. 
Inst.;  inv.  a  mus. -notation  for  the 
blind,  and  was  sent  by  the  Mus.  Soc. 

■  to  study  with  Kiel  and  Raif,  Berlin  ; 
1876.  cond,;    1881,  dir.  of  the   Mus. 

.  Soc,  Warsaw,  and  (1888)  prof,  at  the 
Cons.;  prod.  succ.  opera  '' Livia" 
(Lemberg,  1898)  ;  c.  symph.,  over- 
ture ''Das  Meerauge"  etc. 

Noszler  (nosh'-l^r),  K.  Eduard,  b. 
Reichenbach,  Saxony,  March  26, 
1S63  ;  pupil  of  Leipzig  Cons.;  1888- 
93,  organist  Frauenkirche,  Bremen  ; 
since  1887.  cond.  Male  Choral  Union; 
also  (since  1893)  organist  Bremen 
Cath.,  and  since  1896,  cond.  Neue 
Singakademie  ;  c.  symph.,  "  Lust- 
spiel-OuvcrtUre,"etc. 

Motker  (not'-kgr)  (Called  Balbulus, 
"the  stammerer"),  840 — 912,  monk 
at  St.  Gallen  ;  important  writer  and 
composer  of  sequences,    (V.  D.  D.) 

^otot  (nu-to),  Jos.,  b.  Arras,  Pas  de 
Calais.  1755  ;  d.  in  England  ;  pupil 
of  Leclerc,  Paris,  noteworthy  organ- 
ist there  and  at  Arras  ;    c.  important 


doll 

BJSJ 

\\  pit 


symphonies,    pf.-concertos,    sonatas, 
etc. 
Nottebohm     (not'-te-bom),      Martin 
Gv.,  Ludenscheid,    Westphalia,  1817 
— Graz,    1882 ;    teacher    and    writer 
chiefly  of  valuable   Beethoven  works 
and  discoveries  ;  also  composer. 
Nourrit    (noor-re),   (i)    Louis,    Mont- 
pellier,  17S0 — Brunoy,  183 1  ;  leading 
tenor   Gr.    Opera,    Paris.       (2)  Ad., 
Paris,    1802 — suicide,   Naples,   1839  \ 
eminent    tenor ;    son    and    successor 
(1825)  of  above  ;  pupil  of  Garcia  and 
teacher  at  the  Cons.  ;  also  composer. 
Novello  (no-vel'-lo),  (i)  Vincent,  Lon- 
don,   Sept.    6,   1781 — Nice,    Oct.    9, 
1861  ;  son  of  Italian  father  and  Eng- 
lish mother  ;  founded,  181 1,  the  pub. 
firm    Novello    &    Co.    (now    Novel- 
lo,    Ewer     &     Co.,     London);     no- 
table   organist,     pianist     and     com- 
poser.    (2)  Mary  Sibilla,   London, 
1809 — Genoa,    1S98  ;     daughter    of 
above ;    m.   Cowden  Clarke  ;    transl. 
treatises  into  English  ;  wrote   Shake- 
speare  Concordance,  etc.       (3)  Jos. 
Alfred,  London,  iS"io — Genoa,   July 
17,    1896;    son    of    (i)  ;  bass  singer 
and   organist.     (4)    Clara   Anasta- 
sia,    b.    London,  June  19,  1818  ;  4th 
daughter  of  (i)  ;  pupil  Paris   Cons., 
succ.    operatic    debut    Padua,    1841, 
but  made  her  best  succ.  in  oratorio  ; 
1843,    "I-    Count    GigHucci ;    retired 
i860. 
Noverre  (no-var),  J.   G.,  Paris,  April 
29,    1727 — St.     Germain,     Nov.     19, 
1810;  solo-dancer  at  Berlin;  ballet- 
master  at  the  Op. -Com.,  Paris;  inv. 
the  dramatic  ballet. 
Nowakowski  (no-va-kof'-shkl),  Jozef, 
Mniszck,    1805 — Warsaw,   1865  ;  pf.- 
teacher,  professor  and  composer. 
Nowowiejski  (no-vo-ve'-shkt),  Felix, 
b.  Poland  ;   1902,  won  Berlin  Meyer- 
beer prize  with  oratorio  "  Die  Riick- 
kehr  des  verlorenen  Sohnes." 
Nuceus.     Vide  gaucquier. 
Nux   (niix),  Paul  V^ronge  de   la,  b. 
Fontainebleau,  June  29,  1853  ;  pupil  . 
of    V.    Bazin,    Paris   Cons.;  took    2d 
Grand  prix,  1876  ;  prod.  succ.  2-act 


654 


THE    MUSICAL    GUIDE 


grand  opera  "  Zaire"  (Opera,  1889; 
Stuttgart,  1895);  c.  music-drama 
''  Labdacides"  etc. 

0 

Oakeley  (6k -IT),  Sir  Herbert  Stan- 
ley, b.  Ealing,  Middlesex,  July  22, 
1S30  ;  while  at  Oxford,  studied  with 
Elvey  (harm.),  later  at  Leipzig  Cons., 
with  Schneider,  Dresden,  and  Brei- 
denstein,  Bonn.;  1865-91,  Ried 
Prof,  of  Mus.,  Edinburgh  Univ., 
developing  the  annual  Ried  Concerts 
into  a  3-days'  Festival  ;  his  org. -reci- 
tals had  a  large  influence ;  knighted 
1876;  Mus.  Doc,  Cantab.,  1871; 
Oxon.,  Dublin,  1887;  1892,  Emeritus 
Professor  ;  composer  to  the  (^ueen  in 
Scotland,  and  since  1887,  Pres. , 
Cheltenham  Mus.  Festival  ;  pub.  a 
cantata  " /«Aj7fc  Lyric,''  ''Suite  in 
the  Olden  Style"  ''  Pastorale"  Festi- 
val March,  and  a  Funeral  March  (op. 
23)  for  orch.;  pf. -sonata,  etc. 

Oberthiir  (o'-ber-tllr),  K.,  Munich, 
1819 — l^ondon,  1895  ;  harpist,  teach- 
er and  dramatic  composer. 

Obin  (6-bah),  Louis  H.,  Ascq.,  near 
Lille,  1820 — Paris,  1895  ;  basso  can- 
tante. 

O'Carolan,  Turlough,  Newton, 
Meath,  1670 — Roscommon,  1738  ; 
Irish  harpist. 

Ochs  (okhs),  (i)  Traugott,  b.  Alten- 
feld,  Schwerin-Sondershausen,  Oct. 
19,  1854  ;  pupil  of  Stade,  Erdmanns- 
dorfer,  Iviel,  and  the  R.  Inst,  for 
Church-mus. ;  1899,  artistic  dir.  Mus.- 
Union  and  the  Mus.-Sch.,  Briinn  ;  c. 
'"  Deutsches  Aiifgcbot"  for  male  cho- 
rus and  orch.  ;  requiem,  etc.  (2) 
Siegfried,  b.  Frankfort-on-Main, 
April  19,  1858  ;  studied  R.  Hoch- 
schule  flir  Musik,  Berlin,  later  with 
Kiel  and  Urban,  and  von  Biilow, 
who  brought  into  publicity  a  small 
choral  union,  the  "  Philharmonischer 
Chor,"  of  which  he  was  cond.,  and 
which  is  now  the  largest  singing-so- 
ciety in  Berlin  ;  he  is  also  a  singing- 
teacher  and  writer,  1901,  Munich  ;   c. 


succ.  comic  opera  (text  and  music]!, 
"/»i  Nanten  dcs  Gesetzes  "  (Hamburg, 
1888)  ;   2  operettas  ;  etc. 

Ochsenkuhn   (6kh'-zan-koon),  Sebas-| 
tian,  d.   Heidelberg,   Aug.   2,  1574 
lutenist  and  composer. 

Ockenheim.     Vide  okeghem.  ; 

Odenwald    (o -den-viilt),    Robt.   Th. 
b.    Frankenthal,   near    Gera,  May  31 
1838  ;   since   1882   teacher   Hambui 
and   cond.    a  succ.    church-choir ; 
Psalms  and  part-songs. 

O'dington,  Walter  de  ("Monk  ( 
Evesham  "),  b.  Odington,  Gloucest( 
shire  ;  d.  ca.  1316  ;  important  theorii 
(Coussemaker.)  . 

O'do  de  Clugny  (du  klUn'-ye)  (Saini 
became  in  927  abbot  of  Clugny,  wheri 
he  d.  942  ;  writer.     (Gerbert.) 

Oeglin  (akh'-len),  Erhard,  i6th  cent 
German  printer  of  Augsburg,  the  fin 
to  print  figured  mus.  with  types. 

Oelschlagel  (al'-shla-gel),  Alfred,  t 
Anscha,  Bohemia,  Feb.  25,  18471 
Prague  Org.-Sch.;  th.-cond.  at  Han; 
burg,  etc.,  and  Karltheater,  Vienna, 
later  bandm.  Klagenfurt ;  c.  opere; 
tas  '' Prinz  und  Maurer"  (Klagei; 
furt,  1884)  ;  succ.  ''Die  Raubrittev 
(Vienna,  1888)  ;  succ.  Der  Lam^ 
stretcher  (Magdeburg,  1893). 

Oelsner  (els'-ner),  (Fr.)  Bruno,  I 
Neudorf,  near  Annabergij  Saxon 
July  29,  1861;  pupil  of  Leipzig  Cons 
solo-vla.,  ct.-orch.  Darmstadt ;  stu^ 
ied  with  de  Haan  (comp.) ;  sin^ 
1882,  vln. -teacher  Darmstadt  Cons 
with  title  Grand  Ducal  Chambe 
mus.;  prod,  at  Darmstadt  i-act  o 
eras,  incl.  succ.  "  Der  Brautgang 
(1894);  also  a  cantata  with  orch.,  et 

Oesten  (a-shten),  Theodor,  Berli 
1813 — 1870;  pianist  and  composer. 

Oesterle  (as-ter'-le).  Otto,  St.  Lou 
Mo.,  1861 — Darien,  Conn.,  189. 
1st  flute  Thomas  Orch.,  the  Philh. 
New  York  and  Brooklyn,  and  Se-, 
Orch.;  teacher  the  Nat.  Cons.,  N. 

Osterlein  (a-shter-lln),  Nikolai 
1840 — Vienna,  1898;  maker  of  t: 
coll.  known   as   the   "  Wagner  M- 


DICTIONARY  OF  MUSICIANS  655 


Oettingen   (et'-tlng-en),  Arthur  Joa- 
chim   von,    b.    Dorpat,    March    2S, 
1S36  ;   1866,  prof,  of  physics  in  ordi- 
nary there  ;  pres.  of  the  Dorpat  Mus. 
See,    and   cond.   an   amateur   orch.; 
theorist. 
Offeabach     (6f'-fen-bakh),     Jacques, 
Cologne,  June  21,  1819 — Paris,   Oct. 
5,  iSSo  ;  eminent  writer  of   light  op- 
era ;  studied  'cello  at  the  Cons.,  then 
joined    Op.-Com.    orch.,     Paris;     c. 
chansonnettes    (parodying    La    Fon- 
taine),  played   the  'cello   in  concerts, 
and   c.  'cello-pcs.;     1849,   cond.  Th.- 
Fran9ais ,  prod,  unsucc.   i-act  oper- 
etta    '' Pepito"     (Op.-Com.,     1853); 
others  followed  till  1S55-66  he  had  a 
theatre   for  his  own  work  ;   1872-76, 
manager    Th.    de    la    Gaite ;     1S77, 
toured  America  with    little   succ.  de- 
t     scribed  in  his  "'Notes  d'un  tnusicien 
I      en   voyage"    (1S77)  ;   his    102    stage- 
■     works   include  the  ballet-pantomime 
"  Le   Papillon"    and    the    v.     succ. 
operas,  ""Orphee  anx  Eitfers"  1858  ; 
"Z(Z   BeJle  Helene,''  1864;   ''  Barhe- 
1      Bleu"    and    ''La    Vie    Parisienne,'" 
I      1866;   "Za  Grande  Due  lies  se  de  Ge- 
\     rohtein"  \%bi\  "Madame   Fava7-t" 
I     1879. 

[Oginski  (6-gen -shkl),  (i)   Prince   Mi- 
chael Cl^ophas,  Guron,  near  War- 
saw,    1765 — Florence,     1833  ;     com- 
poser.    (2)  Michael  Casimir,  War- 
saw,   1731 — 1803 ;    uncle   of   above  ; 
said  to  have  inv.  the  pedals  of  the 
harp. 
0  keghem  (or  Okekem,  Okenghem, 
Ockegheim,  Ock  enheim),  Jean  de 
(or   Joannes),    probably   Termonde, 
East    Flanders,   ca.    1430 — Tours  (?), 
1495 — 1513;    eminent  contrapuntist; 
the  founder  of  the   Second  (or  New) 
Netherland  Sch.     Chorister,  Antwerp 
cathedral ;  studied  with  Dufay  ;  1454, 
ct.-cond.    and    composer    to    Charles 
[     VII.  at  Paris  ;    1467,  royal  cond.  to 
Louis  XL;  toured    Spain  and  Fland- 
I     ers   on   stipend ;    c.   masses,   motets, 
I     canons,  etc. 

(O'Leary  (6-la'-rI),   (i)  Arthur,  b.  n. 
Killarney,  Ireland,  1834  ;  pianist  and 


composer.       (2)    Rosetta,    wife    of 
above  ;   composer. 
Olib'rio,  Flavio  Anicio.     Vide  j.   f. 

AGRICOLA. 

Ol'iphant,  Thos.,  Condie,  Perthshire, 
1799 — London,  1873  ;  theorist  and 
collector. 

Olitz  ka,  Rosa,  b.  Berlin,  Sept.  6, 
1873;  contralto;  studied  with  Artot 
and  Hey  ;  sang  at  Briinn,  Hamburg, 
then  Covent  Garden  and  New  York 
opera  ;  then  in  Russia,  etc. 

Oliver,  H.  Kemble,  Beverley,  Mass., 
1800 — Boston,  1885  ;  boy  soprano  ; 
organist,  mus.  dir.  and  composer. 

Olsen  (ol'-zen),  Ole,  b.  Hammerfest, 
Norway,  July  4,  185 1  ;  c.  symph. 
poem  " Asgaardsreien"  1891,  etc. 

Ondriczek  (6n'-drl-chek),  Fz.,  b. 
Prague,  April  29,  1859 ;  violinist ; 
pupil  of  his  father,  and  at  14  member 
of  his  small  orch.  for  dance  mus.; 
then  studied  Prague  Cons,  and  with 
Massart,  Paris  Cons.,  took  first  prize 
for  vln. -playing  ;  toured  Europe  and 
America  ;  lives  in  Boston. 

Onslow,  G.,  Clermont-Ferrand, 
France,  1784 — 1852  ;  grandson  of  the 
first  Lord  Onslow;  amateur  'cellist 
and  pianist ;  prod.  4  succ.  comic  op- 
eras ;  34  string-quintets  ;  36  quar- 
tets ;  and  other  chamber-music. 

Opelt  (o'-pelt),  Fr.  Wm.,  Rochlitz, 
Saxony,  1794 — Dresden,  1863;  writer. 

Ordenstein  (or'-den-shtln),  H.,  b. 
Worms,  Jan.  7,  1856  ;  pianist ;  pupil 
of  Leipzig  Cons.,  also  in  Paris  ;  1879- 
81,  teacher  at  Carlsruhe  ;  1S81-82,  at 
KuUak's  Acad.,  Berlin  ;  18S4,  founded 
Carlsruhe  Cons.;  made  prof,  by 
Grand  Duke  of  Baden. 

Orefice,  dell'.     Vide  deli.'  orefice. 

Orgeni  (or-ga'-ne)  (Orgenyi)  (6r-gan'- 
ye),  Anna  Maria  Aglaia,  b.  Tis- 
menice,  Galicia,  Dec.  17,  1843  ; 
colorature  soprano  ;  pupil  of  Mme. 
Viardot-Garcia  ;  debut,  1865,  Berlin 
Opera  ;   1886,  teacher  Dresden  Cons. 

Orlando,  or  Orlandus.     Vide  lasso. 

Orlow  (6r'-16f),  Count  Gregor  Vladi* 
mir,  1777 — St.  Petersburg,  1826, 
writer. 


656 


THE  MUSICAL  GUIDE 


Ornithopar'cus  (Greek  form  of  Vogel- 
sang) (fo'-gel-zang),  Andreas,  b. 
Meiningen  ;  early  i6th  cent,  theorist. 

Orpheus  (orf'-yoos),  mythical  Greek 
singer ;  son  of  Apollo,  and  best  of 
singers  to  the  lyre,  1350  B.  c. 

Or'ridge,  Ellen  Amelia,  London, 
iS55~Guernsey,  1883  ;  contralto. 

Ortigue  (6r-teg),  Jos.  Louis  de,  Ca- 
villon  Vaucluse,  1802 — Paris,  1866; 
writer. 

Orto  (6r'-to),  Giov.  de  (Italian  form  of 
Jean  Dujardin)  (du-zhar'-dah);  Lat- 
inised as  de  Hor'to  (called  "  Mar- 
briano  ") ;  contrapuntist  and  com- 
poser 15th  and  i6th  centuries. 

Osborne,  (i)  G.  Alex.,  Limerick, 
Ireland,  1806— London,  1893;  com- 
poser. (2)  (rightly  Eisbein  (Ts'-bin)), 
Adrienne,  b.  Buffalo,  N.  Y.;  pupil 
of  Auguste  Gotze  and  Max  Stage- 
mann  in  Leipzig ;  dram,  soprano ; 
now  at  Leipzig  City  Th. ;  has  sung 
at  the  Gewandhaus. 

Osgood,  Geo.  Laurie,  b.  Chelsea, 
Mass.,  April  3,  1844;  graduated 
Harvard,  1886  ;  dir.  of  the  Glee  Club, 
and  the  orch.  there  ;  studied  singing 
with  Sieber  and  Haupt,  and  German 
song  and  chorals  with  R.  Franz ; 
studied  with  the  elder  Lamperti  in 
Italy  3  years  ;  made  a  succ.  tour  of 
Germany ;  then,  under  Thomas,  of 
America;  since  1872,  lived  Boston  as 
vocal-teacher  and  conductor ;  pub. 
"  Guide  in  the  Art  of  Singing"  (8 
editions);  c.  anthems,  etc. 

Osiander  (6'-ze-ant-er),  Lucas,  Niirn- 
berg,  1534 — Stuttgart,  1604;  writer 
and  composer. 

Othmayer  (6t'-mT-er),  Kaspar,  Am- 
berg,  1515 — Niirnberg,  I553  ;  com- 
poser. 

Otho.     Vide  odo. 

Ott(o)  (or  Ottl),  Hans,  ca.  1533— 
1550;   pub.  in  Niirnberg. 

Ottani  (6t-ta-ne),  Abbate  Bernardi- 
no, Bologna,  1735 — Turin,  1827  ; 
dram,  composer. 
Otto  (6t'-t6),  (i)  Vide  ott.  (2) 
(Ernst)  Julius,  Konigstein,  Saxony, 
Sept.   I,   1804 — Dresden,   March    5, 


1877  ;  notable  composer  of  cycles  for 
male  chorus,  songs,  operas,  etc.  (3) 
Fz.,  Konigstein,  Saxony,  i8og — 
Mayence,  1841;  c.  pop.  songs.  (4) 
Rudolph  K.  Julius,  b.  Berlin,  April 
27,  1829;  solo  boy-soprano  at  the, 
Domchor,  Berlin  ;  from  1848,  tenor 
there  ;  1852,  teacher  singing  Stern 
Cons.;  1873  at  R.  Hochschule  flir 
Musik. 

Otto-Alvsleben  (6t'-t5-alf'-sla-bgn), 
Melitta  (nee  Alvsleben),  Dresden, 
1842 — 1S93  ;  soprano  ;  married,  1866. 

Oudin  (00-dah),  Eugene  (Espd-i 
ranee),  New  York,  1858 — London, 
1894;  barytone,  pianist  and  com- 
poser. 

Oudrid  y  Segura  (oo-dredh'  e  sa-goo'- 
ra),  Cristobal,  Badajoz,  1829 — Mad-: 
rid,  March  15,  1877;  conductor  and 
dram,  composer. 

Oulibichef.     Vide  ulibishkv. 

Oury.     Vide  belleville-oury. 

Ouse  ley,  Sir  Fr.  Arthur  Gore,  Lon-i 
don,  Aug.  12,  1825 — Hereford,  April 
6,  1889;  notable  theorist  and  com-: 
poser ;  pianist  and  organist  remark-; 
able  for  fugal  improvisation  ;  wrot< 
important  treatises,  etc.;  c.  an  oper£l 
at  8  ;  M.  A.  Oxford,  1840,  Mus.  Doci 
there,  1854  ;  also  from  Durham  anc 
Cambridge,  1862  ;  from  1855  Prof,  o 
Music  at  Oxford,  vice  Sir  H.  R 
Bishop;  c.  2  oratorios  incl.  "//a 
gai'y 

O  verend,  Marmaduke,  d.  1790 
Engl,  organist  and  composer  of  ser 
vices,  70  anthems,  18  organ  prelude 
and  fugues,  etc.;  biog.  by  Joyci 
(London,  1896). 

Owst,  Wilberfoss  G.,  b.  London 
June  13,  1861;  pupil  of  Eaton  Fan! 
ing  and  H.  Gadsby,  and  of  Stuttgai 
Cons.,  1893-95  ;  organist,  Baltimore 
U.  S.  A.;  pub.  Communion  Service 
anthems,  etc. 


Pabst  (papst),  (i)  Aug.,  Elberfelc 
May  30,  18 1 1— Riga,  July  21,  1885 
director    and    composer    of    opera: 


DICTIONARY  OF  MUSICIANS   657 


(2)  Louis,  b.  Konigsberg,  July  18, 
1846 ;  son  of  above ;  pianist  and 
composer.  From  1899,  head  pf.- 
teacher  Moscow  Philh.  Sch.  (3) 
Paul,  Konigsberg,  1854 — Moscow, 
1897;  son  of  (i);  pf.-prof. ;  direc- 
tor. 

Pacchiarotti  (pak-kr-a-r6t'-te),  Gas- 
pare, Fabriano,  Ancona,  1744 — Pad- 
ua, Oct.  28,  1821;  one  of  the  great- 
est and  most  succ.  of  i8th  cent,  sing- 
ers ;  soprano-musico. 

Pachelbel  (pakh'-el-bel),  (i)  J.,  Nilrn- 
berg,  Sept.  r,  1653 — March  3,  1706; 
org. -virtuoso  and  composer.  (2) 
Wm.  Hieronymus,  b.  Erfurt,  1685  ; 
son  of  above ;  organist  and  com- 
poser. 

Pacher  (pakh'-er),  Jos.  Adalbert, 
Daubrawitz,  Moravia,  18 16 — Gmun- 
den,  1871 ;  composer. 

Pachmann  (pakh'-man),  Vladimir  de, 
b.  Odessa,  July  27,  1848 ;  notable 
pianist  especially  devoted  to  Chopin's 
mus.;  son  and  pupil  of  a  prof,  at  Vi- 
enna Univ. ;  a  good  violinist  ;  studied 
also  with  Dachs,  Vienna  Cons.;  1869 
toured  Russia  with  a  great  succ.  that 
has  followed  him  throughout  Europe 
and  America ;  in  Denmark  he  re- 
ceived the  Order  of  the  Danebrog 
from  the  King ;  since  1896,  lives  in 
Berlin. 

Pachulski  (pa-khool'-shkl),  Henry,  b. 
Poland,  Oct.  4,  1859  ;  Pupil  Warsaw 
Cons.,  now  prof.  Moscow  Cons.;  c. 
pf.-pcs.,  etc. 

Pac(c)ini  (pa-che'-ne),  (r)  Andrea,  b. 
Italy,  ca.  1700;  male  contralto.  (2) 
A.  Fran.  Gaetano  Saverio,  Na- 
ples, 1778— Paris,  1866;  singing- 
teacher,  conductor  and  composer  of 
comic  operas.  (3)  Giov.,  Catania, 
Feb.  17,  1796— Pescia,  Dec.  6,  1867; 
son  of  a  tenor ;  pupil  of  Marchesi, 
Padre  Mattel  and  Furlanetto  ;  1813- 
35,  prod.  40  operas,  the  last  failing, 
he  established  a  sch.  at  Viareggio, 
later  Lucca,  wrote  treatises,  etc.; 
1840,  the  succ.  of  "  Saffo  "  set  him  to 
work  again,  and  he  turned  out  40 
more  operas,  also  oratorios,  a  symph. 
42 


''Dante''  etc.  (4)  Emilio,  1810 — 
Neuilly,  near  Paris,  Dec.  2,  1898 ; 
bro.  of  above  ;  librettist  of  "  //  Tro- 
vatore,"  etc. 
Pacius  (pa'-tsT-oos),  Fr.,  Hamburg, 
March  ig,  1809 — Helsingfors,  Jan.  9, 
1891;  violinist;  c.  the  Finnish  Na- 
tional  Hymn,  operas,  etc. 

Paderewski  (pad-g-ref'-shkl),  Ignace 
Jan,  b.  Podolia,  Poland,  Nov.  6, 
1S59;  eminent  pianist  and  composer; 
pupil  of  Raguski  (harm,  and  cpt.) 
Warsaw  Cons. ,  of  Urban  and  Wuerst, 
Berlin ;  of  Leschetitzky,  Vienna. 
1878-83,  pf.-teacher,-  Warsaw  Cons.; 
has  toured  Europe  and  America  with 
unprecedented  succ.  financially  and 
with  high  artistic  triumph.  His  first 
wife,  who  died  young,  bore  him  a 
son.  1899,  m.  Mme.  Gorski.  1896 
he  set  aside  $10,000  as  the  Paderew- 
ski fund,  the  interest  to  be  devoted  to 
triennial  prizes  "to  composers  of 
American  birth  without  distinction  as 
to  age  or  religion  ;  "  1.  $500  for  best 
orchestral  work  in  symph.  form  ;  2. 
$300  for  best  comp.  for  solo  instr. 
with  orch. ;  3.  $200  for  best  chamber- 
music  work.  Lives  in  Paris  and  Switz- 
erland ;  c.  succ.  opera  "  Manru  "  (Ct.- 
Th.,  Dresden,  1901);  Polish  fantasia 
forpf.  with  orch.  op.  19,  '' Lc'ge7tde  No. 
2"  for  pf.  op.  20,  and  many  original 
and  brilliant  pf.-pcs.  incl.  '' Chants  du 
voyageur"  a  vln.  sonata  ;  vars.  and 
fugue  on  original  theme ;  op.  14, 
'' Humoresqiies  de  concert  for  pf." 
{Book  I ;  Mennet,  Sarabande,  Ca- 
price; Book  2,  Burlesque,  Inter- 
mezzo polacco,  Cracovienne  fantas- 
tique)  ;  ''Dans  le  desert,  toccata"; 
v.  pop.  Minuet  (op.  1);  songs,  etc. 

Padilla  y  Ramos  (pa-del'-ya  e  ra- 
mos),  b.  Murcia,  Spain,  1842  ;  pupil 
of  Mabellini,  Florence  ;  barytone  at 
Messina,  Turin,  etc.,  St.  Petersburg, 
Vienna  and  Berlin  ;  1869,  m-  Desiree 
Artot. 

Paer  (pa'-ir),  Ferdinando,  Parma, 
June  I,  1771— Paris,  May  3,  1839. 
1807,  ct.-cond.  to  Napoleon  and 
cond.    Op.-Com;    1812,    cond.    Th.- 


658 


THE    MUSICAL    GUIDE 


Italien  (vice  Spontini);  violinist  and 
c.  43  operas. 

Paesiello,     Vide  I'AISiello. 

Paganini  (pag-a-ne'-ne),  Niccolo, 
Genoa,  Oct.  27,  17S2 — Nice,  May  27, 
1S40 ;  tiie  pre-eminent  violin-virtu- 
oso. Studied  with  G.  Servetto  and 
G.  Dosta  ;  at  8  he  c.  a  vln. -sonata  ; 
at  9  he  played  in  public  with  greatest 
succ. ;  from  1795  he  studied  with  Ghi- 
retti  and  Aless.  RoUa  (though  P. 
denied  this),  at  Parma.  1798,  he  ran 
away  from  his  severe  father  after  a 
concert  at  Lucca,  and  played  at  Pisa 
and  other  places.  At  15  he  was  a 
passionate  gambler,  and  very  dissi- 
pated. Fits  of  gambling  alternated 
with  periods  when  he  practised  10 
hours  a  day,  the  result  being  a  ruined 
constitution.  He  pawned  his  violin 
to  pay  a  gambling  debt,  but  a  M. 
Levron  presented  him  with  a  Joseph 
Guarnerius,  which  P,  willed  to  Ge- 
noa. In  1804  he  went  home,  and 
practised  till  1805,  when  he  had  ex- 
traordinary succ.  making  a  sensation 
by  brilliant  performances  on  the  G 
string  alone ;  soon  ct.  -  soloist  at 
Lucca  ;  then  to  1827  he  toured  Italy, 
crushing  all  rivalry  with  an  extraordi- 
nary technic  ;  1827,  Pope  Leo  XII. 
conferred  on  him  the  Order  of  the 
Golden  Spur ;  he  played  at  Vienna, 
receiving  from  the  municipality  the 
great  gold  medal  of  St.  Salvator ; 
from  the  Emperor  the  honorary  title 
of  ct. -virtuoso.  1829,  Berlin;  1831, 
Paris;  1831,  London.  1833-34, 
Paris  ;  then  retired  to  his  villa  at  Par- 
ma. He  lost  50,000  francs  on  a 
scheme  to  establish  a  gambling  house 
with  concert-annex  at  Paris,  the  gam- 
bling-license being  refused.  Though 
his  earnings  were  enormous,  he  was 
not  generous  except  spasmodically  ; 
he  gave  Berlioz  $4,000  as  a  compli- 
ment for  his  "  Syiiphoiiie  Fantas- 
tiqtie"'  (B.  had  wr'ittten  ""  Harold  in 
Italy"  for  P.'s  Stradivari  viola).  He 
m.  the  singer  Antonia  Bianchi,  and 
he  left  his  son  Achille  $400,000  (^80,- 
000).     He  died  of  phthisis  of  the  lar- 


ynx. His  technic  was  never  equalled, 
and  it  provoked  superstitious  dread 
among  his  auditors,  his  ghoulish  ap- 
pearance aiding  the  impression.  He 
was  sometimes  the  charlatan  and 
some  of  his  effects  were  due  to  spe- 
cial tunings  (scordatures),  but  his: 
virtuosity  has  never  been  rivalled. 
C.  24  caprices  for  violin-solo  ;  of 
which  pf. -transcriptions  were  made 
by  Schumann  and  Liszt  ;  12  sonatas| 
for  violin  and  guitar  (op.  2)  ;  do  (op. 
3) ;  3  gran  quartetti ;  concerto  in  Eb 
(solo  part  in  D,  for  a  vln.  tuned  a 
semitone  high)  ;  concerto  in  B  min.;. 
"  Zrt  Campanella"  with  Rondo  a  la- 
clochette  (op.  7)  ;  variations  on  man) 
themes,  ''  Le  Streghe"  ''  God  save  (lu 
King"  "'The  Carnival  of  Venice,' 
etc.;  concert  Allegro  ''  Moto  per 
petuo"  (op.  12);  a  sonata  with  acj 
comp.  of  vln.,  'cello  orpf.,  andstudiesj 
etc.  Biog.  by  Fetis  (Paris,  1851;  Engll 
London,  1852);  A.  Niggli  (1882)) 
O.  Bruni  (Florence,  1873).  j 

Page,  (i)  J.,  England,  ca.  1750 — Lor' 
don,  1812;  tenor.  (2)  Nathan  Cliii 
ford,  b.  San  Francisco,  Oct.  2( 
1866;  pupil  of  E.  S.  Kelley ;  at  2 
c.  an  opera  (prod,  at  San  Francisco 
incid.  mus.  for  "Moonlight  Blossom 
(London,  1898),  using  Japane; 
themes  ;  c.  also  an  opera  "  Villiers, 
a  "  Caprice  "  developing  one  8-mea' 
ure  theme  through  5  movements  1 
an  orch.  suite;  a  ''Village  Suite- 
for  orch.,  etc. 

Paine  (pan),  J.  Knowles,  b.  Portlan' 
Me.,   Jan.   9,  1839;  the   first  Ame' 
ican  composer  of  importance  ;  pu], 
of  Kotzschmar,    at    Portland,   Hau 
(cpt.),    Fischer    (singing),    and  W' 
precht    (instr.),    Berlin  ;    gave    orj 
concerts    in    Berlin     and    Americ 
cities,  then   lived  in  Boston  as  orga 
ist   West   Church  ;    1862,    teacher 
mus.   Harvard  Univ.,  and  organist ■: 
Appleton  Chapel,   Cambridge  ;  sir; 
1876,   prof,  of  mus.  and  organist  : 
Harvard  ;  c.  an  opera  (text and mu) 
"Azara":     oratorio      "St.    Pete. 
"Centennial  Hymn"  with  orch.    ) 


\ 


DICTIONARY  OF  MUSICIANS    659 


open  the  Philadelphia  Exposition, 
1S76)  ;  "  Columbus  March  and 
Hvmu  "  (to  open  the  Columbian  Ex- 
position, Chicago,  1893) ;  mus.  to 
Sophokles'  "CEdi/>us  Tyrannus"  for 
male  voices  and  orch.  (prod,  at  Har- 
vard, 1 881) ;  3  cantatas  with  orch. 
"  The  Realm  of  Fancy,''  "  The  Na- 
tivity" ''  Song  of  Promise,"  2  symphs. 
op.  23,  in  C  min.,  and  op.  34  in  A 
("  Spring  symph")  ;  2  symph.  poems, 
"  The  Tempest"  and  ''An  Island 
Fantasy";  overture  to  ''As  You 
Like  It " ;  Domine  Salvum  with  orch. ; 
mass,  with  orch.;  chamber-mus.,  vln.- 
sonata,  etc. 
Paisiello  (pa-e-sl-el'-lo)  (or  Paesiello) 
(pa-a-sl-gl'-lo),  Taranto,  Italy,  May 
g,  1741 — Naples,  June  3,  1816.  At 
5  studied  at  Jesuit  sch.  in  Taranto 
with  a  priest  Resta ;  later  studied 
with  Durante,  Cotumacci  and  Abos, 
Cons,  di  S.  Onofrio,  at  Naples ; 
teacher  there,  1759-61.  He  c. 
masses,  etc.,  till  a  comic  intermezzo 
(Cons.  Theatre,  1763)  won  him  a 
commission  to  c.  an  opera  for  the 
Marsigli  Th.,  at  Bologna,  where  his 
comic  opera  "  La  Pupilla^  ossio  il 
Mondo  alia  Rovescia"  was  prod. 
1764.  (Grove  calls  this  work  2  op- 
eras.) In  12  years  he  prod.  50 operas 
mainly  succ,  though  in  rivalry  with 
Piccinni  and  Cimarosa  ;  these  include 
"  II  Marchese  di  Tulipano"  (Rome, 
1766);  "  L Idolo  Cinese"  (Naples, 
1767)  and  "La  Serva  Padrona" 
(Naples,  1769).  He  was  notable  also 
for  his  jealousy  and  devotion  to  in- 
trigue. 1776-84,  St.  Petersburg,  with 
a  splendid  salary  and  on  invitation 
from  Empress  Catherine.  Here  he 
prod.  1776  " //  Barbiere  di  Sivig- 
lia"  gaining  such  succ.  that  the  later 
and  better  opera  by  Rossini  was  re- 
ceived as  a  sacrilege  with  great  hos- 
tility at  first  ;  on  his  return  from 
Russia  he  prod,  at  Vienna  one  of  his 
best  works,  "  //  Re  Teodoro"  and  12 
symph.  for  Joseph  II.  1784-99, 
cond.  to  Ferdinand  IV.  of  Naples  ; 
and     prod,      various     works      incl. 


"  L'Olitnpiade"  (1786)  and  "Nina, 
0  la  Pazza  per  Amore"  (1789),  "La 
Molinara"  and  "  Izingariin  Fiera." 
During  the  revolution  1799-1801,  he 
won  the  favour  of  the  Republican 
govt.,  also  regained  the  favour  of 
royalty  at  the  Restoration,  till  Napo- 
leon who  had  always  admired  him 
called  him  to  Paris,  1802-03,  ^^  cond. 
Here  P.  lived  in  magnificence,  lord- 
ing it  over  Cherubini  and  Mehul. 
1803-15,  he  was  in  Naples  again  as 
ct.-cond.  In  1815,  on  the  return  of 
Ferdinand  IV.,  he  was  reduced  to  a 
small  salary  ;  soon  his  wife  died,  and 
he  shortly  after.  A  composer  of  great 
prolificity,  melodic  grace  and  sim- 
plicity, his  works  are  rarely  heard 
now.  He  c.  100  operas,  a  Passion 
oratorio  (Warsaw,  1784)  ;  3  solemn 
masses,  Te  Deum  for  double  chorus 
and  2  orch.;  requiem  with  orch. 
(performed  at  his  own  funeral) ;  30 
masses  with  orch.,  40  motets,  12 
symphs.,  and  other  things  in  pro- 
portion. Biog.  by  Le  Seuer  (18 16), 
Quatremere  de  Quincy  (1817),  Schiz- 
zi  (Milan,  1833),  Villarosa  (Naples, 
1840). 

Paix  (pa -ex),  Jacob,  Augsburg,  1550 
— after  1590;  organist  and  composer. 

Paladilhe  (pal -a- del),  l^mile,  b. 
June  3,  1844 ;  studied  with  Mar- 
montel  (pf.),  Benoit  (org.)  and  Hale- 
vy  (cpt.),  Paris  Cons.;  won  ist  prize 
for  pf.  and  org.,  1857;  i860.  Grand 
prix  de  Rome,  with  the  cantata  "  Le 
Czar  Ivan  IV."  (Opera,  i860);  from 
Rome,  he  sent  an  Italian  opera  buffa, 
an  overture  and  a  symph.;  1872,  prod, 
the  i-act  comic  opera  " Le  Passant" 
(Op. -Com.)  followed  by  5  operas  incl. 
the  still  pop.  "  Patrie"  (Opera,  1886; 
1889,  Hamburg,  as  "  Vaterland" ; 
1895,  Milan,  as  " P atria")  \  and  c. 
also  2  masses,  a  symph.,  etc. 

Palestrina  (pa-les-tre'-na)  (rightly 
Giovanni  Pierluigi  Sante,  called 
da  Palestrina,  from  his  birthplace), 
Palestrina,  near  Rome,  probably  15 14 
or  1515  (some  say  1528  or  9) — Rome, 
Feb.  2,  1594.  One  of  the  most  revered 


66o 


THE    MUSICAL    GUIDE 


names  in  music;  he  was  b.  of  poor  par- 
ents, little  is  known  of  his  early  life  ; 
he  is  said  to  have  earned  his  living 
first  as  a  church-singer ;  probably 
studied  in  Goudimel's  sch.,  1540,  and 
was,  1544-51,  organist  at  Palestrina, 
then  magister  puerorum  (master  of 
the  boys),  in  the  Cappella  Giula,  with 
title  "  maestro  della  cappella  della  Ba- 
silica Vaticana."  He  dedicated  a  book 
of  masses  to  Pope  Julius  III.,  who, 
Jan.,  1554,  admitted  him  to  the  Pon- 
tifical Chapel  as  a  singer,  against  the 
rules,  P.  having  a  wife  and  no  voice. 
July  30,  1555,  Paul  IV.  dismissed 
him  with  a  pension  of  6  scudi  per 
month.  This  blow  afTected  him  so 
deeply  (he  had  4  children  to  support) 
that  he  suffered  nervous  prostration. 
On  Oct.  I,  however,  the  Pope  ap- 
pointed him  cond.  at  the  Lateran. 
1560,  he  prod,  his  famous  ''  Impro- 
peria "  (v.  D.  D.)  for  Holy  Week, 
with  such  succ,  that  the  Pope  se- 
cured them  for  the  Sistine  Chapel, 
where  they  have  been  performed  on 
every  Good  Friday  since.  1561,  he 
took  the  better-salaried  post  of  cond. 
at  Santa  Maria  Maggiore.  The 
Pope  was  determined  to  rid  church- 
mus.  of  its  astonishing  secular  quali- 
ties :  first,  the  use  of  street-ballads, 
even  when  indecent,  as  canti  fer- 
iiii,  many  of  the  choir  actually  sing- 
ing the  words  ;  and  second,  the  riot- 
ous counterpoint  with  which  the 
sacred  texts  and  the  secular  tunes 
were  overrun.  The  Council  of  Trent 
and  a  committee  of  8  cardinals,  con- 
sidering the  matter  seriously,  decided 
not  to  revolutionise  church-music  en- 
tirely, and  in  1564  commissioned  Pal- 
estrina, by  this  time  famous,  to  write 
a  mass  which  should  reform,  without 
uprooting,  ecclesiastical  polyphony. 
He  wrote  three,  all  noble,  the  third, 
the  '' Missa  papa;  Maireili"  win- 
ning the  most  profound  praise.  He 
was  called  "the  saviour  of  music," 
and  appointed  composer  to  the  Pon- 
tifical Chapel.  1571,  he  became  and 
remained    till   death    maestro    of  St. 


led   to   re-i  J 
and  AntijA,. 
XIII.;  h«J^" 


Peter's.  He  also  composed  for  the 
"  Congregazione  del  Oratorio"  (v. 
NERi)  ;  taught  in  Nanini's  sch. ,  and 
was  from  1581  maestro  concertatore 
to  Prince  Buoncompagni.  Pope  Six-, 
tus  V.  wished  to  appoint  him  maestrc 
of  the  Sistine  Chapel,  but  the  singers: 
refused  to  serve  under  a  layman.  Ht| 
was,  however,  commissioned  to  re-i 
vise  the  Roman  Gradual 
phonal,  by  Pope  Gregory 
pub.  the  "  I^irectorium  chori  "  (1582)! 
the  offices  of  Holy  Week  (1587),  am! 
the  Prcrfatioiies  (15S8),  but  on  thd 
death  of  his  pupil  and  assist.  Giudetti) 
he  was  compelled  to  leave  the  worl; 
unfinished.  A  complete  ed.  of  hij 
works  is  pub.  by  Breitkopf  and  Har! 
tel  :  Vols,  i.-vii.  contain  262  moj 
tets ;  Vol.  viii.,  45  hymns  ;  Vol.  'w. 
68  offertories;  Vols,  x.-xxiv.,  9 
Masses;  Vol.  xxv.,  9  Lamentation 
each  in  various  arrangements  in  3,  ^j, 
5,  6,  or  8  parts;  Vol.  xxvi.,  17  Litsi 
nies.  Motets  and  Psalms  in  3-ii 
parts  ;    Vol.  x.xvii.,    35  Magnificatsi    , 

Vol.   xxviii.,  about  90   Italian   (secij    I 

lar)  Madrigals  ;  Vol.  xxix.,  56  Churcl-|    i 
Madrigals    (Latin);  Vol.    xxx.    (froi' 
colls,  of  i6th-i7th    cent.),    12    Car 
tiones  sacrre,  12  Cant,    profana,  an 
14   Cant,    sacrse  ;    Vol.    xxxi.    (froi, 
archives    of    the     Pontifical    Chapei 
etc.),  56  miscellaneous  numbers,  mar.' 
doubtful,  inch  11,  "  Esercizi  sopra  1; 
scala  "  ;  Vol.  xxxii.,  60  miscellaneoij 
comp.    inch   8   Ricercari,  Response- 
Antiphones,  etc.;  Vol.  xxxiii.,  Docij 
nients.     Index,     Bibliography,     etj 
Among  his  best  masses  are  "yEtert. 
Christi  muuera,"    ''Dies  sanciific, 
ttis,"  "  0  sacrum  convivium"  in 
parts  ;   "  Assurnpta  est  Maria  in  cc 
lu»i"  ''  Dilexi  quoniavi,'^  '' Ecce el-\ 
Joannes"    ''Papa    Marcelli'"    in  j 
parts  ;  "'  Tti  es  Petrus  "  in  6  part;' 
these,  the  Motet   "  Pxaudi  Doinine\ 
3  Lamentations,    also    selected    M 
drigals,  Canzonets,  etc.,  are  pub.  se 
arately.  Biog.  by  Baini  (Rome,  1828' 
A.   Bartolini    (Rome,    1870) ;  Baur 
ker  (1877)  ;  Cametti  (Milan,  1895). 


DICTIONARY  OF  MUSICIANS  661 


Palestrina. 

By  W.  J.   Henderson. 

PALESTRINA'S  work  in  musical  history  was  bringing  order  out  of 
chaos  in  church-music,  and  setting  the  model  for  the  loftiest  purity  of 
.style.  The  music  of  the  Church  had  become  too  complex  through 
:he  extreme  development  of  rigidly  canonic  writing.  Palestrina,  following 
:he  lead  of  some  of  his  predecessors,  who  had  begun  to  write  in  free  counter- 
Doint,  showed  how  this  new  style  could  be  made  to  yield  the  finest  possible 
■esults  in  the  composition  of  music  for  the  mass,  and  other  parts  of  the 
Roman  ritual.  By  adhering  to  the  ecclesiastical  scales  and  avoiding  chro- 
•natic  progressions,  by  clinging  to  purely  religious  thought  and  excluding  any- 
:hing  like  passion,  Palestrina  produced  works  which  have  remained  to  this  day 
:he  perfect  model  of  church-music.  ^  The  contrapuntal  skill  in  his  writing 
s  masterly,  but  it  never  parades  itself  Its  most  beautiful  effects  are  produced 
vith  apparent  spontaneity,  and  frequent  chord  harmonies  of  enchanting  love- 
iness  seem  to  be  accidental.  The  Roman  school  of  church-composers  was 
bunded  by  Palestrina,  and  his  influence  is  even  yet  perceptible  in  the  music  of 
he  Holy  City.  He  has  universally  been  accorded  the  position  of  the  greatest 
)f  all  church-composers. 


•:  ''alf  fy,  Count  Fd.  von  Erdod,  Vien- 
na,    1774-1840 ;     amateur    musician 
■     and  operatic  manager. 
IK  i*allavicini  (pal-la-ve-che'-ne),  (r)  (or 
uF  I  Pallavicino)   Benedetto,   Cremona 
s  '  — Mantua  (?),  after  1616  ;  conductor 
J'     and  composer.     (2)  Carlo,   Brescia, 
1630 — Dresden,  1688;  conductor  and 
dram,  composer. 
:    'allo'ni,  Gaetano,  b.  Camerino,  Italy, 
Aug.  4,  1 831;    pupil  of  Cellini,  Fer- 
mo  ;    organist  there,   1854 ;    studied 
with  Mabellini,    Florence,   where  he 
lived  as  a  singing-teacher  and  com- 
poser. 

*alme   (pal-mg),  Rudolph,  b.  Barby- 
on-Elbe,  Oct.  23,  1834  ;  pupil  of  A. 
I-  I  G.  Ritter ;    organist ;    R.    Mus.   Dir. 
-I'U  I  and  organist  at   Magdeburg  ;  c.  con- 
1  ■  1  *  cert-fantasias  with  male  chorus,  so- 
natas, etc. ,  for  org. 

*alm'er,  Horatio  Richmond,  b.  Sher- 
burne, N.  Y.,  April  26,  1834;  pupil 
of  his  father  and  sister,  and  studied  in 


New  York,  Berlin  and  Florence ;  at 
18,  began  composing ;  at  20  chorus- 
cond.;  1857,  teacher  at  Rushford 
Acad.;  after  the  Civil  War,  Chicago; 
ed.  "  Concordia  "y  cond.  various  so- 
cieties from  1S73,  cond.  New  Church 
Choral  Union,  giving  concerts,  some- 
times with  4,000  singers  ;  since  1877, 
Dean  of  the  Chautauqua  Sch.  of  Mus. ; 
Mus.  Doc.  (Chicago  Univ.  and  Alfred 
Univ.);  pub.  colls,  and  treatises. 

Paloschi  (pa-16s'-ke),  Giov.,  1824— 
1892,  member  of  the  Milan  firm  of 
Ricordi. 

Palot'ta,  Matteo,  Palermo,  1680— 
Vienna,  1758  ;  ct. -composer  and 
writer. 

Paminger  (pa'-mtng-^r)  (or  Pammi- 
gerus,  Panni'gerus),  Leonhardt, 
Aschau,  Upper  Alsatia,  1484 — Pas- 
sau,  1567;  composer. 

Pan,  one  of  the  Greek  gods  ;  said  to  be 
inventor  of  the  pipe. 

Pan'ny,    Jos.,     Kolmitzberg,     Lower 


662 


THE  MUSICAL  GUIDE 


Austria,  1794 — Mayence,  1838;  vio- 
linist, teacher  and  composer. 

Panofka,  H.,  Breslau,  1807 — Flo- 
rence, 1887 ;  violinist,  writer  and 
composer. 

Panseron  (pan-sii-roh),  Aug.  Ma- 
thieu,  Paris,  1796 — 1859  I  writer  of 
vocal  methods,  etudes,  etc.;  com- 
poser. 

Paolucci  (pa-6-loot'-che),  Giu.,  Siena, 
1727 — 1777;  conductor,  theorist  and 
composer. 

Panthes  (pan-tes'),  Marie,  b.  of 
French  parents,  at  Odessa  ;  pupil  of 
Fissot,  Paris  Cons.,  taking  ist  prize 
at  14. 

Panzner  (pants'-ner),  K.,  b.  Teplitz, 
Bohemia,  March  2,  1866 ;  pupil  of 
Nicode  and  Draeseke  ;  cond.  at  Son- 
dershausen  th.;  2  years  later  at  El- 
berfeld  ;  1893  ;  ist  cond.  Leipzig 
city  th.;  1899,  cond.  Philh.  concerts, 
Bremen. 

Pape  (pii'-pe),  Jn.  H.,  Sarstedt,  near 
Hanover,  July  i,  1789 — Paris,  Feb. 
2,  1875  ;  distinguished  maker  and 
improver  of  the  piano ;  he  inv.  a 
transposing  piano,  introd.  padded 
hammers,  etc. 

Papier  (pa-per),  (i)  Louis,  Leipzig, 
1829 — 1878  ;  organist,  singing-teach- 
er and  composer.  (2)  Rosa,  b. 
Baden,  near  Vienna,  1858  ;  mezzo- 
soprano ;  Imp.  Op.,  Vienna;  1881, 
m.  Dr.  Hans  Paumgartner. 

Papillon  de  la  Fert6  (pa-pe-yofi  dii 
la  fer-ta'),  (1)  guillotined,  Paris, 
1793-  1777.  Intendant  of  the  "  Menus 
plajsirs,"  of  Louis  XVL ;  Inspector 
"  Ecole  royale  de  chant";  dir.  of 
Opera.  (2)  His  son  was,  1814,  Mus. 
Intendant-in-chief. 

Papini  (pa-pe'-ne),  Guido,  b.  Cama- 
giore,  near  Florence,  Aug.  i,  1847  ; 
violinist ;  pupil  of  Giorgetti  ;  debut  at 
13;  toured  Europe  ;  composer. 

Papperitz  (pap'-pe-rets),  Benj,  Robt,, 
b.  Pirna,  Sa.xony,  Dec.  4,  1826  ;  pu- 
pil of  Hauptmann,  Richter  and  Mo- 
scheles,  Leipzig  Cons.,  185 1;  teach- 
er of  harm,  and  cpt.  there  ;  from 
1868-69,    also    organist   of    Nikolai- 


kirche   there;   1882,    R.    Prof.;    comil 
poser. 

Paque  (pak),   Guil.,  Brussels,   1825- 
London,    1876 ;     'cello-virtuoso  ami 
teacher. 

Paradies  (or  Paradisi)  (pa-ra-de'-esf^ 
or  de'-se),  P.    Dom.,  Naples,  1710-I1 
Venice,     1792 ;     pupil    of    Porpora 
harps. -player  and  teacher,  also  dram 
composer. 

Paradis  (pa-ra-des'),  Maria  There 
sia  von,  Vienna,  May  15,  1759-  1 
Feb.  I,  1824;  a  skilful  blind  orgar 
ist  and  pianist  for  whom  Mozai 
wrote  a  concerto  ;  daughter  of  a 
Imperial  Councillor;  teacher  of  p 
and  voice  ;  c.  an  opera.  J 

Parent  (pa-rah),  Charlotte  Francej  4 
Hortense,  b.  London,  March  2  li 
1837  ;  pianist  ;  pupil  of  Mme.  ^Faj  .;i 
renc,  Paris  Cons.;  founded  "  Ecoj  f | 
preparatoire  au  professorat,"  Paris  Ii 
wrote  a  pf. -method  (1872),  etc.        }   , 

Parepa-Rosa     (pa-ra'-pa-ro'-za)    (n 
Parepa  de  Boyescu),  Euphrosyn  d 
Edinburgh,   May  7,    1836 — Londo  id 
Jan.     21,   1874  ;  daughter  and  pu]    | 
of   Elizabeth  .Seguin,  a  singer ;  en|    1 
nent  soprano  in  opera  and  oratorii 
her  strong  and  sympathetic  voice  h; 
a  compass  of  2^  octaves  reaching 
d'"  (v.    PITCH,  D.D.) ;    debut   at    1. 
Malta  ;  1865   m.  Carl  Rosa  ;  tourj 
Europe  and  America. 

Par'ish-Al'vars,  Elias,  Teignmoul 
Engl.,  Feb.  28,  18 10— Vienna,  Js 
25,  1849  ;  of  Jewish  descent ;  not; 
harp-virtuoso  and  composer. 

Parisini  (pa-rl-se'-ne),  Federico,  l\    : 
logna,    1825 — Jan.  4,   1891  ;  theoi^ 
and  dram,  composer.  ■ 

Parke,  (i)  J.,  1745— 1829;  Engl,  olj-  : 
ist  and  composer.  (2)  Wm.  Thoj, 
London,  1762— 1847  ;  bro.  of  aboj 
oboist,  composer  and  writer.  i) 
Maria  Hester,  1775— 1822  ;  dauj;- 
ter  of  ( i),  singer,  composer  and  writ. 

Parker,  (i)  Jas.  Cutler  Dunn,  1. 
Boston,  Mass.,  June  2,  1828;  studl 
Leipzig  Cons.;  lives  in  Boston  si 
Brookline ;  1862,  organist  "Parr 
Club,"  vocal  soc;   1864-91,  orgait     ^; 


I 


DICTIONARY  OF  MUSICIANS    663 


Trinity  Ch.,  and  for  years  organist 
Handel  and  Haydn  Soc;  prof.  Bos- 
ton Univ.  Coll.  of  Mus.,  and  Exam- 
iner N.  E.  Cons.  ;  writer  and  transl.; 
c.  "  Redemption  Hymn  "  (1S77) ;  can- 
tata ''The  Blind  King"  {18S6)  ; 
"  St.  John"  with  orch.  ;  oratorio, 
"  The  Life  of  Man";  church-ser- 
vices, etc.  (2)  H.,  b.  London,  Aug. 
4,  1S45  ;  pupil  of  Leipzig  Cons.,  and 
of  Lefort,  Paris  ;  singing-teacher  and 
cond.  London  ;  wrote  treatise  "  The 
]'oice" ;  c.  comic  opera  ''■  Migno- 
velle"  (London,  1889);  "Jertisa- 
lti>i"  for  bass-solo  and  chorus  (Albert 
Hall,  1S84);  gavottes,  etc.,  for  orch.; 
pf.-pcs.  (3)  Horatio  Wm.,  b.  Au- 
burndale,  Mass.,  Sept.  15,  1863; 
prominent  American  composer  ;  pupil 
of  his  mother,  later  of  Emery  (theo- 
r,),  J.  Orth  (pf.),  and  Cliadwick 
(comp.),  Boston  ;  organist  Dedham 
and  Boston ;  studied  1882-85  with 
Rheinberger  (org.  and  comp.)  and  L. 

J  ;  Abel  (cond.),   Munich  ;  organist   and 

'''  prof,  of  mus.  St.  Paul's  Sch.,  Gar- 
den City,  New  York  ;  1886,  organist 
St.  Andrew's,  Harlem;  1888,  Ch. 
of  the  Holy  Trinity,  N.  Y.;  since 
1894,  prof,  of  mus.,  Yale  Univ.; 
1899,  cond.  his  notable  oratorio 
'' Hora  Novissivia"  at  Worcester 
(Engl.)  Festival  with  great  succ. 
(first  given  at  Worcester  (U.  S.  A.) 
Festival,  1893).  Pub.  coll.  of  org.- 
pcs.;  c.  oratorios,  '' Ilora  ypvissi- 
^Wrt"(i893),  and  "  6V.  Christopher" 
(1896);  cantatas  ''King  Trojan" 
(Munich,  1885),   "  The  Holv  Child," 

<■"'  "  The  Kobold"  and  "  I/arold  Har- 
fager"  prize-cantata,  "  Dream 
King"  (1893);    symph.  in    C;  con- 

-,  cert-overture;  heroic-overture  "  Reg- 
•  tilus  " ;  overture  to  "  Count  Robert  of 
Paris  "  "  Cohal  Mahrf  for  bar.- 
solo  and  orch.  (1893);  "Commence- 
ment Ode"  Yale  Univ.  (1895)  ;  Mc- 
Cagg  prize  chorus  a  cappella  (1898)  ; 

y'-     "A     A'orthern    Ballad"    for    orch. 

■       (1899).  etc. 

irk'inson,  Elizabeth,  b.  Missouri  ; 
pupil  of   Mrs.  Lawton,  Kansas  City, 


and  Miolan  Carvalho  and  de  la  Nux, 
Paris;  debut  as  "  Dinorah,"  1896; 
engaged  at  Opera  Comique,  1887 ; 
has  sung  there  since  and  elsewhere. 

Par'ratt,  Sir  Walter,  b.  Huddersfield, 
Feb.  10,  1841  ;  at  7  sang  in  church  ; 
at  10  knew  Bach's  "  IVell-tempered 
Clavichord"  by  heart;  at  11,  organ- 
ist Armitage  Bridge;  1872  Magdalen 
Coll.,  Oxford;  1882,  St.  George's 
Chapel,  Windsor  Mus.  Bac.  O.xon., 
1873;  1883,  organ-prof.  R.  C.  M.  ; 
knighted  1892;  1893,  Master  of  Mus. 
in  Ordinary  to  the  Queen  ;  wrote  ar- 
ticles ;  c.  mus.  to  "  Agame?nnon" 
and  "Orestes"  "Elegy  to  Patro- 
cius"  (1883).  anthems,  org.-and  pf.- 
pcs.,  etc. 

Par'ry,  (i)  J.,  Ruabon,  N.  Wales— 
Wynnstay,  Oct.  7,  1782;  Welsh  bard, 
harper,  and  composer.  (2)  J.  (called 
"  Bardd  Alaw,"  i.  e.,  master  of  song), 
Denbigh,  Feb.  18,  1776 — London, 
April  8,  1851  ;  clarinettist;  cond.  of 
the  Eisteddfod  for  years;  critic,  teach- 
er and  composer  in  London  ;  pub. 
colls.,  etc.  (3)  J.  Orlando,  London, 
18 10 — E.  Molesey,  1879  ;  son  of 
above  ;  pianist,  harpist,  singer  and 
composer.  (4)  Jos.,  b.  Merthyr 
Tydvil,  Wales,  May  21,  1841  ;  the 
son  of  a  labourer  ;  at  10  worked  in  a 
puddling-furnace  ;  1854  emigrated  to 
America  with  his  family,  but  returned 
to  Britain,  won  Eisteddfod  prizes  for 
songs,  1868  studied  R.  A.  M.  on  a 
fund  especially  raised  by  Brinley 
Richards  ;  1S71,  Mus.  Bac.  Cambr.  ; 
prof,  of  music,  Univ.  Col.,  Abervst- 
with;  1878,  Mus.  Doc;  1888,  AIus. 
Lecturer  at  Cardiff  ;  also  Fellow  R. 
A.  M.  C.  4  operas,  cantatas  "  The 
Prodigal  Son"  "  N'ebttchadnezzar" 
and  "  Cambria  " ;  "  Druids'  Chorus"; 
an  orchestral  ballade,  overtures,  etc. 
(5)  Sir  Chas.  Hubert  Hastings,  b. 
Bournemouth,  England,  Feb.  27, 
1848  ;  eminent  English  composer  ; 
from  1861,  while  at  Eton,  pupil  of 
G.  Elvy  (comp.),  was  pianist,  organ- 
ist, singer,  and  composer  at  the  con- 
certs of   the   Musical   Soc.     At    18, 


664 


THE    MUSICAL    GUIDE 


while  still  at  Eton,  he  took  "  Mus. 
Bac.  "  at  Oxford,  wrote  a  cantata, 
"  O  Lord,  Thott  hast  cast  us  ottt" ; 
1867,  Exeter  Coll.,  Oxford;  founded 
"  Univ.  Mus.  Club"  ;  1874,  M.  A.  ; 
studied  with  Bennett  and  Macfarren, 
and  Dannreuther  (pf.),  and  Pierson, 
Stuttgart.  At  26  prod.  "  Inter  mezzo 
religioso,"  for  strings  (Gloucester 
Festival) ;  1883,  Choragus  of  Ox- 
ford and  Mus.  Doc.  Cantab.;  do. 
Oxon,  18S4,  do.  Dublin,  1891  ;  1894 
dir.  R.  C.  M.;  iSgS,  knighted;  1902 
made  a  baronet  ;  active  as  lecturer 
and  writer  of  essays  and  books  incl. 
the  notable  ''Evolution  of  the  Art 
0/  Jl/usie"{iSg6).  C.  also  4  symphs.; 
symph  vars.  ;  overtures,  "  To  an 
Unwritten  Tragedy''  and  "  Guillem 
de  Cabestanh  "y  oratorios  ''Judith," 
"Job,"  "King  Saul";  mus.  to 
Aristophanes'  "Birds"  (1883),  and 
"  Frogs  "  (1892)  ;  and  to  "  Hypatia  " 
(1893)  ;  the  following  were  prod,  at 
prominent  festivals :  scenes  from 
Shelley's  "  Prometheus  Unbound," 
with  orch.  (Gloucester  festival,  1880); 
"  The  Glories  of  our  Blood  and 
State";  "  Suite  moderne"  "Ode  on 
St.  Cecilia  s  Day,"  "  L Allegro  ed  II 
Penseroso"  "  De  profufidis,"  with  3 
choirs  and  orch. ;  chamber-mus.;  vln.- 
and  pf. -sonatas,  songs,  etc. ;  "  Invoca- 
tiojt  to  Music  " ;  Magnificat,  in  Latin. 
Par'sons,  (1)  Robt.,  Exeter,  1563— 
drowned  Newark,  1569  (-70?)  ;  com- 
poser. (2)  J.,  d.  1623  ;  probably  son 
of  above ;  organist  and  composer. 
(3)  Sir  Wm.,  1746— 1S17  ;  master  of 
King's  Band  and  teacher.  (4)  Albert 
Ross,  b.  Sandusky,  O.,  Sept.  16, 
1847  ;  noteworthy  American  teacher; 
pupil  of  F.  K.  Ritter,  N.  Y.,  and  at 
Leipzig  Cons.;  later  of  Tausig,  Kul- 
lak,  Weitzmann  and  Wiirst,  BerUn  ; 
1871,  New  York  ;  organist  since 
1885,  Fifth  Av.  Presb.  Ch.;  translat- 
or, editor,  and  writer  of  various 
works  ;  c.  vocal  quartets,  songs,  etc. 
(5)  E,  A.,  pianist  ;  from  1894  organ- 
ist, Ch.  of  the  Divine  Paternity,  N. 
v.;  c.  pf. -concerto,  etc. 


Pasch  (pash),  Oskar,  b.  Frankfort-on- 
Oder,  March  28,  1844  ;  pupil  of  R. 
Inst,  for  Church-mus.  and  the  Acad, 
for  Comp.,  Berlin ;  1874,  won  the 
Michael  Beer  prize  ;  wrote  Psalm  130 
with  orch.;  18S4,  Royal  Mus.  Dir., t, 
organist  and  singing-teacher  at  Ber- ' 
lin  ;  c.  a  symph.,  oratorios,  etc. 

Pascucci  (pjis-koot'-che),  Giov.  Ce-|! 
sare,  b.  Rome,  Feb.  28,  1841;  c. 
comic  operas  and  operettas  in  Roman 
dialect,  2  oratorios,  etc. 

Pasdeloup  (pa-du-loop),  Jules!' 
Etienne,  Paris,  Sept.  15,  1819 — Fon-i 
tainebleau,  Aug.  13,  1887;  eminent! 
cond.;  pianist;  pupil  Paris  Cons. 
1847-50;  pf. -teacher,  and  1855-68, 
teacher  of  ensemble  there ;  1851, 
cond.  famous  concerts  (known  froi 
1861  as  "  concer^3  populaires  ") 
succ.  till  18S4,  when  they  fell  bef« 
the  popularity  of  Colonne  and 
moureux  ;  a  benefit  festival  broughl 
him  100,000  francs  ($20,000). 

Pash'aloff,  Victor  Nikandrovitch; 
SaratofT,  Russia,  1841 — Kasan,  1885 
composer. 

Pas'more,  H.  Bickford,  b.  Jackson 
Wis.,  June  27,  1857;  pupil  of  J.  P 
Morgan  (org.  and  harm.),  of  Jadas 
sohn,  Reinecke  (pf.),  Frau  Ungei 
Haupt  (voice),  Leipzig  and  of  W 
Shakespeare  and  R.  H.  Cummings 
London  ;  lives  in  San  Francisco  a/ 
organist  and  prof,  of  singing;  ( 
"  Conclave  "  march,  overture  fororcl 
"Miles  Standish"  masses,  etc. 

Pasquali  (piis-kwa-le),  Nicold,  \ 
Itah- — Edinburgh,  1757;  writer  an, 
composer. 

Pasqu6  (pas-ka),  Ernst,  Cologm 
1821 — Alsbach,  1892;  barj-tone  ;  d. 
rector  and  writer. 

Pasquini  (pas-kwe'-ne),  Bdc,  Mas; 
di  Valdinevole,  Tuscany,  Dec. 
1637 — Rome,  Nov.  22,  1710;  nott 
organist  at  San  Maria  Maggiore ;  p, 
pil  of  Vittori  and  Cesti ;  teacher  ar 
composer  of  2  operas,  an  oratori 
etc. 

Pasta  (pas'-ta)  (nee  Negri),  (i)  Gi 
ditta,  Como,  April  9,  1798 — villa* 


DICTIONARY  OF  MUSICIANS    665 


Lake  Como,  April  i,  1S65  ;  a  noted 
Jewish  singer  ;  pupil  of  Asioli  ;  de- 
but, 1815,  but  had  no  succ;  studied 
with  Scappa,  and  reappeared  with 
greatest  succ.  Her  powerful  voice 
(range  a-d",  v.  pitch,  D.  D.)  had 
always  some  irregularities,  but  her 
dramatic  power  was  great  and  she 
invented  embellishments  with  much 
skill ;  m.  the  tenor  (2)  Pasta,  be- 
fore 1816;  she  created  "La  Son- 
nambula  "  and  "  Norma"  and  earned 
a  fortune. 
'astou  (pixs-too),  Etienne  J.  Bapt., 
Vigan,  France,  17S4 — Ternes,  near 
Paris,  185 1 ;  singing-prof,  and  writer. 
'a'tey,  Janet  Monach  (nee  Why- 
tock),  London,  1842 — Sheflield,  1894; 
alto. 
'aton,  Mary  Ann  (Mrs.  Wood), 
Edinburgh,  1802 — Bucliffe  Hall,  near 
Wakefield,  1S64  ;  prominent  soprano  ; 
m.  tenor  Jos.  Wood,  1831. 

f  'atti  (pjit'-te),  (i)  Carlotta,  Florence, 
;  1840 — Paris,  June  27,  1889  ;  eminent 
(    concert  colorature-soprano  ;  pupil  of 

■ :    her  father,  (2)  Salvatore  P.,  a  tenor, 

and   her   mother,  (3)  Caterina   (nee 

Chiesa),   a   soprano.      (4)   Adelina 

(Adela  Juana   Maria),  b.  Madrid, 

;    Feb.  10,  1S43  •.  one  of  the  most    emi- 

■'■  '  nent    colorature-singers    in    history  ; 

'  ;  sister  of  (i),  and  like  her  a  pupil  of 

her  parents  ;   sang  in  public  as  a  mere 

child ;  then   studied  with   Ma.x    Stra- 

kosch  (husband  of  her  sister  Amelia); 

'  !  debut,  at  16,  New  York,  Nov.  24, 
1859,  as  "  Lucia"  (under  the  stage- 
name   "the  little   Florinda");    1861, 

'  London,  Covent  Garden ;  1862, 
Paris  Th.  Italien ;  1868,  m.  the  Mar- 
quis de  Caux.  After  making  the 
world  her  own,  she  now  sings  only  in- 
frequently in  concerts,  and  lived  till 
recently  at  her  villa  Craig  y  Nos,  in 
■  ;  Wales.      1886,    m.    and    toured    with 

;  :  the  tenor  Nicolini  (d.  1898) ;  1899, 
m.  a  Swedish  nobleman,   Baron   Ce- 

,  j  depstrom.  (3)  Carlo,  Madrid,  1842 
I —St.  Louis,  Mo.,  March,  1873;  bro. 

"     of  above  ;  violinist. 


Pat'tison,  J,  Nelson,  b,  Niagara 
Falls,  N.  Y.,  Oct.  22,  1845  ;  pianist ; 
pupil  of  Liszt,  Thalberg,  Henselt 
and  von  Bulow  (pf.),  and  Haupt 
(harm.)  ;  toured  U.  S.  as  pianist  with 
Parepa  Rosa,  etc.;  c.  symph.  for 
orch.  and  military  band  ''Niagara''; 
concert  overture,  etc. 

Patzold  (pat'-tsolt),  Hn.,  Neudorf, 
Silesia,  1822— Konigsberg,  1861  ; 
conductor  and  composer. 

Pauer  (pow'-er),  (i)  Ernst,  b.  Vienna, 
Dec.  21,  1S26  ;  noted  pianist;  son  of 
a  prominent  Lutheran  clergyman ; 
pupil  of  Th.  Dirza,  W.  A.  Mozart, 
Jr.  (pf.),  and  Sechter  (comp.),  later 
of  Fr.  Lachner,  Munich;  1847-51, 
dir.  mus.  societies  at  Mayence  ;  185 1, 
London;  1859,  prof,  at  the  R.  A. 
M.;  in  1861,  gave  historical  perform- 
ances    of     clavecin     and     pf.-mus. ; 

1866,  pianist     to    Austrian    Court ; 

1867,  prof,  at  the  Nat.  Training  Sch.; 
1883,  R.  C.  M.;  since  1870,  lecturer; 
toured  U.  S.;  ed.  the  classics;  pub. 
mus.  primers,  colls,  of  old  clavier- 
works,  and  many  didactic  works  ;  c. 
a  quintet,  vln.  arrangements  of 
symphs.,  etc.  (2)  Max.,  b.  Lon- 
don, Oct.  31,  1866  ;  son  and  pupil  of 
above ;  then  studied  with  Lachner, 
Carlsruhe ;  18S7,  pf.-prof.  Cologne 
Cons.;  1893,  chamber-virtuoso  to  the 
Grand  Duke  of  Hesse ;  since  1897, 
prof.  Stuttgart  Cons.;  1898,  made 
prof,  by  the  King  of  Wiirtemberg ; 
pub.    pf. -pieces. 

Paul  (powl),  Oscar,  Freiwaldau,  1836 
— Leipzig,  189S  ;  professor  and  theo- 
rist. 

Paumann  (pow'-man),  Konrad,  b. 
(blind)  Ntirnberg,  ca.  1410 — Munich, 
Jan.  25,  1473;  c-'  the  oldest  extant 
book  of  org. -pes. 

Paumgartner  (powm'-gartner).  Dr. 
Hans,  1844 — Vienna,  May  23,  1S93; 
pianist  ;  critic  and  composer. 

Paur  (powr),  (i)  Emil,  b.  Czernowitz, 
Bukovina,  Aug.  29,  1855;  noted  con- 
ductor ;  pupil  of  his  father  ;  at  8  he 
played  vln.  and  pf.  in  public  ;  stud- 
ied with  Dessoff  (comp.)  and  Hell- 


666 


THE    MUSICAL    GUIDE 


mesberger  (vln.)  Vienna  Cons,  (fel- 
low pupil  with  Nikisch  and  Mottl) ; 
graduated  with  first  prizes ;  1870, 
first  vln.  and  assist. -soloist  in  ct. -op- 
era orch.;  1876,  cond.  at  Cassel  ; 
later  Konigsberg  ;  1880,  istct.-cond, 
Mannheim;  1S91,  cond.  Leipzig  Citv 
Th.;  1893-9S,  cond.  Boston  (U.  .S. 
A.)  symph.  Orch.  (vice  Nikisch); 
1898,  '  New  York  Thilh.  Concerts 
(vice  Seidl);  1899,  dir.  of  the  Nat. 
Cons.,  N.  Y.  (vice  Dvorak);  1900, 
cond.  German  opera  of  the  Met.  Op. ; 
c.  a  vln. -concerto,  string-quartet,  vln.- 
sonata,  pf.-pcs. ,  songs.  (2)  Maria 
(nee  Burger),  Gengenbach,  Black 
Forest,  1S62 — New  York,  1899;  wife 
of  above  ;  pianist ;  pupil  Stuttgart 
Cons.,  Leschetizky  and  Essipoff,  Vi- 
enna. 

Pauwels  (pow'-vels),  Jean  Engelbert, 
Brussels,  1768 — 1804  ;  violinist,  con- 
ductor and  dram,  composer. 

Pavesi  (pa-va'-se),  Stefano,  Crema, 
1779 — 1850;  dram,  composer. 

Paxton,  Stephen,  d.  1787;  Engl, 
composer. 

Payer  (pi-er),  Hieronymus,  Meidling, 
near  Vienna,  1787 — Wiedburg,  near 
Vienna,  1845  I  conductor  and  dram, 
composer. 

Peace,  Albert  Lister,  b.  Hudders- 
field,  Engl.,  Jan.  26,  1844 ;  promi- 
nent organist ;  pupil  of  Horn  and 
Parratt ;  1875,  Mus.  Doc.  Oxon ; 
1873,  organist  Glasgow  cath.;  1897, 
of  St.  George's  Hall,  Liverpool  (vice 
Best);  c.  Psalm  138  with  orch.,  org.- 
music. 

Pearce,  (i)  Stephen  Austen,  Lon- 
don, Nov.  7,  1836 — April  9,  1900  ; 
pupil  of  J.  L.Hopkins;  Mus.  Doc. 
O.xford,  1864,  same  year  U.  S.  and 
Canada;  then  organist  2  London 
churches;  1872,  vocal-teacher,  Co- 
lumbia Coll.,  N.  Y.,  and  lecturer 
Peabody  Inst,  and  Johns  Hopkins 
Univ.,  Baltimore;  1879-85,  organist 
Collegiate  Church,  N.  Y.;  writer  and 
composer  of  a  3-act  opera,  a  children's 
opera,  an  oratorio  and  a  church-can- 
tata in  strict  fugal  style  (prod,  at  Ox- 


ford), overture,  etc.  (2)  Chas.  Wm.,, 
b.  Salisbur}',  England,  Dec.  5,  1856 
pupil  of  Ayluard,  Hoyte,  Read  anc 
Pront  ;  i88r,  Mus.  Bac,  1884  Musj 
Doc,  Cambridge.  From  1871  or 
ganist  various  London  churches.  i88;l 
Prof,  of  Trinity  College  ;  co-editor 
organist  and  choir-master ;  wrot 
various  text-books,  and  c.  an  orato 
rio. 

Pear'sall,  Robt.  Lucas  De,  Clifton 
Engl.,     1795  —  Schloss    Wartensee  al 
Lake  of  Constance,  1856  ;  writer  an 
composer. 

Pearson.     Vide  pierson. 

Pease  (pez),  Alfred  Humphries 
Cleveland,  U.  S.  A.,  1838— St.  Louis 
1882  ;  pianist  and  composer. 

Pedrell  (pa-dhrel),  Felipe,  b.  Spairj 
ca.  1835  ;  lives  in  Madrid  ;  189-:; 
prof,  of  Mus.  History  and  .Esthetic: 
Royal  Cons.,  Madrid  ;  editor,  critiii 
lexicographer  and  writer  ;  c.  2  opij 
ras,  symphonic  ''Scent'"  a  mass,  et! 

Pedrotti  (pa-drot'-te).  Carlo,  Veron:| 
Nov.  12,  1817  —  suicide,  Oct.  i< 
1893  ;  conductor  and  composer  of  1 
operas,  etc. 

Pellegrini  (pel-la-gre'-ne),  (i)  Felic 
Turin,  1774 — Paris,  1832;  bass, 
buffo  and  composer.  (2)  Giuli 
Milan,  1806 — Munich,  1858  ;  bass 
serio. 

Pelletan  (pel-tan),  Fanny,  Paris  (  ' 
1S30 — 1876  ;  singer  and  writer. 

Pembaur  (pam'-bowr),  Jos.,  b.  Inr 
bruck.  May  23,  1848 ;  studied  ^ 
enna  Cons.,  later  at  Munich  R.  Sc 
of  Mus.;  since  1875  dir.  and  hea 
master,  Innsbruck  Mus.  Sch.;  pre, 
V.  succ.  opera  ''  Zigenncrlebet!, 
(1898),  choral  works  with  orcH 
symph.  "  Im  Tyrol"  etc. 

Penay  Goni  (pan'-ya  e  go'-ne),  Ant 
nio,  San  Sebastian,  Spain,  1846- 
Madrid,  1896  ;  critic  and  compose! 

Penfield,  Smith  Newell,  b.  Oberl 
Ohio,  April  4,  1837;  pupil  of  J. 
Flint,  New  York,  and  of  Leip;; 
Cons.;  also  studied  in  Paris;  found 
Savannah  (Ga.)  Cons.,  and  MozC 
Club  ;  also    "  Arion  "    Cons.,  Broi- 


ir 


DICTIONARY  OF  MUSICIANS    667 


Ivn,  N.  v.;  since  1882,  lives  in  New 
York  ;    organist     Broadway    Taber- 
nacle ;  1S84,  Mus.  Doc.  Univ.  of  the 
City   of    N.  Y.;   1885,    pres.    of   the 
M.   T.    N.    A.;    c.    psalm    18,    with 
orch.;  overture,  etc. 
Pen'na,    Lorenzo,    Bologna,     1613 — 
Imola,  1693  ;  conductor  and  compos- 
er. 
Pentenrieder     (pen'-ten-re-der),    Fz, 
X.,     Kaufoeuren,     Bavaria,     18 13 — 
Munich,  1867;    organist    and   dram. 
composer. 
Pepusch  (pa'-poosh),  John   Chr.  (Jn. 
Chp.),    Berlin,    1667 — London,   July 
'"  '    20,    1752  ;     violinist,    composer    and 
writer ;    pupil    of    Klingenberg   and 
(Irosse  ;  held  a  position  at    the  Prus- 
sian Court,  but  1697  seeing  the  king 
'    kill  an   officer  without  trial   he  went 
to   London.      17 10    founded    the    fa- 
mous "Academy of  Antient  Music  ;" 
1712  organist  and  composer  to  Duke 
of  Chandos   (succeeded    by  Handel), 
dir.  Lincoln  Inn's  Theatre,  for  which 
he  c.    4  masques,   the  music   to   the 
enormously    pop.  '\Brggars  Opera,'" 
etc.;   1730  m.  de  I'Epire,  the  singer. 
e'l;  .^erabo   (pa'-ra-bo),    (Jn.)    Ernst,  b. 
;';      Wiesbaden,      Germany,      Nov.      14, 
''*  •<    1845  ;  at    7    brought  to  New  York  ; 
'      pupil  of  his  father  ;  then  of  Mosche- 
les     and     Wenzel    (pf.),     Papperitz, 
Richter,    and     Hauptmann    (harm.), 
and  Reinecke  (comp.),  Leipzig  Cons.; 
returned  to  America,  1865;  succ.  con- 
--    '   cert-pianist  ;  lives  in  Boston  as  teach- 
er and  pianist  ;  c.  arrangements,  etc. 
^er'cy,    J.,  d.    1797  ;    Engl,  composer 
of     ballads,     incl.      "' VVapping     Old 
Stairs." 
'ereira     (pa-ra-era),     (i)      Marcos 
Soares,  Ciminha,  Portugal — Lisbon, 
A-  '  Jan.  7,  1655  ;  c.  a  mass,  etc.    (2)  Do- 
!-•  i  mingos  Nunes,  Lisbon — Camarate, 
:       near  Lisbon,  1729;    cond.  and  com- 
poser. 
'erepelitzin  (pa-re-pe-let'-shen),  Po- 
lycarp    de,  Odessa,   Dec.  14,  1818  ; 
Russian    colonel  ;  pupil    of    Lipinski 
(vln.) ;  writer  and  composer. 
*erez   (pa'-reth),  Davide,  of  Spanish 


parents,  Naples,  171 1 — Lisbon,  1778; 
cond.  at  Palermo  Cath.;  1752,  ct.- 
cond.,  Lisbon  ;  rival  of  Jomelli  as  c. 
of  operas,  incl.  '"  Dcmofoonte" ;  c. 
also  notable  church-mus. 

Perfall  (per'-fiil),  K.,  Freiherr  ant,  b. 
Munich,  Jan.  29,  1824  ;  studied  mus. 
with  Hauptmann,  Leipzig;  1854-64 
founded  and  cond.  the  still  succ. 
"  Oratorio  .Soc."  ;  in  1864,  Intendant 
ct.-mus.  ;  1867-1893,  Litendant  Ct.- 
Th.;  writer  and  composer  of  4  op- 
eras, 3  fairy  cantatas,  etc. 

Perger  (per'-ger),  Richard  von,  b.  Vi- 
enna, Jan.  10,  1854;  pupil  of  Brahms  ; 
1890-95,  dir.  and  cond.  Rotterdam 
Cons.;  1895,  cond.  "  Gesellschafts- 
concerte,"  Vienna  ;  prod,  (text  and 
mus.)  succ.  comic  opera  '' Der 
Kichtfr  von  Granada "  (Cologne, 
1889),  a  vaudeville,  vln. -concerto, etc. 

Pergolesi  (per-go-la'-se),  Giov.  Bat., 
Jesi,  Papal  States,  Jan.  4,  1710 — (of 
consumption)  Pozzuoli,  near  Naples, 
March  16,  1736;  eminent  composer. 
At  16  entered  the  Cons,  dei  Poveri 
di  Gesii  Cristo,  Naples,  and  studied 
with  de  Matteis  (vln.),  Greco  (cpt.), 
Durante,  and  P^eo  (cpt.).  He  speed- 
ily won  attention  by  novel  harmonies 
and  threw  off  contrapuntal  shackles 
early.  His  last  student-work,  the 
biblical  drama  "  San  Gtiglielmo 
n Aqtiitania "  (prod,  with  comic 
intermezzi  at  the  convent  of  S.  Ag- 
nello  Maggiore,  Naples,  1731)  shows 
the  beginnings  of  vivid  and  original 
fancy.  He  prod,  at  Naples  in  173 1, 
the  e.xcellent  and  novel  opera  "  6"^/- 
hesti  a,"  and  the  intermezzo  ''Amor 
Fa  r  (Jomo  Cieco"  which  had  no 
succ,  while  the  opera  seria  "  .A'/V/- 
7>iero"  was  a  distinct  failure.  But  he 
found  a  patron  in  the  Prince  of  Stig- 
liano,  for  whom  he  wrote  30  terzets 
for  vln.  with  bass  ;  he  was  commis- 
sioned to  compose  a  solemn  mass  for 
Naples,  which  was  performed  after 
the  earthquake  of  1731,  as  a  votive 
offering  to  the  patron  saint  of  the 
city.  It  brought  him  immediate 
fame.     After  four  stage-works,  prod. 


668 


THE    MUSICAL    GUIDE 


in  1732  the  intermezzo  "  Zi?  Scrva 
Padrotia"  (Naples,  1733);  '^^on  him 
note  as  a  dramatic  composer  and  has 
served  as  a  model  of  comic  operas 
since  ;  it  has  only  2  characters  and 
the  accompaniment  is  a  string-quar- 
tet with  occasional  support  of  horns. 
His  subsequent  6  operas  were  re- 
ceived without  interest  (except  for 
the  intermezzo  to  ''  Adriano"  first 
given  as  "  ZmV^/a  e  Tracollo'"  and 
later  as  "  La  Contadiiia  Asfteia)," 
though  after  his  death  they  were  re- 
vived with  immense  enthusiasm,  and 
their  harmonic  novelty,  sweetness, 
delicacy  and  melodic  charm  were 
recognised,  "  La  Serva  Padrona  " 
and  " //  Maestro  di  HTusica"  be- 
coming standards  in  France.  Of  the 
failure  of  ''  LJ O/iwpiadc"  v.  DUNI. 
Irregulai-  habits  due  to  regular  dis- 
appointments undermined  Pergolesi's 
constitution,  and  he  died  of  con- 
sumption at  the  baths  of  Pozzuoli, 
finishing  five  days  before  his  death 
his  masterpiece,  the  celebrated  "  Sta- 
bat  Mater"  for  soprano  and  alto 
with  string  orch.  and  org.  He  c. 
also  3  masses  with  orch. ;  Dixit  for 
double  chorus  and  orch.;  a  Kyrie 
cum  gloria ;  a  Miserere,  and  a  Lau- 
date  with  orch.,  etc.;  an  oratorio, 
"  La  A'attTJita,"  a  cantata  "  Or/eo" 
for  solo  voice  and  orch.;  a  cantata, 
"  Ciasone";  6  cantatas  with  string- 
accomp. ;  30  trios,  etc.  Biog.  by  Bla- 
sis  (1817)  ;  Villarosa  (183 1). 
Peri  (pa'-re),  (i)  Jacopo  (called  "II 
Zazzerino,"  i.e.,  the  long-haired), 
Florence,  ca.  1560 — ca.  1630;  of 
noble  birth ;  pupil  of  Malvezzi ; 
court-cond.  at  3  successive  courts ; 
an  enthusiast  in  ever)-thing  classic, 
he  haunted  the  salons  of  Count  Bar- 
di  and  Corsi,  where  he  joined  the  at- 
tempt at  revival  of  Greek  musical  rec- 
itative, with  Caccini  and  Corsi  ;  he 
set  to  mus.  Rinuccini'stext  of  "  Da/- 
ne";  this  was  doubtless  the  first  op- 
era ever  written  ;  its  effort  at  repro- 
ducing the  supposed  manner  of 
yEschylos,  Sophokles,  etc. ,  was  called 


"stile  rappresentativo "  ;  the  oper 
was  given  only  once,  and  privately  a 
Bardi's  house,  but  it  won  Peri  a  com 
mission  to  set  Rinuccini's  text  "Eu 
ridice  "  for  the  wedding  of  Maria  d( 
Medici  and  Henry  IV.  of  Franc 
(1600) ;  an  ed.  of  his  works  was  put 
1603,  incl.  madrigals,  etc.  (i 
Achille,  Reggie  d'Emilia,  Ital) 
18 12 — 1880;  conductor  and  dran 
composer. 

Perisine.     Vide  la  rue. 

Perkins,  (i)  Wm.  Oscar,  Stocl 
bridge,  Vt.,  j\Iay  23,  1831 — Bostor 
1902  ;  pupil  of  Wetherbee,  Bostoi 
and  of  G.  Perini,  Milan  ;  1879,  Mui 
Doc,  Hamilton  Coll.;  lives  in  Bosto 
as  teacher  and  composer.  (2)  K 
Southwick,  b.  Stockbridge,  Vt 
March  20,  1833 ;  bro.  of  above 
graduate,  1861,  Boston  Mus.  Sch 
1890,  founded  Chicago  Nat.  Coll.  < 
Mus.;  cond.  many  festivals  and  coil 
ventions  ;  1875,  studied  with  Wartj 
at  Paris  and  Vannuccini,  Florence; 
ed.  colls,  and  composed.  (3)  JuHii 
Edson,  Stockbridge,  1845 — Maij 
Chester,  Engl.,  1875  ;  bro.  of  abovfi 
bass ;  1S74,  m.  Marie  Roze  (lat 
Mrs.  ?.Iapleson). 

Perne  (parn),  Fran.  L.,  Paris,  1772- 
May  26,  1832  ;  pupil  of  Abbe  d'Ha 
dimont  (harm,  and  cpt.);  1792,  ch 
rus-singer  at  the  Opera  ;  1799,  dou 
le-bass  player  in  the  orch.;  180 
prod,  a  grand  festival  mass  ;  the  ne 
year  he  c.  a  triple  fugue  to  be  sui 
backwards  on  reversing  the  pag 
1811,  prof.  harm,  at  the  Cons,;  181 
Inspector  Gen.;  1819,  libr.;  182 
retired  to  an  estate  near  Laon  ; 
returned  to  Paris  a  few  weeks  befc 
he  died  ;  he  was  indefatigable  in  1 
search,  and  an  authority  on  Gre 
notation,  the  troubadours,  etc.;  writ 
and  composer. 

Perosi  (pa-ro'-se),  Don  Lorenzo, 
Tortona,  Italy,  Dec.  23,  1872  ; 
young  priest  and  organist  who  t 
attracted  much  attention  by  his  ; 
cred  mus.,  though  critics  are  divid 
as  to  its  value  ;  it  aims   to   use  mc 


»l 


DICTIONARY   OF  MUSICIANS   669 


ern  resources  and  ancient  principles  ; 
pupil  of  Saladino,  Milan  Cuns.;  1S94, 
of  liaberl's  Domchorschule,  Ratis- 
bon ;  1895,  cond.  at  Imola ;  from 
1S97,  at  San  Marco,  Venice;  his  sa- 
cred trilogy  "Z(2  Fassione  di  Crista" 
(a,  "  Zfl  Cena  del  Signore";  b, 
"  L'Orazione  al  Monte";  c,  ''La 
MortedelRedentore"),  Milan,  1897,  at 
the  Ital.  Congress  for  Sacred  Mus. , 
created  a  sensation,  and  has  been 
widely  performed  ;  1898,  Pope  Leo 
XIII.  made  him  honorary  rnaestro  of 
the  Papal  Choir  ;  c.  also  15  masses  ; 
c.  also  oratorios,  "  Z«  Tra^isfigu- 
razione  del  Nostra  Signore  Gesh 
Crista"  (1898),  "  Za  Risurrezione  di 
Lazara"  (Venice,  July  27,  189S,  in 
La  Fenice  Th.,  by  special  permission), 
" //  Natale  del  Redentore"  (Como, 
iSgg)  ;  "  Mosl-  "  (Rome,  1902). 
Perotinus,  Magnus,  Magister  ;  12th 
cent,  composer  ;  conductor  at  Notre- 
Dame,  Paris.  (Coussemaker.) 
Perotti  (pa-rot'-te),  Giov.  Ag.,  Ver- 
ceUi,  1760 — Venice,  1855  ;  writer  and 
composer. 
Perrin  (per-rah),  Pierre  (called  TabbJ, 
though  never  ordained),  Lyons,  ca. 
1620 — Paris,  1675  ;  librettist  of  the 
first  French  operas. 
Perron  (per'-ron),  Karl,  b.  Franken- 
thal,  June  3,  1858  ;  barytone  ;  stud- 
ied with  Hey  and  Hasselbeck  and 
Stockhausen  ;  concert-debut,  18S0; 
1S84-91,  Leipzig  City  th.;  then  at 
Dresden  ct. -opera. 
Perry,  (i)  G.,  Norwich,  1793— Lon- 
don, 1S62  ;  director  and  composer. 
(2)  Edw.  Baxter,  b.  Haverhill, 
Mass.,  Feb.  14,  1S55  ;  pianist;  blind 
from  an  early  age  ;  pupil  of  J.  W. 
Hill,  Boston  ;  later  of  KuUak,  Clara 
Schumann,  Pruckner  and  Liszt  , 
played  before  the  German  Emperor  ; 
in  10  years  he  gave  1,200  concerts  in 
America;  originated  the  "lecture-re- 
cital" ;  c.  fantasia  "  Loreley"  "  The 
Lost  Lsland"  etc.,  for  piano. 
Persiani  (per-sl-a'-ne),  (i)  (nee  Tac- 
chinardi)  (tak-kl-nar'-de),  Fanny, 
Rome,     Oct.    4,    1812— Passy,     near 


Paris,  May  3,  1867;  daughter  and  pu- 
pil of  the  tenor-singer  Nicola  T. ; 
one  of  the  most  noted  and  succ.  colo- 
rature-sopranos  of  the  century  ;  lack 
ing  in  appearance  and  possessed  of  a 
faulty  voice,  she  compelled  homage 
by  her  perfect  technic  ;  in  1830  she  m. 
(2)  Giuseppe  Persiani  (1804 — 1869), 
a  composer  of  operas. 
Persuis  (per-swes),  Louis  Luc  Loi- 
seau  de,  Metz,  1769 — Paris,  1819; 
violinist,  conductor,  prof,  and  comp. 
Perti  (per'-te),  Jacopo  A.,  Bologna, 
June  6,  1661 — April  10,  1756;  one  of 
"the  chief  17th  cent,  composers  of  op- 
eras ;  pupil  of  Padre  Franceschini ; 
at  19  prod,  a  mass;  church-conductor 
and  composer  of  oratorios,  etc.,  also 
21  operas. 
Pescetti  (pa-shet'-te),  Giov.  Bat.,  Ve- 
nice, 1704 — (probably)  1766;  organ- 
ist and  dram,  composer. 
Peschka-Leutner  (pesh'-ka-loit'-nSr), 
Minna,  Vienna,  1839 — Wiesbaden, 
1890  ;  soprano.  , 
Pessard  (pes-sar),  Emile  Louis  For- 
tune, b.  Montmatre,  Seine,  May 
28,  1843;  pupil  of  Paris  Cons.;  won 
1st  harm,  prize  ;  1866,  Grand  Pri.x  de 
Rome,  with  cantata  "  Dalila"  (Opera, 
1867) ;  1878-80,  inspector  of  singing, 
Paris  schools;  18S1,  prof,  of  harm, 
at  the  Cons. ;  dir.  of  mus.  instruction 
in  the  Legion  of  Honour ;  since 
1895,  critic  ;  prod.  10  comic  operas 
and  operettas,  incl.  "  Le  Capitaine 
Fracasse"  (Th.  Lyr.,  1878)  ;  c.  also 
masses,  etc. 
Pes'ter-Pros  ky,  (i)  Bertha,  b.  Frank- 
fort-on-Main,  March,  1866  ;  soprano 
there,  then  Berlin  in  operetta;  studied 
with  Frau  Dreyschockand  reappeared 
as  dramatic  soprano  ;  1894  m.  the 
harpist  (2)  Reinhold  Pester  and 
toured  with  him  ;  1899  at  Cologne 
City  Theatre. 
Peters  (pa -ters).  (1)  Carl  Fr.,  Leipzig 
pub.  firm,  founded  1814  by  C.  F. 
Peters ;  1893,  a  large  library  was 
opened  to  the  public  as  the  "  Biblio- 
thek  Peters."  (2)  Max  Abraham,  is, 
since  1S63,  sole  proprietor 


670 


THE  MUSICAL  GUIDE 


Petersen  (pa -ter-zen),  (i)  Peter 
Nikolaus,  Bederkesa,  1761 — Ham- 
burg, 1830;  player  on,  improver  of, 
and  composer  for,  the  flute.  (2) 
Margarete,  b.  Amager,  near  Copen- 
hagen, Oct.  I,  1869;  alto;  pupil  of 
Geistingers  and  Schytte  ;  toured  and 
lives  in  Copenhagen. 

Petersilea  (pa'-ter-se'-la-a),  Carlyle, 
b.  Boston,  Mass.,  Jan.  18,  1844; 
pianist  and  teacher ;  pupil  of  his 
father,  and  at  Leipzig  Cons.,  winning 
the  Helbig  prize  for  pf. -playing  ; 
toured  Germany  with  succ. ;  lives  in 
Boston;  est.  1871  "The  Petersilea 
Acad,  of  Mas."  ;  1886,  teacher  New 
Engl.  Cons.;  1884  studied  with  Liszt 
at  Weimar,  and  gave  a  concert  at  the 
Singakademie,  Berlin  ;  pub.  pf.- 
studies. 

Petit,  Adrien.     Vide  coclicus. 

Petrejus  (pa-tra'-yoos),  Jns.,  Langen- 
dorf,  Franconia  —  Niirnberg,  1550; 
mus. -printer. 

Petrella  (pa-trel-lii),  Errico,  Paler- 
mo, Dec.  10,  1813  —  in  poverty, 
Genoa,  April  7,  1877 ;  v.  succ. 
Italian  composer  of  operas,  rivalling 
Verdi's  popularity,  "  Marco  Visconti" 
and  "  Za  Contessa  d'AmalJi"  most 
succ;  pupil  of  Saverio  del  Giudice 
(vln.)  and  Naples  Conservatorium. 

Petri  (pa  -tre),  (i)  Jn.  Samuel,  Sorau, 
1738 — Bautzen,  ,1808;  cantor  and 
writer.  (2)  H.,  b.  Zeyst,  near 
Utrecht,  April  5,  1856 ;  violinist ; 
pupil  of  David  ;  1882  -  8g  leader 
Gewandhaus  Orch.  with  Brodsky, 
then  leader  Dresden  Ct. -orch.;  com- 
poser. 

Petrini  (pa-tre'-ne),  Fz.,  Berlin,  1744 
— Paris,  1819  ;  harpist  and  theorist. 

Petrucci  (pa-troot'-che),  Ottaviano 
dei,  Fossombrone,  June  18,  1466 
— May  7,  1539  -  inv.  of  mus. -print 
ing  with  movable  types  ;  in  1498 
received  from  the  Council  of  the  Re- 
public of  Venice  a  20  years'  monopoly 
of  mus. -printing  by  his  method  ; 
151 1-23  at  Fossombrone  with  a  15 
years'  privilege  for  the  Papal  States  ; 
his  method,  which  required  2  impres- 


sions, one  of  the  lines,  one  of  the 
notes,  was  beautifully  managed  and 
specimens  are  valuable ;  he  publ. 
many  of  the  most  important  comps. 
of  his  time  and  of  previous  compos- 
ers. 

Petrus  de  Cruse  (Pierre  de  la 
Croix)  (pa-troos  du  kriiz  or  pl-ar  du 
la  krwa),  of  Amiens ;  a  13th  cent 
writer.     (Coussemaker.)  | 

Petrus  Platen'sis.     Vide  la  rue. 

Petschke  (petsh'-ke).  Dr.  Hn.  The 
bald,  Bautzen,  1806 — Leipzig,  188) 
director  and  composer. 

Petsch'nikoff,  Alex.,  b.  Jeletz,  Rus 
sia,  Feb.  8,  1873  ;  violinist  ;  pupil i 
Moscow  Cons.;  at  10  entered  Mos-; 
cow  Cons,  and  took  prize  ;  touredi 
Europe  with  great  succ,  1895-96;! 
America,  1899  ;   lives  in  Berlin.  : 

Pet'tit,  Walter,  b.  London,  March! 
14,  1836;  pupil  R.  A.M.;  'cellist,! 
Philh.  orch.  and  in  the  court  band,    j 

Petzmayer  (petsh'-ml-er),  Jn.,  b.  Vi-j 
enna,  1803  ;  zither  virtuoso.  j 

Petzold  (pet'-tsolt),  (i)  Chr.,  Konig-j 
stein,  1677 — Dresden,  1733  ;  ct.-or-i 
ganist  and  composer.  (2)  (or  Petz-j 
hold),  Wm.  Leberecht,  b.  Licht-! 
enhain,  Sa.xony,  1784;  piano-maker.! 
(3)  Eugen  K.,  Ronneburg,  Alten-i 
burg.  1813 — Zofingen,  Switz.,  1S89  : 
director  and  organist. 

Pevernage  (pu-ver-nazh),  Andr6  (01 
Andreas),  Courtray,  Belgium,  1542' 
— Antwerp,  1591  ;  choirm.  Notre-j 
Dame  and  composer.  ; 

Pezel  (pa'-tsel)  (Pezelius  Jn.),  town- 
musician  at  Bautzen  and  Leipzig 
writer  and  composer  1674. 

Pezze  (ped'-ze).  Ales.,  b.  Milan 
1835  ;  'cellist  ;  in  London  from  1857 
pupil  Merighi. 

Pfeiffer  (pflf'-fer),  K.,  1833  (?)— Vi 
enna,  1897  ;  dram,  composer.  (2 
(pfef-fa),  Jean  Georges,  b.  Ver- 
sailles, Dec  12,  1835  ;  pianist  ;  pupi' 
of  Maleden  and  Damcke  ;  1862  de 
but  ;  won  Prix  Chartier  for  chamber- 
mus.;  critic;  member  of  the  firm  oi 
Pleyel,  Wolff  et  Cie.,  Paris;  c.  a 
symph.,    a   symph.    poem,    '  Jeannt 


I 

I 


DICTIONARY  OF  MUSICIANS   671 


^\ 


if  Arc";  pf.  concertos,  3  operettas, 
oratorio  "  //agar,"  etc. 

Pfeil  (pfTl),  H.,  b.  Leipzig,  Dec.  18, 
1S35  ;  since  1862,  ed.  "  Sdn^erhalle" 
(the  organ  of  the  Sangerbund)  ;  c. 
male  choruses. 

Pfitzner  (pflts'-ner),  Hans  Ehrich,  b. 
Moscow,  May  5,  1869 ;  pupil  of 
Hoch  Cons.,  Frankfort;  1892-93, 
teacher  of  pf.  and  theory,  Coblenz 
Cons.;  1894-95,  asst. -cond.  City 
Th.,  Mayence ;  and  prod,  his  succ. 
mus.  drama  ''  Der  artne  //einrich" 
(Mayence,  1895)  ;  also  incid.  mus.  to 
Ibsen's  "  Festival  on  Solhaiig" ; 
1897-9S,  teacher  in  Stern  Cons.,  Ber- 
lin;  c.  scherzo  for  orch.;  ballad 
"  Herr  Oluff"  for  bar.  and  orch. 
(Crefeld,  1902)  ;  pf.-trio,  etc. 

Pflughaupt  (pflookh'-howpt),  (i) 
Robt.,  Berlin,  1S33 — Aix-la-Cha- 
pelle,  1871  ;  pianist  and  composer. 
(2)  Sophie  (nee  Stschepin),  Utin- 
aburg,  Russia,  1837 — Aix-la-Chapelle, 
1867  ;  pianist. 

Pfohl  (pfol),  Fd.,  b.  Elbogen,  Bohe- 
mia, Oct.  12,  1863  ;  critic  ;  studied 
mus.  at  Leipzig  (1885) ;  c.  an  orch. 
suite,  etc. 

Pfundt  (pfoont),  Ernst  Gotthold 
Benj.,  Dommitzsch,  near  Torgau, 
1806 — Leipzig,  187 1  ;  tympanist  ; 
inv.  the  ' '  machine-head  ;  "  wrote 
method  for  kettle-drum. 

Phalfese  (fa-lez),  P.  (Petrus  Phale'- 
sius),  b.  Louvain,  ca.  1510  ;  1545,  est. 
a  mus. -publishing  business;  1579  re- 
moved to  Antwerp,  as  "  Pierre  Phal- 
ese  et  Jean  Bellere." 

Phelps,"  Ellsworth  C,  b.  Middle- 
town,  Conn.,  Aug.  11,  1827;  self- 
taught;  at  19  organist;  from  1857, 
Brooklyn ;  teacher  in  pub.  schools 
for  30  years ;  c.  2  comic  operas  ; 
symphs.  "  //iaivatha"  and  ''Eman- 
cipation ; "  4  symphonic  poems  ; 
Psalm  145,  with  orch.,  etc. 

Philidor  (rightly  Danican)  (fe-ll-dor 
or  da-nl-kah).  A  famous  French 
family  called  usually  Danican-Phil- 
idor,  the  name  Philidor  being  taken 
from  a  remark  of  the  King  comparing 


Jean  D.  with  his  favourite  oboist 
Philidor.  There  seem  to  have  been 
two  named  Michel,  (i)  the  first, 
b.  Dauphine — d.  Paris,  ca.  1650,  the 
oboist  whom  the  King  praised  ;  the 
other  (2)  Michel,  d.   1659,  ct.-mus. 

(3)  Jean,  d.  Paris,  Sept.  8,  1679,  in 
the  King's  military  band.  (4)  An- 
dr6  D.-P.  (I'aine),  b.  Aug.  11,1730; 
cromorne-player,  and  composer.  He 
had  16  children.  (5)  Jacques  (le 
cadet),  Paris,  1657 — Versailles,  1708  ; 
bro.  of  (4),  oboist,  etc.,  favourite  of 
Louis  XIV.;  c.  military  music,  etc.; 
he  had  12  children,  four  of  whom 
were  musicians,  the  best  known  being 
(6)  Pierre,  1681— 1731  ;  flutist ;  c. 
suites,  etc.,  for  flutes.  (7)  Anne, 
Paris,    168 1  —  1728  ;    eldest   son  of 

(4)  ;  flute-player,  and  conductor  ;  be- 
fore he  was  20,  prod,  operas  at  court. 
(8)  Michel,  b.  Versailles,  1683,  2nd 
son  of  (4);  a  drummer.  (9)  Fran., 
Versailles,  16S9 — 1717(18  ?),  3rd  son 
of  (4);  oboist  and  bass-violist  ;  c.  flute- 
pcs.  (10)  Fran.  Andr6,  Dreux, 
Sept.  7,  1726 — London,  Aug.  31, 
1795  ;  last  and  greatest  of  the  family, 
the  youngest  son  of  (4)  ;  remarkable 
chess-player  of  European  fame  ;  mu- 
sical pupil  of  Campra.  At  30  he  sud- 
denly began  to  prod,  operas  with 
great  succ,  his  best  works  being  the 
following  (among  25  notable  for  orch. 
and  harm,  brilliance):  "  Z^  Viable  h. 
quatre"  (Op. -Com.,  1756);  "  Zif 
Marshal"  (1761),  performed  over 
200  times  ;  ''  Le  Border"  and  "  Tom 
Jones"  (only  8  weeks  apart,  in  1704  ; 
the  latter  containing  the  then  novelty 
of  an  unaccompanied  quartet) ;  the 
grand  opera,  his  best  work,  ''  Erne- 
linde"  \-l(i-l  (revised,  1769, as  "  Sando- 
mir").  Biog.  by  Allen  (Philadelphia, 
1863).  He  had  four  sons  all  ct.  mus. : 
(II)  Pierre,  Paris,  1681— i74o(?) ; 
oboist,  flutist  and  violist ;  c.  suites  and 
prod,  a  pastorale  at  court.  (12) 
Jacques,  1686— 1725,  oboist.  (13) 
Francois,  1695 — 1726,  oboist.  (14) 
Nicolas,  1699  —  1769;  played  the 
serpent,  etc. 


\ 


672 


THE    MUSICAL    GUIDE 


Phil'ipp,  Isidor  (Edmond),  b.  Pesth, 
Sept.  2,  1863  ;  pianist  ;  a  naturalised 
French  citizen  ;  came  to  Paris   as   a 
child  ;    at    16  pupil  of  Georges  Ma- 
thias,  at  the  Cons.;  won  ist.  pf.-prize, 
in  1883  ;    studied  with    Saint-Saens, 
Stephen    Heller,  and    Ritter  ;  played 
with   succ.   in    European  cities ;  est. 
concerts  (with  Loeb  and  Berthelier), 
producing   modern  f'rench  chamber- 
comps.;  reorganised  the  "  Societe  des 
instr.  a  vent "  ;  cofounder  and  pres. 
of  the  "  Soc.  d'Art  "  ;  pub.  a  "  Suite 
fantastiqiie"    a    '"Reverie    tinHanco- 
lique"  a  "  Serenade    kn/noristiijue" 
for  orch.,  etc. 
Philippe,  (i)  de   Caserte.     Vide  ca- 
SERTA.     (2)  de  Mons.    Vide  monte. 
(3)  deVitry.     Vide  vitry. 
Philipps,    (I)     Peters     (or     Petrus 
Philip'pus,  Pietro   Filip'po),  Eng- 
land, ca.  1560 — April,  1625  ;  organist 
and  composer.     (2)  Arthur,  b.  1605, 
organist  at  Oxford,  prof.,  and  com- 
poser.    (3)    Henry,    Bristol,    1801 — 
Dalston,     1876 ;    bass-barytone.     (4) 
Wm.   Lovell,    Bristol,   1S16— 1S60; 
'cellist  and  composer.    (5)  Adelaide, 
Stratford-on-Avon,     1S33 — Carlsbad, 
1882  ;     noted     contralto,     taken     to 
America  as  a  child  ;  pupil  of  Garcia  ; 
debut,  Milan,  1854. 
Philomath  es,    Wenzeslaus    (called 
"  de  Novadomo,"  because    born    at 
Neuhaus,     Bohemia),      pub.,      15 12, 
a  treatise. 
Philp    (flip),     Elizabeth,     Falmouth, 
1827 — London,  Nov.  26,  1SS5  ;  sing- 
er and  writer. 
Phil'pot,    Stephen    Rowland,  living 
Engl,  composer  ;  pupil  of  Macfarren, 
R.  A.  M.,  c.  operas  (not  prod.),  etc. 
Piatti   (pe-at'-te),  (i)  Carlo  Alfredo, 
Bergamo,   Jan.   8,    1S22  —  Bergamo, 
July    19,    1901  ;    'cello-virtuoso  (son 
of    a  violinist,  (2)    Antonio    P.,  d. 
Feb.    27,   1878) ;  pupil  of  his  grand- 
uncle,  Zanetti,  and  of  jNIerighi,  Milan 
Cons.;  debut,   Milan,  1838;  at  7  had 
played  in  an  orch.,    1849,    ist  'cello 
It.    opera,     London ;   from    1859     at 
Monday  and  Saturday  Pop.  Concerts 


of  chamber-mus. ;  pub.  a  method  for 
'cello,  2   'cello-concertos,   vocal  mus. 
with  'cello  obbligato,  etc. 
Piccinni  (or  Piccini  or  Picinni)  (ptt- 
chm'-ne),  (i)  Nicola,   Bari,   Jan.  16, 
1728 — Passy,     near    Paris,     May    7, 
iSoo;    operatic     composer,     famous 
as  a  rival  of  Gluck.     Son  of  a  mu- 
sician who  opposed  his  tastes.     The 
Bishop  of  Bari  recognising  his  talent 
and   irrepressible   passion   for   music 
overcame  opposition,   and  at    14   he 
entered   the   Cons,   di    San   Onofrio, 
Naples,    remaining   for    12  years,  as 
favourite  pupil  of  Leo  and  Durante.! 
lie  entered  into  competition  with  the' 
popular   Logroscino,    and   prod,    the; 
V.  succ.  opera-buffa  "  Le  Donne  Dis-i 
pettose"  (1754),     followed    by  (i755)| 
"  Gelosia  per   Gelosia  "  and  "//  Ctiri-\ 
oso  del  siio  propria  Datino  "  /  whichi 
had  the  unprecedented   run   of   fouij 
years,     '■'  Alessandro      nelle     Jndie'" 
(Rome,   175S),  and  "  Cecehina  Zitel-: 
la,    o  La  Buona  Figliuola  "  (Rome,; 
1760),  the  most   success,  work  of  its, 
kind  in  Europe,  though  written  in  2\ 
weeks,  were  hailed  as    masterworks.j 
His  new  dramatic  fervour  and  his  ex- 
tended duets  and  varied  finales  gavd 
him  such  prestige  that  he  is  said  tci 
have  c.  133  dramatic  works,  incl.  "  /; 
Re  Pastore  "(17M  ;    "  VOUmpiade  'j 
(1761)    previously   though   less   succ' 
set  by  Pergolesi,  Galuppi  and  Jomel; 
li ;  revised  1771  ;   '■'Berenice  "  (1764)  '■ 
'' Le    Cecehina      Maretata"    (1765)1 
"  Didone  abbandonata  "{ilb-j)  ;  "  An] 
tigone"    {ilTi^).       I773.    the    Romai 
public  favoured  his  pupil  Anfossi,  anc; 
hissed  one  of  P.'s  operas,  which  pros 
trated  him  with  grief  ;  on  recovering 
he  regained  favour  with  '   /   Viaggi 
atori."     In  response  to  flattering  in 
vitations  in  1776  he  removed  with  hi 
family  to  Paris,   spent  a  whole  yea 
learning  the  tongue  and  writing  hi 
first  French  opera,  "  Roland"  (Opera 
177S),  which  had  a  sacc.   said  to  b' 
due  largely  to  the   necessity  the  anti 
Gluck  faction  was  under  to  find  a  ri 
val.     The  war  betwen  the  ' '  Gluck 


DICTIONARY  OF  MUSICIANS    673 


ists"  and  "' Piccinists "  was  violent 
and  incessant,  though  P.  regretted 
his  position  and  made  a  vain  effort 
after  Gluck's  death,  to  raise  a  fund 
for  annual  concerts  in  his  memory. 
He  had  succ.  with  the  following 
French  operas,  "  Le  fat  tueprise" 
(1779),  '' Atys"  (1780),  '' Didoii," 
"  Le  dormeur  eveillJ"  and  "  Le  faux 
Lord''  (all  3  in  17S3).  In  177S,  as 
dir.  It.  Opera,  whose  performances 
alternated  with  the  P'rench  company 
at  the  Opera,  he  produced  his  best 
Italian  works  with  succ.  The  man- 
agement simultaneously  commissioned 
both  Gluck  and  P.  to  set  the  opera 
"  IpJiigetiie  en  Tauride "/  P.  had 
his  libretto  rewritten  by  Ginguene, 
and  his  version  was  delayed  till 
after  Gluck  had  made  a  triumph 
and  left  Paris.  P.'s  opera,  though 
usually  called  a  failure,  ran  17  nights 
in  spite  of  having  an  intoxicated 
prima  donna  on  the  first  night  to  start 
the  joke  "  Iphigeiiie  en  Champagne" . 
Half  a  dozen  others  failed  or  were 
never  performed.  A  new  rival,  Sac- 
chini,  now  appeared  When  this  sec- 
ond succ.  rival  died,  the  large-hearted 
Piccinni  delivered  a  glowing  funeral- 
eulogy  over  him.  1784,  he  was  Mai- 
tre  de  chant  at  the  new  "  Ecole  roy- 
ale  de  musique  et  declamation."  His 
last  operatic  attempts  in  French  were 
unsucc.  At  the  outbreak  of  the  Rev- 
olution he  lost  his  positions,  and  re- 
tired to  Naples,  on  a  pension.  But 
his  daughter  m.  a  young  French  rad- 
ical, and  P.,  suspected  of  republican- 
ism, was  kept  a  prisoner  in  his  own 
house  for  four  years,  in  extreme  pov- 
erty. 1798,  he  returned  to  France, 
was  feted  at  the  Cons.,  presented 
with  5,000  francs  and  small  irregular 
pension.  He  was  prostrated  for  some, 
months  by  paralysis  ;  a  sixth  inspec- 
torship was  created  at  the  Cons,  for 
him,  but  he  soon  fell  ill  and  died. 
(2)  Luigi,  Naples,  1766— Passy, 
July  31,  1S27  ;  son  and  pupil  of  above; 
ct.-cond.  at  Stockholm  and  dr.  com- 
poser. (3)  Louis  Alex.,  Paris,  1779 
43 


— 1850  ;  grandson  and  pupil  of  (i)  ; 
conductor  and  dram. -composer. 

Piccolomini  (plk-k6-l6'-me-ne),  Ma- 
ria, b.  Siena,  1836  ;  mezzo-soprano 
of  "hardly  one  octave  and  a  half- 
compass"  (Chorley),  but  so  excellent 
an  actress,  that  she  became  a  great 
rage ;  pupil  of  Mazzarelli  and  Rai- 
mondi,  Florence  ;  debut  there  1S52, 
with  great  succ,  sang  in  Italy,  Lon- 
don, Paris  and  New  York  '(1S58)  ; 
1863,  m.  the  Marquis  Gaetani,  and 
retired  from  the  stage. 

Pichel  (or  PichI)  (pesh'-'l),  Wenzel, 
Bechin,  Bohemia,  1741 — Vienna, 
1805  ;  violinist  ;  c.  700  works. 

Picinni      Vide  piccinni. 

Piel  (pel),  Peter,  b.  Kessenich,  near 
Bonn,  Aug.  12,  1835  ;  from  1S68, 
teacher  Boppard-on-Rhine ;  1887, 
R.  Mus.-Dir. ;  wrote  a  harm.;  c.  8 
Magnificats  (in  the  church-modes), 
etc. 

Pieragon,    or    Pierchon.      Vide    la 

RLE. 

Pierne  (p'yer-na)  (H.  Constant)  Ga- 
briel, b.  Metz,  Aug.  16,  1863  ;  pu- 
pil of  Marmontel,  Cesar  Franck  and 
Massenet,  Paris  Cons.;  won  1st  prize 
(1879),  (^lo-  for  cpt.  and  fugue  (1S81), 
do.  for  organ  (18S2)  and  Grand  prix 
de  Rome  (1SS2);  1890,  organist  Ste. 
Clothikle  (vice  Cesar  Franck);  1893, 
prod,  spectacle  '' Bonton  d'or" ;  op- 
era, "/s///"  (1804)  ;  succ.  ''Vendue" 
(Lyons,  1897);  a  hymn  to  the  Russian 
visitors,  'La  Fraternelle"  1893, 
etc. 

Pierre  (pK-ar'),  Constant,  b.  Passy, 
Aug.  24,  1855;  pupil  of  Paris  Cons.; 
bassoon-player ;  assist,  sec.  at  the 
Cons.;  ed.  '  Le  Monde  niusicaV ; 
wrote  a  history  of  the  Opera  orches- 
tra (for  which  the  "  Soc.  des  compos- 
iteurs" awarded  a  prize,  1889),  etc. 

Pier'son,  (r)  or  Pier'zon.  Vide  i.A 
RUE.  (2)  (rightly  Pearson),  Henry 
Hugo  (early  pen-name  "  Edgar 
Mansfeldt  "),  Oxford,  1815— Leip- 
zig, 1873;  prof,  of  mus. ;  prod,  in 
Germany  4  operas.  (3)  Pierson- 
Brethol  (bra -tol),  Bertha,  b.  Vienna, 


67+ 


THE    MUSICAL    GUIDE 


L 


July  15,  1861;  soprano;  studied  with 
Laufer,  Varesi  and  Lamperti ;  debut, 
Graz;  toured  U.  S.  1882-84;  1S84- 
88  in  Italy  singing  Wagner,  etc.; 
then  Berlin  18S2  ;  retired  1897  ;  wife 
of  (4)  Henry,  1S51  ?— Berlin,  Feb. 
17,  1902  ;  opera-director;  from  1889, 
court-dir.  at   Berlin. 

Pieterez  (pe'-te-ras),  Adrian,  b. 
Bruges,  early  15th  cent.;  first  known 
org. -builder  in  Belgium. 

Pidton  (pl-a-ton),  Loyset,  French 
contrapuntist,  1531. 

Pig'gott,  (i)  Francis,  d.  1704;  Engl, 
organist  at  O.xford  ;  composer.  (2) 
Francis,  Jr.,  d.  1736  ;  son  and  succ. 
of  above. 

Pilk  ington,  Francis,  Engl,  lutenist 
and  composer,  1595-1614. 

Pilotti  (pe-lot-te),  Giuseppe,  Bo- 
logna, 1784— 1S38  ;  son  and  succ.  of 
an  org. -builder  ;  professor,  writer  and 
dram,  composer. 

Pinelli,  Ettore,  b.  Rome,  Oct.  18, 
1S43;  violinist;  pupil  of  Ramaciotti 
and  Joachim  ;  1866,  founded  (with 
Sgambati)  soc.  for  classical  chamber- 
mus.;  1874,  the  "  Societa  Orchestrate 
Romana,"  which  he  cond. ;  since 
1877,  in  the  Liceo  Musicale ;  also 
cond.  ct. -concerts  alternately  with 
Sgambati;  c.  overture  ''  Rapsodia 
italiana,"  etc. 

Pinner,  Max,  New  York,  185 1 — Da- 
vos, Switzerland,  1887;  pupil  Leip- 
zig Cons,  and  of  Tausig  ;  pianist  and 
teacher. 

Pinsuti  (pm-soo'-te).  Giro,  Sinalunga, 
Florence,  1829 — Florence,  1888  ;  fa- 
mous vocal  teacher  at  the  R.  A.  M., 
London,  from  1856;  composer  of  op- 
eras and  very  popular  songs. 

Pintt,  (I)  Thos.,  b.  Engl.,  d.  Ireland, 
1773  ;  remarkable  pianist.  (2)  G. 
Fred.,  Lambeth,  1786— Little  Chel- 
sea, 1806  ;  grandson  of  above ;  vio- 
linist, pianist,  singer  and  composer. 

Piozzi(pe-6d'-ze),  Gabriel, b.  Florence; 
d.  Engl.,  1809;  teacher  and  composer; 
immortal  chiefly  for  having  married 
Dr.  Samuel  Johnson's  Mrs.  Thrale, 
1784. 


Pipegrop  (pe'-pe-grop)  (called  Bary- 
phonus),  H.,  Wernigerode,  1581 — 
(^uedlinburg,  1655  ;  town-cantor  and 
theorist. 

Pipelare  (pe-pe-la'-re),  Matthaeus, 
i6th  cent.  Belgian  composer. 

Pirani  (pe-ra'-ne),  Eugenio,  b.  Bo- 
logna, Sept.  8,  1852  ;  pianist ;  pupil 
of  Golonelli,  Bologna  Liceo  Musicale, 
and  of  Th.  Kullak  (pf.)  and  Kiel 
(comp.);  1870-80  in  Kullak's  Acad.; 
lived  in  Heidelberg  till  1895,  then 
Berlin  ;  wrote  essays  ;  c.  symph. 
poem,  '^  Heidell>e7-g"  etc. 

Pisa  (pe'-za),  Agostino,  wrote  earliest 
known  treatise  on  conducting,  etc. 
(2d  ed.,  Rome,  1611). 

Pisari  (pe-sa'-re),  Pasquale,  Rome, 
1725  — 1778  ;  bass-singer  and  com- 
poser, whom  Padre  Martini  called 
the  "  Palestrina  of  the  i8th  cent." 

Pisaroni  (pe-sa-ro'-ne),  Benedetta 
Rosamonda,  Piacenza,  1793 — 1872; 
high  soprano  ;  after  an  illness  became 
a  contralto. 

Pischek  (pe'-shgk),  Jn.  Bap., 
Mscheno,  Bohemia,  18 14 — Sigma- 
ringen,  1873  ;  barytone. 

Pisendel  (pe'-zent-el),  Jn.  G.,  Karls- 
burg,  1687 — Dresden,  1755  ;  violinist 
and  composer. 

Pistocchi  (pes-tok'-ke),  Fran.  Ant., 
Palermo,  1659 — Bologna,  after  1717; 
founder  of  famous  Sch.  of  Singing  at 
Bologna  ;  c.  operas. 

Pitoni  (pe-to'-ne),  Gius.  Ottavio,  Ri- 
eti,  Italy,  March  18,  1657 — Rome, 
Feb.  I,  1743 ;  an  eminent  teacher 
and  composer ;  pupil  of  Xatale  and 
Froggia  ;  from  1677  cond.  Coll.  of 
San  Marco,  Rome  ;  c.  a  Dixit  in  16 
parts  for  4  choirs,  etc. 

Pitt'man,     Josiah,     1816 ;     organist,  i 
composer,  writer  and  lecturer. 

Pittrich  (pit'-trikh),  G.  Washingtoi 
b.  Dresden,  Feb.  22,  1870  ;  studied ' 
Dresden  Cons.,  graduating  with  high 
honours  ;  from  1890,  chorusm.  Dres-  . 
den  ct. -opera,  also  cond.  operas,  bal- 
lets, etc..  and  taught  chorus-singing 
in  the  Cons.;  1898,  cond.  Hamburg 
opera  ;   1S99,  ist  cond.    Cologne   op- 


J 


DICTIONARY  OF  MUSICIANS    675 


era  ;  c.  i-act  opera  "  Marga  "  (Dres- 
den, Feb.  8,  1894)  ;  incid.  mus.,  a 
clarinet-concerto,  etc. 

Piutti  (pe-oot'-te),  (1)  K.,  Elgersburg, 
Thuringia,  April  30,  1846 — Leipzig, 
June  17,  1902;  notable  organist  ;  pu- 
pil, and  from  1875,  teacher  Leipzig 
Cons.;  18S0,  also  organist  Thomas- 
kirche  ;  wrote  a  harm. ;  c.  6  fugal 
fantasias,  8  preludes,  '\Veddi)ig  So- 
nata^" etc.,  for  organ.  (2)  Max., 
Luisenhall,  near  Erfurt,  1852 — Jack- 
son, Mich.,  1SS5  ;  brother  of  above; 
writer,  teacher  and  composer. 

Pixis  (pex'-es),  (i)  Fr.  Wm.,  Mann- 
heim, 1786 — Prague,  1842  ;  violinist 
and  conductor.  (2)  Jn.  Peter, 
Mannheim,  1788  —  Baden  -  Baden, 
1874;  bro.  of  above;  pianist,  teach- 
er and  dram,  composer. 

Pizzi  (pld'-ze),  Emilio,  b.  Verona, 
Feb.  2,  1S62  ;  pupil  of  Ponchielli  and 
Bazzini,  Milan  Cons.,  graduating 
1884;  took  1st  prize  Milan,  1885,  for 
i-act  opera  '' Liiia" ;  ist  and  2d 
prize,  Florence,  for  2  siring  quartets  ; 
prize  of  5,000  francs,  Bologna,  1889, 
for  succ.  grand  opera  '"Guglielnw 
Ratcliff"  (Bologna,  1889)  ;  1897,  dir. 
of  mus.-sch.  at  Bergamo  and  at  church 
of  S.  Maria  Maggiore ;  c.  also  2 
I-act  operas  ''Gabriella"  and  ''Ro- 
salba "  (written  for  Adelina  Patti, 
1893-96),  etc. 

Plaidy  (pll'-de),  Louis,  Huberts- 
burg.  Saxony,  Nov.  28,  1810 — Grim- 
ma,  March  3,  1874  ;  eminent  pf.- 
teacher  ;  pupil  of  Agthe  and  Haase  ; 
at  first  a  violinist  ;  1843,  invited  by 
Mendelssohn  to  teach  at  the  then  new 
Leipzig  Cons.,  and  did  so  till  1865  ; 
wrote  text-books. 

Plank  (plank),  Fritz,  b.  Vienna,  Nov. 
7,  1S48  ;  studied  with  Fr.  Schmitt 
and  (lansbacher  ;  sang  at  Carlsruhe 
and  lives  there  ;  sang  at  Bayreuth 
since  1884,  "  Hans  Sachs,"  etc. 

Planquette(plaii-ket),  (Jean)  Robert, 
b.  Paris,  July  31,  1850;  studied 
comp.  with  Duprato,  Paris  Cons.,  c. 
chansons  and  '' Saynetes"  for  "ca- 
fes-concerts "  ;  prod.  succ.    i-act  op- 


eretta "  Faille  d'Avoine"  (1874),  fol- 
lowed by  others  inch  the  still  pop. 
comic  opera,  "'  Les  Cloches  de  Corne- 
ville"  (Folies- Dramatiques,  1877), 
given  over  400  times,  consecutively, 
and  widely  popular  elsewhere  (known 
in  Engl,  as  "Chimes  of  Normandy"); 
later  works  incl.  '"  Mam'zelle  Quaf 
sous"  (Gaite,  1897)  and  for  London 
"  The  Old  Guard"  (1887),  and 
''Paul /ones"  (1889). 

Plantade  (plah-tad),  (i)  Chas.  H., 
Pontoise,  1764 — Paris,  1839  ;  prof,  of 
singing  at  Paris  Cons.;  ct. -conductor 
and  dram,  composer.  (2)  Chas. 
Fran.,  Paris,  1787— 1870;  son  of 
above  ;   composer. 

Plante  (pliin-ta),  Fran,,  b.  Orthez, 
Basses  Pyrenees,  March  2,  1839  ;  pi- 
anist ;  pupil  of  Marmontel  at  Paris 
Cons. ;  won  ist  prize  after  7  months' 
tuition  ;  pupil  of  Bazin  (harm.)  then 
self-taught  for  10  years  ;  reappeared 
with  succ. ;   c.  transcriptions. 

Plantania  (plan-ta-nl-ii),  Pietro,  b. 
Catania,  April  5,  1828  ;  pupil  of  P. 
Raimondi,  at  the  Cons,  there  ;  1863, 
dir.  Palermo  Cons.;  later  cond.  Mi- 
lan (1888),  dir.  R.  Coll.  of  Mus.  at 
Naples ;  wrote  a  treatise  on  canon 
and  fugue  ;  c.  5  operas  ;  a  symph. 
''  L Italia" ;  funeral  symphony  in 
memory  of  Pacini,  festival  symph. 
with  choruses  to  welcome  King  Hum- 
bert in  1878,  etc. 

Platel  (pla-tel),  Nicolas  Jos.,  Ver- 
sailles, 1777 — Brussels,  1835  ;  'cellist; 
prof,  and  composer. 

Pla'to,  eminent  Greek  philosopher,  429 
— 347  B.C.;  formulated  in  his  "  7"?- 
maeus"  a  system  of  harm., ^interpret- 
ed in  Th.  H.  Martin's  ''  Mtudes  sur 
les  Timee  de  Platon"  etc. 

Play'ford,  (i)  John,  1623  —  1693  ; 
London  mus. -publisher.  (2)  Henry, 
his  son  and  successor,  1657 — 1710. 

Ples'ants,  Thos.,  1648  — 1689;  or- 
ganist at  Norwich. 

Pleyel  (plT'-el,  or  ple'-yel),  (i)  Ignaz 
Jos.,  Ruppertshal,  near  Vienna, 
June  I,  1757 — at  his  estate  near  Paris, 
Nov,    14,    1831  ;    pianist,   ct.    cond.; 


676 


THE    MUSICAL    GUIDE 


founded,  1797, at  Paris  a  piano  factory 
still  known  as  Pleyel,  Wolff  &  Co.;  c. 
2g  symphs.,  sonatas,  etc.  (2)  Ca- 
mille,  Strassburg,  1788 — Paris,  1855; 
son,  pupil  and  successor  of  above  ;  a 
pianist  and  composer ;  his  successor 
in  business  was  August  Wolff.  (3) 
Marie  F61icit6  Denise,  Paris, 
1811  —  St.-Josse-ten-Noode,  1875  ; 
wife  of  (2)  ;  pianist  and  teacher. 

Pliiddemann  (plut'-de-man),  Martin, 
Kolberg,  1854 — Berlin,  1897  ;  con- 
ductor and  singing  teacher,  writer 
and  composer. 

Plutarch  (Plutar'chos)  (ploo'-tark), 
Chaeronea,  Boeotia,  ca.  50  a.d. — 
120  (131  ?)  ;  the  Greek  biographer  ; 
wrote  treatises  ^' De  inusica,"  con- 
taining important  data. 

Poenitz  (pa'-nltsh),  Fz.,  b.  Bischofs- 
werda,  Aug.  17,  1850;  harpist; 
studied  with  Weitzmann,  Berlin ; 
since  16  at  the  ct.  opera  ;  composer. 

Pohl  (pol),  (i)  K.  Fd.,  Darmstadt, 
1819 — Vienna,  1887  ;  writer.  (2) 
Richard,  Leipzig,  1826  —  Baden- 
Baden,  1896  ;  ed.  and  writer  (pen- 
name      "  Hant ").      (3)    Bd.      Vide 

POLLINl. 

Pohlenz  (po'-lents),  Chr.  Aug.,  Saal- 
gast,  Niederlausitz,  1799 — Leipzig, 
1843  ;  organist,  conductor  and  com- 
poser. 

Poise  (pwaz),  Jn.  Alex.  Fd.,  Nimes, 
1828 — Paris,  1S92  ;  dram,   composer. 

Poisot  (pwa-zo),  Chas,  femile,  b. 
Dijon,  France,  July  8,  1822;  pianist; 
pupil  of  Paris  Cons.;  co. -founder 
"  Soc.  des  Compositeurs";  founder 
and  dir.  Dijon  Cons.,  also  from  1872 
cond.  Soc.  for  Sacred  and  Classical 
Mus. ;  dram,  composer  and  wriler. 

Poiszl  (poish'-'l),  Jn.  Nepomuk, 
Freiherr  von,  Haukenzell,  Bavaria, 
1783  —  Munich,  1865;  dram,  com- 
poser. 

Polchau  (pel'-khow),  G.,  Cremon, 
Livonia,  1773 — Berlin,  1S36  ;  libra- 
rian and  collector. 

Pole,  Wm.,  b.  Birmingham,  Engl., 
April  22,  1 8 14  ;  Mus.  Doc.  Oxon., 
1864  ;    1876-90,   examiner    in   Mus. 


London  Univ. ;  writer  ;  c.  Psalm  100 
in  cantata-form,  etc. 

Polidoro  (p5-ll-do'-ro),  (i)  Giuseppe, 
d.  Naples,  1873;  singing- teacher, 
Naples  Cons.  (2)  Federico,  b. 
Naples,  Oct.  20,  1S45  ;  son  and  pu- 
pil of  above  ;  studied  with  Lillo, 
Conti  and  d'Arienzo,  essayist  and 
historian  under  pen-name  "  Acuti." 

Polko  (p61'-k6)  (nee  Vogel),  Elise, 
Wackerbarthsruhe,  near  Dresden, 
1826 — Munich,  1899  ;  mezzo-soprano 
and  writer  of  romantic  musical  es- 
says. 

Pollarolo  (p61-la-r6'-l6),  (i)  Carlo} 
Fran.,  Brescia,  1653 — Venice,  1722  ; 
organist  and  dram,  composer.  (2),' 
Ant.,  Venice,  1680 — 1750;  son  and 
successor  of  above,  and  dram,  com- 
poser. 

Polledro  (p61-la-dr6),  Giov.  Bat.,; 
Piova,  n.  Turin,  1781 — 1853  ;  violin-! 
ist,  cond.  and  composer.  j 

Pollini  (p61-le'-ne),  (i)  Fran.,  Laibach,! 
Carniola,  1763  —  Milan,  Sept.  17,1 
1846  ;  pianist  and  pf.-prof.,  1809,  Mi- 
lan Cons. ;  perhaps  the  first  to  write 
pf. -music  on  3  staves.  (2)  Ed.  (rightly 
Pohl),  Cologne,  Dec.  18,  1838- 
Hamburg,  Nov.  27,  1897  ;  tenor 
later  barytone ;  but  more  famous  a: 
manager;  his  second  wife  was  Biancj 
Bianchi.  (3)  Cesare,  Cavaliere  de 
b.  Padua,  July  13,  1858  ;  studiec 
with  Bazzini,  Milan  ;  1883-85  dir.  o 
a  Cons,  at  Padua  ;  resigned  to  writi 
and  compose. 

Pollitzer  (p61'-hts-er),  Ad.,  b.  Pesth, 
1832  ;  violinist  ;  pupil  of  Bohm  (vin.' 
and  Preyer  (comp.),  Vienna  ;  tourc' 
Europe,  then  studied  with  Alard  a 
Paris;  1851  leader  H.  AL's  Th. 
London ;  later  New  Philh.  Soc. 
prof,  of  vln.,  London  Acad,  of  Mus. 
since  1890,  director. 

Polonini  (p5-15-ne'-nt),  (i)  Entimic, 
Italian  bass  ;  debut,  London,  184; 
(2)  Aless.,  d.  1880;  son  of  above 
barytone. 

Ponchard  (pofi-shar),  (i)  L.  Ani 
fel^onore,  Paris,  1787 — 1866;  tenc 
and  prof,  at  the  Cons.     (2)  Chas 


DICTIONARY  OF  JVIUSICIANS   677 


Paris,  1S24 — i8qi  ;  son  of  above  ; 
teacher  at  the  Cons. 

Ponchielli  (pon-kl-el'-le),  Amilcare, 
Paderno  Fasolaro,  Cremona,  Aug. 
31,  1S34 — Milan,  Jan.  i6,  r886  ;  op- 
era composer  ;  pupil  Milan  Cons.  ; 
organist,  then  bandmaster,  i88i;cond. 
Piacenza  Cath.  from  1856;  c.  10  op- 
eras, incl.  "  Za  Giacoiida"  widely 
popular  ;  1902  his  son  discovered  a 
MS.  opera  "7  Mori  Ji  Valenza" 
(composed,  1878-79). 

Poniatowski  (po-nl-a-tof -shkl),  Jozef 
(Michal  Xawery  Franciszek 
Jan),  Prince  of  Monte  Rotondo, 
Rome,  1816 —  Chiselhurst,  Engl., 
1873  ;  tenor  and  dram,  composer. 

Ponitz  (pa'-nits),  Fz,,  b.  Bischofs- 
werda,  W.  Prussia,  Aug.  17,  1850  ; 
pupil  of  L.  Grimm  ;  from  1866, 
harpist  Berlin  roj'al  orch.;  1891 
"  chamber-virtuoso  ;"  c.  opera  "  Cle- 
opatra" etc. 

Pons  (pons),  Jos6,  Gerona,  Catalonia, 
1768 — Valentia,   1818  ;  composer. 

Ponte,  Lorenzo  da.    Vide  da  poxte. 

Pontecoulant  (p6h-ta-koo-lah),  L. 
Ad.  le  Doulcet,  Marquis  de,  Paris, 
1794 — Bois  Colombe,  near  Paris, 
1S82  ;  writer. 

Pontoglio  (pon-tol'-yo),  Cipriano, 
Grumello- del -Piano,  Italy,  183 1 — 
Milan,  1892;  dir.  ;  c.  operas. 

Poole,  Elizabeth,  b.  London,  April 
5,  1S20 ;  mezzo-soprano  and  violin- 
ist. 

Popper  (pop'-per),  David,  b.  Prague, 
June  18,  1845  ;  prominent  'cellist  ; 
pupil  of  Goltermann,  Prague  Cons.; 
a  member  of  Prince  von  Hechingen's 
orch.,  at  Lowenburg  ;  since  1863  has 
toured  Europe  with  greatest  succ.  ; 
1868-73,  1st  'cello,  Vienna  ct.-orch.; 
1872  m.  Sophie  Menter  (divorced, 
18S6)  ;  c.  excellent  and  pop.  'cello- 
pcs.,  a  concerto,  etc. 

Porges  (por'-ges),  H.,  b.  Prague, 
Nov.  25,  1837  ;  pupil  of  Miiller  (pf.), 
Rummel  (harm.)  and  Zwonar  (cpt.)  ; 
1863  co.-ed.  "  N'eue  Zeitschrift  fur 
Miisik " ;  friend  and  champion  of 
Wagner  ;  lived  in  Vienna;  1867  was 


called  to  Munich  by  King  Ludwig 
IL;  pf. -teacher  R.  Sch.  of  Mus.  and 
since  1871  R.  Musikdirector  ;  writer 
and  composer. 

Por'pora,  Niccold  A.  (wrote  his  name 
"  Niccola,"  printed  it  as  here), 
Naples,  Aug.  19,  1686 — 1766  (or  67); 
eminent  vocal  teacher  at  London, 
1729-36  ;  ct.-conductor  ;  as  dram, 
composer,  rival  of  Handel,  c.  about 
50  operas. 

Porporino  (-re'-no).     Vide  uberti. 

Porta  (p6r'-ta),  (i)  Padre  Costanzo, 
Cremona,  ca.  1530 — Padua,  1601  ; 
writer  and  composer.  (2)  Fran, 
della,  Milan,  ca.  1590 — 1666  ;  com- 
poser. (3)  Giov.,  Venice,  ca.  1690 — 
Munich,  1755  ;  ct.-cond.  and  dram, 
composer. 

Por'ter,  (i)  Walter,  d.  London,  1659; 
tenor  and  composer.  (2)  Samuel, 
Norwich,  1733 — iSiO  ;  organist  and 
composer.  (3)  Frank  Addison, 
b.  Dixmont,  Maine,  Sept.  3,  1859; 
graduate,  N.  E.  Cons.,  Boston,  later 
piano  prof,  there  ;  studied  later  at 
Leipzig;  since  1892  also  supt.  Nor- 
mal Course  for  pf.;  pub.  a  pf. -meth- 
od, etc.  ;  c.  prelude  and  fugue,  etc. 

Port'mann,  (i)  Richard,  organist 
Westminster  Abbey,  1633,  etc.  (2) 
Jn.  Gl.,  Oberlichtenau,  Saxony,  1739 
— Darmstadt,  Sept.  27,  1798  ;  singer 
and  theorist. 

Portugal  (Portogallo)  (por-tii-gal'  or 
por-to-gal'-lo),  i.e.,  "  The  Portu- 
guese"), Marcos  A.  (ace.  toVascon- 
cellos,  rightly  "Portugal  da  Fon- 
seca,"  not  M.  A.  Simao  as  in  Fetis), 
Lisbon,  March  24,  1762 — of  apoplexy, 
Rio  de  Janeiro,  Feb.  7,  1S30 ;  the 
most  eminent  of  Portuguese  compos- 
ers ;  studied  Italy  and  prod.  3  operas 
there  ;  1790  ct.-cond.  Lisbon,  also 
theatre  cond.  and  produced  20  operas  ; 
18 10  followed  the  court  to  Rio  and 
prod,  operas  ;  1813  dir.  of  a  Cons, 
at  Vera  Cruz. 

Pothier  (p6t-ya),  Dom  Jos.,  b.  Bouze- 
mount,  near  Saint-Die,  Dec.  7,  1835  ; 
1866,  prof,  of  theology  Solesmes 
monastery  ;  writer  and  theorist. 


\^ 


678 


THE    MUSICAL    GUIDE 


Pott,  August,  b.  Nordheim,  Hanover, 
Nov-.  7,  1806  ;  violinist  and  composer; 
pupil  of  Spohr. 

Potter,  Philip  Cipriani  Hambly, 
London,  Oct.  2,  1792 — Sept.  26, 
187 1  ;  pianist,  writer  and  composer. 

Pougin,  Fran.  Aug.  Arthur  (Pa- 
roisse),  b.  Chateauroux,  Indre, 
France,  Aug.  6,  1834 ;  pupil  Paris 
Cons.;  1856-59,  asst.-cond.  Folies- 
Nouvelles ;  till  1863,  violinist  at  Op.- 
Com.,  then  important  critic,  essayist 
and  biographer ;  ed.  the  supplement 
to  ''  Fc'tis"  (1878). 

Pow'ell,  Walter,  (i)  Oxford,  1697— 
1744  ;  counter-tenor.  (2)  Maud,  b. 
Illinois,  1S68  ;  first  notable  American 
woman  violinist  ;  pupil  of  Lewis, 
later  in  Paris  and  of  Schradieck, 
Leipzig,  and  of  Joachim  ;  has  toured 
widely  with  success  Europe  and 
'     America. 

Pradher  (rightly  Pradere)  (prad-a.  or 
pra-dir'),  Loiiis  Bartheletny,  Paris, 
1781  —  Gray,  Haute-Saone,  1S43  ; 
noted  teacher  at  the  Cons,  and  the 
court  ;  pianist,  and  dram,  composer. 

Prager  (pra'-ger),  (i)  H.  Aloys  P., 
Amsterdam,  1783 — Magdeburg,  1854; 
violinist  and  conductor.  (2)  Fd. 
Chr.  Wm.,  Leipzig,  Jan.  22,  1S15 — 
London,  Sept.  I,  1891  ;  son  and  pu- 
pil of  above ;  'cellist,  later  pianist 
and  writer;  c.  symph.  poem  ''Life 
and  Lot  e.  Battle  and  Victory"  over- 
ture "  Ahellino"  etc. 

Pratorius  (pra  -  to'  -  r  I-  00s)  (Latin- 
ised form  of  Schulz(e)),  (i)  Gott- 
schalk,  Salzwedel,  152S  —  Witten- 
berg, 1573;  writer.  (2)  Chp.,  b. 
Siiesia(?) ;  pub.  a  funeral  song  on 
Melanchthon  (1560).  (3)  Hieron- 
ymus,  Hamburg,  1560 — 1629  ;  son 
of  an  organist  ;  organist  ;  c.  church- 
mus.,  etc.,  with  his  son  (4)  Jakob, 
d.  1651  ;  organist.  (5)  Bartholo- 
maus,  composer,  P.erlin,  1616.  (6) 
(or  Praetorius),  Michael,  Kreuz- 
berg,  Thuringia,  Feb.  15,  1571(72) — 
Wolfenbiittel,  Feb.  15,  1621  ;  conduc- 
tor and  ct. -organist.  Eminent  as  a 
composer  of  church-  and  dance-mus.; 


wrote  valuable  historical  "  Syntagma 
musicum." 

Pratt,  (i)  J..,  Cambridge,  Engl.,  1772 — 
1855  ;  organist  and  composer.  (2) 
Chas.  E.,  Hartford,  Conn.,  1841 — 
New  York,  1902  ;  pianist,  cond.  and 
composer.  (3)  Silas  Gamaliel,  b. 
Addison,  Vt.,  Aug.  4,  1846;  Promi- 
nent American  composer  for  orch.  ; 
at  12  thrown  on  his  own  resources, 
became  a  clerk  in  mus. -houses  ;  stud- 
ied with  Bendel,  and  KuUak  (pf.), 
Wuerst  and  KieI(comp.);  1871  or-! 
ganised  Apollo  Club,  Chicago  ;  1875, 
returned  to  Berlin,  and  studied  with  ! 
H.  Dorn  ;  prod.  "  Anniversary 
Overture"  there  1876;  1877,  Chica- 
go ;  gave  symph.  concerts,  1878,  and 
prod,  his  opera  ''  Zenohia"  1882; 
1885,  gave  concerts  of  his  own 
comp.  Crystal  Palace,  London  ;  since 
1890,  pf.-prof.  N.  Y.  Metropolitan 
Cons.;c.  lyric  opera  "  Lticille"  (Chi- 
cago, 18S7)  ;  "  The  Last  Inca"  can- 
tata with  orch.  which  ran  for  three  • 
weeks  ;  2  symphs.  (No.  2  the  notable 
''Prodigal  Son"};  "  Magdalena's 
Lament "  (based  on  Murillo's  picture) 
for  orch.;  an  excellent  symph.  suite, 
"  The  Tempest"  ;  a  grotesque  suite 
"  The  Brownies" ;  cantata  ''Co- 
lumbus" etc. 

Prat'ten,  (i)  Robt.  Sidney,  Bristol, ; 
1S24 — Ramsgate,  1868;  flutist  and  ; 
composer.  (2)  Fr.  S.,  d.  1873  ;  bro. 
of  above  ;  contrabassist. 

Predieri  (pra-dl-a'-re),  (i)  Giacomo; 
Cesare,  d.  after  171 1  ;  from  1696 
cond.  at  Bologna  Cath.  ;  c.  orato- ' 
rios,  motets,  etc.  (2)  Luca  Ant.,  Bo- 
logna, 1688 — 1769  ;  ct.-cond.  and 
dram,  composer. 

Preindl  (print'  '1),  Jos.,  Marbach,  Low- 
er Austria,  1756 — Vienna,  1823;! 
conductor,  writer  and  collector.  1 

Preitz  (prTts),  Fz.,  b.  Zerbst,  Aug. 
12,  1856  ;  concert-organist  ;  pupil  of' 
Leipzig  Cons.,  singing-teacher,  Zerbst 
Cymnasium,  and  cantor  at  the  ct.- 
church  ,   pub.  a  requiem,  etc. 

Prell  (prel),  (i)  Jn,  Nicolaus,  Ham- 
burg, 1773 — 1849;  'cellist  and  teacher. 


DICTIONARY  OF  MUSICIANS  679 


(2)  Aug.  Chr.,  b.  Hamburg,  Aug.  i, 
1805  ;  son  and  pupil  of  above  ;  from 
1822,  2nd  'cello  at  Meiningen  ;  from 
1825  1st  'cello,  Hamburg  ;  pensioned 
1869. 

Prelleur  (prel'-lur),  Peter,  d.  before 
175S  ;  Engl,  organist,  writer  and 
composer. 

Prentice,  Thos.  Ridley,  Paslow 
Hall,  Ongar,  Essex,  1842 — Hamp- 
stead,  1895  ;  teacher,  pianist  and 
writer. 

Pres'sel,  Gv  Ad.,  Tubingen,  1827 — 
Berlin,  1890 ;  dram,  composer. 

Pres'ser,  Theodore,  b.  Pittsburg, 
Pa.,  July  3,  1848  ;  Philadelphia  pub- 
lisher ;  1883,  founded  and  has  since 
ed.  "  The  Etude"  transl.  text-books, 
etc.;   c.  instructive    pf.-pcs.,  etc. 

Prevost  (pra-vo),  Eugene  Prosper, 
Paris,  Aug.  23,  1809 — New  Orleans, 
Aug.  30,  1872  ;  conductor  and  sing- 
ing-teacher ;  prod,  operas  in  Paris 
and  New  Orleans. 

Prevosti  (pra-v6s'-te),  Franches- 
china,  b.  Livorno,  1865  ;  her  mother 
was  English  ;  she  studied  with  Ron- 
coni  at  iVIilan  and  debut  at  La  Scala  ; 
toured  widely  ;  from  i8go  in  Germany 
winning  especial  succ.  in  "  Za  Tra- 
viata." 

Preyer  (pri'-er),  (i)  Gf.,  Hausbrunn, 
Lower  Austria,  May  15,  1S09 — Vien- 
na, 1901  ;  organist ;  pupil  of  Sechter  ; 
1838,  prof,  of  harm,  and  cpt.  at  the 
Cons.;  1844-48,  dir. ;  1844,  also 
vice  ct.-cond. ;  1846,  ct. -organist ; 
1853,  con.  at  St.  Stephen's ;  1876, 
pensioned  as  "' Vice-Hofkapellmeis- 
ter";  prod.  3  operas,  masses,  etc.  (2) 
Wm.  Thierry,  b.  Manchester,  Engl., 
July  2,  1841  ;  studied  Bonn  Univ.  ; 
1869-94  prof,  of  physiology,  Jena  ; 
acoustician. 

Prilipp  (pre'-llp),  Camille,  mus.  sell- 
er at  Paris;  c.  400  pf.-pcs.,  some 
very  pop.  under  pen-name  C.  "  Schu- 
bert. 

Prill  (pril),  K.,  b.  Berlin,  Oct.  22, 
1864  ;  son  and  pupil  of  a  mus.- 
dir.,  and  pupil  of  Helmich,  Wirth, 
and    Joachim  (at   the    Hochschule) ; 


vioHnist  ;  1883-85  leader  Bilse's 
orch.;  1885  at  Magdeburg;  from 
1 89 1,  of  the  Gewandhaus  Orch., 
Leipzig;  later  at  Nfirnberg ;  igoi, 
at  Schwerin  (vice  Zumpe). 
Prime-Stevenson  (originally  Steven- 
son), Edw.  Irenaeus,  b.  Madison, 
N.  J.;  prominent  writer  and  critic  ; 
grad.  Freehold  Inst.,  N.  J.,  1881 
book  reviewer  and  critic  N.  Y.  "  /«- 
dependent";  also  from  1895  of 
'''Harpers  Weekly";  1899,  because 
of  an  inheritance  added  "  Prime  "  to 
his  name  and  lives  abroad,  chiefly  at 
Vienna  ;  writer  of  mus.  novels,  "A 
Matter  of  Temperainent,'^  '"Sylvester 
Saf/d";  also  "  M'hite  Cockades, "^Ic, 
and  a  coll.  of  sketches,  "  Some  Men 
and  Women,  and  Music." 

Pring,  (i)  Jacob  C,  Lewisham,  Eng., 
1771 — 1799  ;  organist  and  composer. 
His  2  brothers  were  (2)  Jos.,  Ken- 
sington, 1776 — Bangor,  1842;  organ- 
ist, writer  and  composer.  (3)  Isaac, 
Kensington,  1777 — Oct.  18,  1799  ; 
organist. 

Printz  (prints),  W.  Caspar,  Wald- 
thurn.  Upper  Palatinate,  1641 — So- 
rau,  1717  ;  cantor  and  theorist. 

Proch  (prokh),  H.,  Bohmisch-Leipa, 
June  22,  1809 — Vienna,  Dec.  18, 
1878  ;  noted  vocal  teacher  and  con- 
ductor ;  c.  comic  opera  and  famous 
vocal  variations. 

Prochaska  (pro-khas'-ka),  Ludwig, 
Prague,  1835  (?)— July  18,  )8S8; 
singing  teacher  and  composer  of  pop. 
Bohemian  dances  and  songs. 

Proksch  (proksh),  (i)  Josef,  Reichen- 
berg,  Bohemia,  1794 — Prague,  1864; 
pianist,  writer  and  composer;  founded 
a  pf. -school  ;  his  children  and  suc- 
cessors were  (2)  Theodor,  1843 — 
1876  ;  and  (3)  Marie. 

Prony  (pr6-ne),  Gaspard  Claife 
Fran  M.  Riche,  Baron  de,  Chame- 
lot,  France,  1755  —  Paris,  1839  ; 
harpist  and  writer. 

Proske  (pr6sh'-ke).  K.,  Grobnig,  Up- 
per Silesia,  1794 — Ratisbon,  1861  ; 
canon,  conductor,  publisher,  editor 
and  composer. 


68o 


THE  MUSICAL  GUIDE 


Prout  (prowt),  (i)  Ebenezer,  b. 
Oundle,  Northamptonshire,  March 
I,  1835  ;  prominent  theorist  and  com- 
poser. Sav'e  for  a  few  piano  lessons 
as  a  boy,  and  with  Chas.  Salaman, 
wholly  self  -  taught.  B.A.  London 
Univ.,  1S54  ;  1859  took  up  music  ; 
1861-73,  organist  Union  Chapel,  Is- 
lington ;  1861-85,  pf.-prof.  at  the 
Crystal  Palace  Sch.  of  Art ;  from 
1876  prof,  of  harm,  and  comp.  at  the 
Nat.  Training  Sch.;  1879,  at  the  R. 
A.  M.  (vice  A.  Sullivan),  also  cond. 
1876-go.  the  Hackney  Choral  Assoc; 
1874  Critic  on  the  "  Acad."  ;  1879, 
on  the  "Athenaeum."  Contributed 
53  articles  to  Grove's  "  Dictionary.''' 

1894,  prof,    of   mus.,    Dublin    Univ.; 

1895,  Mus.  Doc.  /i.  c.  Dublin  and 
Edinburg  Univ.  Has  pub.  many 
valuable  and  original  treatises,  incl. 
'■'Harmony"  (1889,  10  editions); 
'■'Counterpoint,  Strict  and  Free" 
(1890);  "Double  Counterpoint  and 
Canon  "  (1891)  ;  "  Fugue"  (1891)  ; 
"  Fugal  Analysis"  (1892)  ;  "  Musi- 
cal Form  "  (1893);  "  Applied  Forms  " 
(1895);  "  T/ie  Orchestra"  (1898- 
1900);  c.  4  svmphs. .  2  overtures, 
''  Truelfth  Night"  and  "  Rokeby  ■" 
suite  de  ballet  for  orch.  ;  suite  in  D  ; 
cantatas ;  a  Magnificat,  Evening 
Service,  Psalm  126  (St.  Paul's,  1891)  ; 
Psalm  100  "  The  Song  of  Judith  " 
(Norwich,  1867),  "Freedom"  (1885), 
all  with  orch.,  2  organ-concertos,  2 
prize  pf. -quartets,  etc.  (2)  Louis 
Beethoven,  b.  London,  Sept.  14, 
1S64 ;  son  of  above  ;  from  1888, 
prof,  of  harm.  Crystal  Palace  Sch.  of 
Art  ;  pub    treatises  ;  c.  Psalm  93. 

Pruckner  (prook'-ner),  (i)  Dionys, 
Munich,  May  12,  1834 — Heidelberg, 
Dec.  I,  1S96;  pianist  and  teacher. 
(2)  Caroline,  b.  Vienna.  Nov.  4, 
1832  ;  succ.  operatic  soprano  ;  1855, 
suddenly  lost  her  voice  ;  1870  opened 
a  Sch.  of  Opera;  pub.  a  vocal  treatise 
(1872)  for  which  she  was  made  Prof. 

Prudent  (prii-dah)  (Beunie-Prudent), 
Emile,  Angouleme,  1S17  —  Paris, 
1863  ;  pianist  and  composer. 


Prume    (priim),    (i)    Fran.    Hubert, 

Stavelot,  near  Liege,  1816 — 1849  '> 
ct.-prof.  and  composer.  (2)  Fz.  H., 
nephew  of  the  above.       Vide  jehin- 

PRUME. 

Prumier  (priim-ya),  (i)  Ant.,  Paris, 
1794 — 186S  ;  harpist ;  prof,  at  the 
Cons.,  and  composer.  (2)  Ange 
Conrad,  1821  (?) — Paris,  1884  ;  son, 
pupil  and  successor  of  above. 

Psellos  (psel'-los),  Michael,  theorist 
at  Constantinople,  ca.  105O. 

Ptolemy  (tol -ii-me),  Claudius,  the 
celebrated  astronomer  in  the  2nd 
century  ;  wrote  treatise  on  mus. 

Puccini'  (poot-che'-ne),  (i)  Giacomo,  ' 
b.  Italy,  1712  ;  pupil  of  Padre  Mar-  : 
tini  ;  organist  ;  c.  church-music.     (2)  : 
Antonio,  b.  1747  ;  son  of  above  ;  c.  • 
church-music  and  (ace.  to  Fetis)  ope-  ; 
ras  ;  m.  di  capp.  to   Republic  of  Sao  j 
Lucca  ;  his  son  and  successor  (3)  Do-  ! 
menico,  1771 — 1815  ;  c.  church-music  j 
and  many  comic  operas  ;  his  son  (4)  ; 
Michele,  1812 — 1864  ;  pupil  of  Mer- ! 
cadante  ;    lived    at    San    Lucca    as  j 
church  and  opera-composer  ;  his  son  J 
(5)  Giacomo,  b.  Lucca,  Italy,  1858  ;  i 
pupil  of  Angeloni  at  Lucca  ;  then  of 
A.  Ponchielli,   Milan  Cons.,  graduat-' 
ing  with    a    "  Capriccio    sinfonico ;" 
1893,  prof,  of  comp.  there;  prod,  i-act  i 
opera    'Le  T////"  (Milan    1884);  ex-j 
tended  later  to  2-acts  and   prod.  at. 
La  Scala  ;  succ.  ' '  Edgar  "  (La  Scala, 
Milan,     1889)  ;     succ.     lyric    drama 
"A/anon    Lescaut"    (Turin,    1863);; 
widely  popular   opera  seria  "La  Bo- 
heine"    (Turin,    1896);    succ.    "La 
Tosca "    (London,    Covent    Garden. 
1900)  ;    "  Madame  Butterfly." 

Pucitta  (poo-chIt -ta),  V.,  Civitavec- 
chia, 1778 — Milan,  i86t  ;  cembahst 
and  dram,  composer. 

Puchat  (poo'-khat),  Max,  b  Breslau, 
1859  ;  pianist,  pupil  of  Kiel,  at  Ber- 
lin ;  18S4,  Mendelssohn  prize;  c' 
symph.  poems  "  Euphorion  "  (18S8),; 
and  "  Tragodie  eines  Kiinstlers' 
(1S94) ;  overture  ;  a  pf. -concerto,  etc 

Puchtler  (pookh'-tler),  Wm.  M.. 
Holzkirchen,  Franconia,  1848 — Nice 


DICTIONARY  OF  MUSICIANS    68) 


1881 


teacher,  conductor   and   com- 


poser. 

Pudor  (poo'-dor),  (i)  Jn.  Fr.,  De- 
litzsch,  Saxony,  1835  —  Dresden, 
1887  ;  from  1S59  proprietor  Dresden 
Cons.  (2)  Dr.  H.,  b.  ca.  i860 ;  son 
and  successor  of  above  in  the  Cons., 
which  he  sold  i8go  to  E.  Krantz ; 
wrote  many  essays. 

Puente  (poo-en'-te),  Giuseppe  del, 
Naples,  April,  1845 — Philadelphia, 
U.  S.  A.,  May  25,  1900  ;  operatic 
barytone  and  teacher. 

Puget  (pii-zha),  Paul  Chas.  M.,  b. 
Nantes,  June  25,  1848  ;  pupil  of 
Paris  Cons.,  took  Grand  Pri.x  de 
Rome  ;  prod,  comic  opera  "Z^  Sig- 
nal" (Op.  Com.,  1886)  ;  mod.  succ. 
opera  ''  Bt-aitcoiip  de  Bruit  Pour 
Rien  "  ("  Much  Ado  about  Nothing  ") 
(ibid.,  1899)  ;  incid.  mus.  to  ''  Loren- 
zaccio"  etc. 

Pugnani  (poon-yji'-ne),  Gaetano,  Tu- 
rin, Nov.  27,  1731 — July  15,  1798  ; 
famous  violinist,  dram,  composer 
and  conductor. 

Pugni  (poon'-ye),  Cesare,  Milan, 
1805 — St.  Petersburg,  1S70  ;  dram, 
composer. 

Pugno  (pun-yo),  Raoul,  b.  Montrouge, 
Seine,  France,  June  23,  1852  ;  prom- 
inent pianist;  st.  Paris  Cons.;  1866 
took  1st  pf. -prize,  1867,  ist.  harm.- 
prize  ;  1869,  ist  org. -prize  ;  organist 
and  cond.  Paris  ;  from  1896,  prof,  of 
piano  at  the  Cons.  1897-98,  toured 
U.  S.  with  succ;  Officer  of  the  Aca- 
demic ;  prod,  an  oratorio,  "  La  Re- 
surrection de  Lazare  "  (1879)  I  comic 
opera  "  Ninetta"  (1882);  2  operas 
boufles ;  3  i-act  vaudev. -operettas 
"  La  Petite  Poucette  "  (1891  ;  Berlin, 
1893,  as  '' Der  Talisman")  \  pan- 
tomime, etc.;  1902  toured  U.  S. 
again  with  increased  success. 

Puliti  (poo-le'-te),  Leto,  Florence, 
1818 — 1875  ;  composer. 

Punto,  G.     Vide  STicH. 

Puppo  (poop'-p6),  Gius.,  Lucca,  June 
12,  1749 — in  poverty,  Florence,  April 
19,  1827  ;  an  eccentric  violinist,  con- 
ductor and  composetc 


Purcell  (pur'-sel),  (i)  H.,  d.  London, 
1664  ;  gentleman  of  the  Chapel 
Royal,  and  Master  of  the  Choristers 
at  Westminster  Abbey.  (2)  Henry 
(called  "the  younger"),  London, 
1658 — of  consumption.  Dean's  Yard, 
Westminster,  Nov.  21,  1695  ;  son  of 
above.  Most  eminent  of  strictly  Eng- 
lish composers.  Chorister  Chapel 
Royal,  and  studied  with  Cooke,  Hum- 
frey,  and  Dr.  Blow  ;  at  18  c.  mus. 
for  Dryden's  imgedy,''  Aurungzelie" 
and  Shadwell's  comedy  ''Epsom 
IVells  "/  pub.  a  song  ;  at  19  an  over- 
ture, etc.,  to  Aphra  Behn's  tragedy, 
''  Abdelazor"  and  an  elegy  on  Mat- 
thew Locke  ;  at  20  c.  music  to  Shad- 
well's  version  of  "  Ti?Hon  of  Athens" ; 
1680,  incid.  mus.,  and  a  short  opera 
"  Dido  and  ^-Eneas  "  written  to  order 
for  Josias  Priest  for  his  "boarding 
sch.  for  young  gentlewomen  "  ;  c. 
also  the  "  Ode  or  IVelcome  Song  for 
his  Royal  Highness"  Duke  of  York, 
and  'A  song  to  IVelcotne  home  His 
Majesty  from  IVindsor."  From 
1680  organist  Westminster  Abbey, 
where  he  is  buried.  1682,  organ- 
ist Chapel  Royal  ;  1683,  composer-in- 
ordinary  to  the  King.  His  first  pub. 
chamber-mus.  is  dated  the  year  1683. 
He  c.  ''Odes"  to  King  Charles 
1684,  and  to  King  James  in  1685,  28 
in  all.  He  c.  mus.  for  35  dram, 
works  of  the  time.  1695  he  pub.  his 
first  real  opera,  "  Dioclesian."  The 
Purcell  Society  (organised,  1876) 
has  issued  many  of  his  works  and 
given  frequent  performances  of  them 
in  London.  The  Mus.  Antiq.  Soc. 
has  pub.  others  ;  his  widow  pub.  in 
1697  "A  Collection  of  Ayres  Com- 
posed for  the  Theatre  and  upon  other 
Occasions  ";  also  songs  for  1-3  voices, 
from  his  theatrical  works  and  odes ; 
and  the  "  Orpheus  Brittanicus"  in  2 
parts  (Part  i,  1698,  Part  ii,  1702). 
Playford's  '  Theatre  of  Musick " 
(1687),  and  other  colls,  contain  many 
of  his  works;  ''  PurceWs  Sacred 
Music  "  is  pub.  in  6  vols.  (Novello). 
(3)  Edw.,  1689 — 1740;  son  of  above; 


682  THE    MUSICAL    GUIDE 

organist  and  composer.    (4)  Daniel,  his  bro.  as  dram,  composer  ;  c.  incid. 

London,  1660 — Dec.   12,    1718  ;  bro.  mus.   to  ten  dramas  ;   odes,  inch  fu- 

of    above;  1688,  organist;  1695,  succ.  neral  ode  for  his  brother,  etc. 


Purcell. 

By  John   F.    Runciman. 

MODERN  English  musicians  scarce  count,  and  by  their  achievements 
up  to  the  present  can  scarce  hope  to  count,  in  the  history  of  the  1 
world's  music.  When,  however,  the  world  was  younger  and 
the  English  race  was  fresher,  things  went  differently.  Before  the  rest  of 
Europe  had  produced  anything  worth  long  consideration  to-day,  the  English 
had  brought  forth  a  strong  race  of  musicians  ;  and  while  the  rest  of  Europe 
was  striving  hard  to  catch  up  with  the  English,  the  English  school  was  reach- 
ing a  magnificent  culmination  in  Purcell.  Many  influences  went  to  the  shap- 
ing of  him.  Behind  was  the  contrapuntal  English  school,  of  which  Tallis  and . 
Byrde  were  exemplars  ;  more  immediately  behind  was  Pelham  Humphries, 
who  brought  to  England  all  that  France  knew  ;  and  it  is  as  good  as  certain  | 
that  he  knew  what  the  Italians,  with  Correlli  at  their  head,  had  accomplished. ' 
That  is  to  say,  he  must  have  learned  how  to  handle  many  parts  in  a  chorus! 
or  orchestral  movement ;  learned  how  to  write  recitative  and  expressive  song  ;  j 
learned  what  could  be  done  in  the  way  of  chamber-music  ;  and  such  orches-  j 
tral  colouring  as  was  possible  at  that  day .  ^J  To  these  acquired  masteries  he ' 
brought  a  native  ear  for  miraculous  colour  in  music — as  witness  his  Tempests 
music,  written  for  the  worst  libretto  that  the  world  has  not  listened  to  ;  a ; 
glorious  invention  of  expressive  or  picturesque  melody,  though  chiefly  pictu- ; 
resque  ;  a  fine  instinct  for  the  dramatic,  and  for  expressing  it  in  music  ;  and^ 
the  most  noble  sense  of  the  splendid  effects  to  be  gained  by  throwing  about 
masses  of  vocal  tone  in  the  manner  afterwards  appropriated  and  made  entirely 
his  own  by  Handel.  ^  Those  who  have  studied  Purcell' s  scores  will  be  as-i 
tonished  by  the  extent  to  which  Handel  took  his  themes  and  modes  of  using' 
them.  In  that  lies  his  sole  contribution  to  what  must  be  called  the  "prog- 
ress" of  music.  Later  English  composers,  to  their  shame,  and  certainly  to 
their  utter  confusion,  copied  Handel  instead  of  developing  on  Purcell's  lines. 
They  profited  nothing ;  and  Purcell  remains  as  the  last  of  the  tribe  of  the 
genuinely  creative  English  musicians.  He  was  determined  to  excel  in  every- 
thing he  touched  ;  and  he  excelled  in  everything.  His  forms  are  at  once, 
broad  and  flexible;  his  harmonies  are  as  daring  as  Sebastian  Bach's;  his 
themes  have  a  great  dignity  and  vigour  ;  and  on  everything  he  wrote  there  rests 
an  early  morning  freshness.  No  music  has  preserved  its  freshness  better  ;  the 
dew  is  still  on  it.      ^  Born  just  before  the  Restoration,  he  felt  to  the  full: 


1 


DICTIONARY  OF  MUSICIANS    683 

the  anti-Puritan  reaction  ;  he  shared  in  the  revival  of  the  sheer  joy  of  being 
alive  ;  and  his  music  is  filled  with  a  cheerful  health  such  as  one  finds  in  no 
music  written  since  his  day.  But  he  experienced  the  deeper  emotions  ;  and 
one  may  find  in  his  works  profound  utterances  of  grief  and  sorrow,  of  the 
mystery  and  terror  of  all  life.  He  was  entirely  pagan,  and  WTOte  no  real  re- 
ligious music — religious  as  we  use  the  word  when  we  speak  of  Sweelinck, 
Palestrina,  or  Byrde.  But  power  is  there,  and  delicacy,  and  marvellous 
beauty  ;  and  above  all  that  external  freshness  and  picturesque  quality 
which  give  his  music  the  character  that  stamps  and  marks  it  off  as  his 
own. 


Putea'nus,  Ericius  (Latinised  form  of 
H.  Van  de  Putte)  (poot  -te)  (Galli- 
cised  to  Dupuy),  Venloo,  Holland, 
1574 — Louvain,  1646  ;  professor  and 
writer. 

Pye,  Kellow  J.,  Exeter,  Feb.  9,  1812 
— Exmouth,  Sept.  22,  1901;  pianist 
and  composer. 

Pyne(pTn),  (i)Geo.,  1790—1877.  Engl. 
male  alto.  (2)  Jas,  Kendrick,  d. 
1857;  Engl,  tenor.  (3)  Louisa 
Fanny,  b.  England,  1832  ;  soprano, 
daughter  of  (2)  ;  pupil  of  Sir  Ci. 
Smart ;  debut,  Boulogne,  1849;  1868, 
m.  P>ank  Bodda,  a  barytone. 

Pythag'oras,  .Samos,  Greece,  ca.  582, 
B.  C. — Metapontum,  ca.  500  B.  c; 
famous  philosopher  and  mathemati- 
cian ;  developed  an  elaborate  sys- 
tem of  musical  ratios. 


Quadri    (kwa'-dre),     Dom.,    Vicenza, 

1801 — Milan,     1843  ;      teacher     and 

theorist. 
Quadrio  (kwa'-drt-6),  Fran,  Saverio, 

Ponte,  Valtellina,  1695 — Milan,  1756; 

theorist. 
Quagliati     (kwal-ya'-te),     Paolo,    d. 

Rome,   ca.    1660;    cembalist  ;    c.  one 

of  the  earliest  mus.  dramas  (161 1). 
Quandt  (kviint),  Chr.   Fr.,   Herrnhut, 

Saxony,  1766 — Niesky,  near   Gorlitz, 

Tan.  30,  1806  ;  writer. 


Quantz  (kvants),  Jn.  Joachim,  Ober- 
scheden,  Hanover,  1697 — Potsdam, 
1773  ;  noted  flutist ;  inv.  the  second 
key  and  sliding  top  for  tuning  the 
flute  ;  taught  Frederick  the  Great ;  c. 
500  flute  pes. 

Quaranta  (kwa-ran'-ta),  Fran.,  Na- 
ples, 1848 — Milan,  1897  ;  singing- 
teacher  and  dram,  composer. 

Quarenghi  (kwa-ran'-ge),  Guglielmo, 
Casalmaggiore,  1826 — Milan,  1882  ; 
'cellist,  professor,  conductor  and 
dram,  composer. 

Quarles  (kwarls),  Chas.,  d.  1727;  or- 
ganist at  York  Minster  and  com- 
poser. 

Quatremere  de  Quincey  (kat-ru-mar'- 
dii-kan-se),  Ant,  Chrysostome, 
Paris,  1755 — 1849  ;   writer. 

Quef  (kef),  Ch.,  French  organist  ;  igoo, 
choir-org.  at  La  Trinite,  Paris  ;  1902, 
organist  (vice  Guilmant). 

Queisser  (kv!s'-ser),  Carl  T.,  Doben, 
n.  Leipsic,  1800 — 1846  ;  noted  trom- 
bonist. 

Quercu  (kver'-koo),  Simon  de  (Latin- 
ised from  Van  Eycken  or  Du 
Chesne),  b.  in  Brabant  ;  theorist  and 
ct. -chapel-singer,  Milan,  ca.  1500. 

Quidant  (ke-dah),  Alfred  (rightly  Jos.), 
Lyons,  France,  1S15  —  Paris,  1893; 
pianist. 

Quinault  (ke-no),  (i)  Philippe,  Paris, 

1635 — 1688  ;     Lully's    librettist.     (2) 

•     J.    Bap.    Maurice,  d.    Gien,   1744; 

singer,  actor  and  composer  of  ballets, 

etc. 


684         THE    MUSICAL    GUIDE 


R 

Ra(a)ff  (raf),   Holzem,  17 14— Munich, 

1797;  tenor. 
Rachmaninoff  (rakh-ma-ne-nof),  Ser- 
gei   Vassilievitch,    b.    Novgorod, 
Russia    1873;  pianist  and  composer  ; 
pupil    of    Siloti    (pf.)    and    Arensky 
(theory),  Moscow  Cons.;    1891,  took 
great  gold  medal ;  c.  succ.  i-act  op- 
era   "AL-ko"    (Moscow,    1893),    pf.- 
concerto  ;  a  popular  "  Prelude:   and 
other  notable  pf. -pieces. 
Radecke  (ra-dek-e),  (i)  Rudolf,  Ditt- 
mannsdorf,      Silesia,      1829— Berhn, 
1893  ;  conductor,   teacher   and    com- 
poser     (2)  (Albert  Martin),  Rob- 
ert, b.  Dittmannsdorf,  Oct.  31,  1830; 
bro.  of  above  ;  pupil  of  Leipzig  Cons.; 
ist  vln.in  Gewandhaus  ;  then  pianist 
and  organist,  Berhn  ;  later   mus.-dir. 
ct.-th.;  1871-84,   ct.-cond.;  1883-88, 
artistic   dir.    Stern  Cons.;  1892,  dir. 
R    Inst,  for  Church-mus.,  Berlin  ;  c. 
i-act    '' Lieder  spiel"     ''Die   Monk- 
guter"    (Berhn,    1B74);  a    symph.,   2 
overtures,   etc.      (3)  Ernst,   b.   Ber- 
lin   Dec.  8.  1866  ;  son  of  above  ;  Dr. 
Phil,  at  Berhn  U.,  1891;   1893.   town 
mus.-director  and  teacher,  Winterthur, 
Switzerland.       (4)   Luise,    b.    Celle, 
Hanover,   June   27,    1847;    soprano; 
pupil  of   Marchesi  ;  debut,  1867,  Co- 
logne ;   1876,   m.    Baron   von    Brum- 
mer.  ^ 

Radoux  (ra-doo),  Jean  Theodore, 
b  Liege,  Nov.  9,  1835  ;  pupil  at  the 
Cons.;  1856,  teacher  of  bassoon 
there  '  1859,  won  Prix  de  Rome  with 
cantata  ''  Le  Jidf  Erranr  ;  studied 
with  Halevy,  Paris  ;  1872,  dir.  Liege 
Cons.;  pub.  biog.  of  Vieuxtemps 
(1891);  prod.  2  comic  operas,  orato- 
rio "a/«"  (1877).  cantata  "La 
Fille  de  Jephtf'  with  orch.,  2  symph. 
tone-pictures,  symph.  overture,  Te 
Deum,  etc. 
Radziwill  (rat-tse-vll).  Prince  Anton 
H.,Wilna,  1775— Berlin,  1833;  sing- 
er and  composer ;  patron  of  Beet- 
hoven and  Chopin. 


Raff  (raf),    (i)  Vide    raaf.      (2)  Jos. 
Joachim,  Lachen,   Lake  of   Zurich, 
May    27,    1822 — Frankfort-on-Main, 
June   25,    1882  ;    eminent    composer, 
particularly  in  the  field  of  program- 
matic romanticism.    Son  of  an  organ- 
ist ;  too  poor  to  attend  a    Univ.  he 
became    a    sch.-teacher ;     was    self- 
taught  in  comp.  and  vln.;    1843  he 
sent  some  comps.    to    Mendelssohn, 
who  recommended  them  to  a  publish- 
er.    R.  accompanied  Liszt  on  a  con- 
cert-tour  as    far   as   Cologne  (1846), 
where  he  lived  for  a  time,  writing  re- 
views;  later  von   Bulow   played    his 
''Concertsiiick" ;    his    g^^x^  '' Konig 
Alfred"  was  accepted  at  the  ct.-th., 
but  forestalled  by  the  Revolution  of 
1848  ;  it  was  prod,  in  revised  form  at 
Weimar  by   Liszt.     He  pub.  (1854)^ 
a    pamphlet    ''Die     Wagner f rage." 
1854,    m.  the  actress    Doris  Genast, 
and  obtained  vogue  at  Wiesbaden  as 
a  pf. -teacher.     1863,  his  first  symph.,, 
"An  das  Vaterlaud"  won  the  prir" 
of   the   Viennese    •' Gesellschaft   d 
Musikfreunde  ;  "   1870,  his  comic 
era    "Dame  Kobold"  was  prod,  at 
Weimar.     1877,  dir.  Hoch  Cons,   at 
Frankfort.      He  was  a  very  prolific 
and    uneven    composer.     The    Raft 
Memorial    Soc.    pub.    at     Frankfort 
(1S86),  a  complete   list  of  his  works 
which  incl.  11  symphs.:  No.  i,  "  A^ 
das   Vaterlaud";  famous    No.  3 
F,    "/;;/   IValde"  (1869);  No.  5. 
177  in  E,  the  noted  "Lenore" ;  No.  -6, 
op.  189  in  D  min.,  "  Gelebt,  gestrebt- 
S-elitten,  gestritten-gestorben,  nmwor- 
ben";  No.  7,  op.  201  in  W,  "  In  den 
Alpen";  No.  8,  op.  205,  A,  "  Friih- 
lingsklange" ;    No.    9,    op.    208,    H. 
min.,  "/w    Sommer";    No.    11,   op. 
214,   A  min.,   "  Der  Winter"  (post- 
humous);   a    sinfonietta ;     4    suites, 
No.     2,    "In    nngarischer    Weise   ; 
No.  3,  '"  Italienisch" ;  No.  4-  "'Thii- 
ringer" ;    9   overtures,    the    " Jnbel- 
Fest"    and    ' '  Concert  -  ouvertiire  "  ; 
'' Festouverture"    for    wind;    '' Etn 
feste   Burg"    "Romeo   and  Juliet,^ 


Othello . 


Macbeth"  and   "  The 


J 


DICTIONARY  OF  MUSICIANS    685 


Tempest ;  "  festival  cantata  ' '  Deutsch- 
lands  Atiferstehung";  De  profundis 
in  8  parts,  op.  141;  " /w  Kahn" 
and  "/?£■;-  Tanz";  for  mixed  chorus 
'^  Morgenlied"  and  "  Einer  Ent- 
scklafem-n" ;  ''Die  Tageszeiten"  ; 
''  Die  Jagerbraut  und  die  Hirtin,"  2 
scenes  for  solo  voice  ;  all  with  orch  ; 
the  oratorio  "  IVeltende,  Gericht, 
Netu  Welt"  (Revelations)  (Leeds, 
1882);  ''Die  Sterne"  and  " Dorji- 
roschen"  (MS.);  4  unperformed  op- 
eras, "Die  Eifersiichtigen  "  (text  and 
music);  "Die  Parole"  "Benedetto 
Marcello  "  and  "  Savison  " ;  mus.  to 
Genast's  "Bernard  von  Weimar" 
(1858);  "  Ode  au  printemps"  iox  pf. 
and  orch. ;  "  La  fete  d' Amour  '"  suite 
for  vln.  with  orch. ;  2  'cello-concertos  ; 
much  chamber-mus. ,  incl.  op.  192  (3 
nos.,  "Suite  alterer  Form,"  "Die 
schone  Mullerin,"  "  Suite  in  canon- 
form");  5  vln.  sonatas;  'cello- sona- 
ta ;  2  pf. -sonatas,  suites,  sonatinas ; 
"Homage  an  nco-romantisme"  "Mes- 
sagers  du  printemps"  "Chant  d'On- 
dine"  (arpeggio  tremolo  etude),  Un- 
garische  Rhapsodie,  Spanische  Rhap- 
sodic, 2  etudes  melodique,  op.  130 
("Cavatina,"  and  the  famous  "La 
Fileuse  "),  many  paraphrases  ;  many- 
songs,  incl.  2  cycles,  "  Maria  Stuart  " 
and  "  Blondel  de  Nesle  "  ;  30  male 
quartets,  etc. 

Ragghianti  (rag-gl-an'-te),  Ippolito, 
Viareggio,  near  Pisa,  1866 — 1894  ; 
violinist. 

Raif  (rif),  Oscar,  The  Hague,  1847— 
Berlin,  1899 ;  pianist,  teacher  and 
composer. 

Raillard  (ri-yar),  Abbe  F.,  b.  Mon- 
lormentier,  France,  1804  ;  teacher  of 
science. 

Raimondi  (ra-e-mon'-de),  (i)  Ignazio, 
Naples,  1733 — 1802  ;  violinist  and 
composer.  (2)  P.,  Rome,  Dec.  20, 
1786— Oct.  30,  1853  ;  extraordinary 
contrapuntist,  rivalling  the  ancient 
masters  in  ingenuity  ;  prof,  of  cpt., 
and  cond.  at  St.  Peter's  ;  prod.  54 
operatic  works  and  21  ballets,  4 
masses  w.  orch.  and    5  oratorios,  be- 


sides the  monumental  trilogy  "  Giu- 
seppe "  {Joseph)  consisting  of  3  ora- 
torios {"  Fotifar"  "Giuseppe" 
"  Giacobbe"),  performed  at  Rome, 
1S52  separately,  then  all  at  once  by 
400  musicians,  producing  such  frantic 
excitement  that  the  composer  fainted 
away  ;  he  c.  also  an  opera  buffa  and 
an  opera  seria  performable  together; 
4  four-voiced  fugues  which  could  be 
combined  into  one  fugue  a  16,  etc., 
incl.  a  fugue  for  64  parts  in  16 choirs; 
he  wrote  essays  explaining  his  meth- 
ods. 

Rain'forth,  Elizabeth,  1814 — Red- 
land,  Bristol,  1877,  Engl,  soprano. 

Raraann  (rii'-man),  Lina,  b.  Main- 
stockheim,  near  Kitzingen,  June  24, 
1S33  ;  pupil  of  Franz  and  Frau  Bren- 
del,  Leipzig  ;  1858,  founded  a  mus.- 
sem.inary  for  female  teachers,  1865,  a 
mus.-sch.  at  Niirnberg  ;  pub.  trea- 
tises and  composed. 

Rameau  (ra-mo),  (i)  J.  Philippe,  Di- 
jon, Sept.  25,  1683 — of  typhoid, Paris, 
Sept.  12,  1764  ;  eminent  as  theorist, 
composer  and  organist.  At  7  he 
could  play  at  sight  on  the  clavecin 
any  music  given  him  ;  from  10  to  14 
he  attended  the  Jesuit  Coll.  at  Dijon; 
but  taking  no  interest  in  anything  but 
music  was  dismissed  and  left  to  study 
music  by  himself.  He  was  sent  to 
Italy,  1 70 1,  to  break  off  a  love  affair, 
but  did  not  care  to  study  there,  and 
joined  a  travelling  French  opera- 
troupe  as  violinist.  Later  he  became 
organist  at  two  churches  in  Paris, 
1717.  He  studied  org.  with  Louis 
Marchand,  who  found  his  pupil  a 
rival,  and  in  a  competition  favoured 
his  competitor,  Daquin,  as  organist 
of  St.  Paul's  ;  R.  went  as  organist  to 
Lille,  later  to  Clermont  (where  lived 
his  brother  (2)  Claude,  a  clever  or- 
ganist, and  his  father  (3)  Jean  Fran., 
a  gifted  but  dissipated  organist  and 
poet).  After  4  years  he  returned 
to  Paris,  and  pub.  a  treatise  on  harm, 
which  attracted  some  attention.  He 
became  organist  Sainte-Croix-de-la- 
Bretonnerie  ;     and     c.      songs     and 


686 


THE    MUSICAL    GUIDE 


dances  for  pieces  by  Piron,  at  the 
Op. -Com.;  1726,  he  pub.  his  epoch- 
making  "  iVt;«z'£?a«  systeme  de  mu- 
sique  thc'orique"  based  on  his  own 
studies  of  the  monochord  (v.  D.  D.) ; 
in  this  work  among  many  things  in- 
consistent, involved  and  arbitrary 
(and  later  modified  or  discarded)  was 
much  of  remarkable  even  sensational, 
novelty,  such  as  the  discovery  of  the 
law  of  chord-inversion.  He  founded 
his  system  on  (i)  chord-building  by 
thirds  ;  (2)  the  classification  of  chords 
and  their  inversions  to  one  head  each, 
thus  reducing  the  consonant  and  dis- 
sonant combinations  to  a  fi.xed  num- 
ber of  root-chords  ;  (3)  a  fundamental 
bass  ("  basse  fondamentale,"  not  our 
thorough-bass),  an  imaginary  series 
of  root-tones  forming  the  real  bases 
of  all  the  chord  -  progressions  of  a 
composition.  His  theories  provoked 
much  criticism,  but  soon  won  him  pu- 
pils from  far  and  wide  and  the  pre- 
eminence as  theorist  that  he  enjoyed 
as  organist.  He  followed  his  first 
theoretic  treatises  with  5  other  trea- 
tises. He  now  obtained  the  libretto 
"  Samson  "  from  Voltaire  (whom  he 
strikingly  resembled  in  appearance) 
but  the  work  was  rejected  on  account 
of  its  biblical  subject.  "  Hippolyte  et 
Aricie"  libretto  by  Abbe  Pelegrin, 
was  prod,  at  the  Opera,  1733,  with  so 
little  succ.  that  he  was  about  to  re- 
nounce the  stage,  but  his  friends  pre- 
vailed and  he  prod.,  1735,  the  succ. 
ballet-opera  "  Les  Indes  Galanies," 
and  at  the  age  of  54  his  masterpiece 
"  Castor  ^t  Pollux,"  a  great  succ.  as 
were  most  of  his  later  works  for  23 
years,  '' Les  Fetes  d' He'bi"  (1739), 
"  Dardanus  "  (1739),  "  ■^'^  Princesse 
de  Navarre"  "  Les  Fetes  de  Polhym- 
nie,"  and  ''  Le  Temple  de  la  Gloire" 
(1745),  "  Les  Fetes  de  F Hymen  et  de 
r Amour,  ou  les  Dieux  d'Egypte " 
(1747),  "Zats"  (1748),  ''Pygmali- 
on" (1748),  "  Plate'e  ou  Junon  ja- 
louse"  "  Neis  "  and  "  Zoroastre  "  (the 
"  SafHson "  music  with  another  li- 
bretto) (1749),  "  Acanihe  et  Cdphise," 


''La  Guirlande,"  and  "La  A'ais- 
sance  d'Osiris"  (1751),  "  Daphnis 
et  Egle',"  "  Lycis  et  D^lie  "  and  "  Le 
Retour  d'Astre'e"  (1753),  "  Anacr/- 
on,"  "Les  Surprises  de  I' Amour," 
and  "  I^es  Sybarites"  (1757),  "Les 
Paladins  "  (1760).  He  c.  also  others 
not  prod.  His  mus.  is  full  of  rich- 
ness, novelty  and  truth,  though  he 
wrote  only  fairly  for  the  voice.  He 
said  himself  that  were  he  younger  he 
would  revolutionise  his  style  along 
the  lines  of  Pergolesi.  1745  the  King 
made  him  chamber-composer.  His 
patent  of  nobility  was  registered,  just 
before  his  death.  He  c.  also  many 
books  of  mus.  for  clavecin,  etc.;  of  j 
these  a  complete  ed.  is  pub.  by  Stein- 
graber.  Biog.  by  du  Charger  (1761), 
Nisard  (1S67),  Grique  (1S76). 

Ramm  (ram),  Fr.,  b.  Mannheim,  1744; 
eminent  oboist. 

Ramsey,  Robt.,  organist  and  com- 
poser at  Cambridge,  1628-44. 

Randall,  (i)  J.,  1715— 1799;  singer, 
professor  at  Cambridge  and  compos- 
er. (2)  Richard,  1736 — 1828  ;  tenor 
in  Handel's  oratorios. 

Randegger  (ran-ded-jer),  Alberto, b. 
Trieste,  April  13,  1832  ;  pupil  of  La- 
font  (pf.),  and  Ricci  (comp.)  ;  at  20 
prod.  2  ballets  and  an  opera,  "//; 
Lazzarone,"  in  collab.  with  3  others, 
at  Trieste ;  then  th.-cond.  at  Fiume, 
Zara,  Sinigagli,  Brescia  and  Venice, 
where  he  prod,  grand  opera  "  Bianca 
Capello"  (1S54)  ;  ca.  1854,  London, 
as  a  singing-teacher ;  1S68  prof,  of 
singing,  R.  A.  I\L;  later  dir.  and  a 
member  of  the  Committee  of  Manage- 
ment ;  also  prof,  of  singing  R.  CM.; 
1857  cond.  It.  Opera,  St.  James's  Th.; 
1879-85,  Carl  Rosa  company  ;  and 
from  1 88 1,  the  Norwich  Triennial 
Festival.  Wrote  "  Primer  on  sing- 
ing." C.  comic  opera  "  The  Rival 
Beauties  "  (London,  1864) ;  the  150th 
Psalm  with  orch.  and  org.  (Boston 
Jubilee,  1872)  ;  dram,  cantata  "  Fri- 
dolin"  (1873,  Birmingham);  2  dram, 
scenes  "  Medea  "  (Leipzig,  1869)  and 
"  Saffo"   (London,    1875);    cantata, 


DICTIONARY  OF  MUSICIANS  687 


"  IVertlicr's  S/iado7o"  (Norwich, 
1902),  etc. 

Randhartinger  (rant-hart'-Ing-er), 
Benedikt,  Ruprechtshofen,  Lower 
Austria,  1S02 — Vienna,  1894  ;  at  10 
soprano  ;  conductor  and  composer 
of  over  600  worlvS. 

Ransford,  Edwin,  Gloucestershire, 
1S05 — London,   1S76  ;  barytone. 

Raoul  de  Coucy.     Vide  coucy. 

Rappoldi  (rap-p61'-de),  (i)  Eduard, 
b.  Vienna,  P"eb.  21,  1839  ;  pupil  at  the 
Cons.;  1854-61,  violinist  ct. -opera  ; 
then  leader  at  Rotterdam,  then  teach- 
er Hochschule,  Berlin  ;  then  leader 
opera-orch.,  Dresden,  and  since  1S93 
head  vln. -teacher  at  the  Cons.;  c. 
chamber-mus.,  etc.  (2)  Laura  Rap- 
poldi-Kahrer  (ka'-rer),  b.  Mistel- 
bach,  near  Vienna,  Jan.  14,  1S53  ; 
wife  of  above  ;  pianist  ;  pupil  of 
\'ienna  Cons,  and  of  Liszt. 

Rastrelli  (ras-trel'-le),  (i)  Jos.,  Dres- 
den, 1799 — 1843  ;  ct. -conductor  and 
dram,  composer  ;  son  and  pupil  of 
(2)  Vincenzo,  1760 — 1839. 

Ras(o)umovski  (ra-zoo-mof'-shkl), 
Count  (from  1815  Prince)  Andrei 
Kyrillovitch,  Nov.  2,  1752 — Sept. 
23,  1836  ;  Russian  ambassador  at 
Vienna,  1793-1809 ;  to  whom  Bee- 
thoven dedicated  the   3  quartets,  op. 

Ratez  (ra-tes),  Emile  P.,  b.Besan9on, 
Nov.  5,  185 1  ;  pupil  of  Bazin  and 
Massenet  at  Paris  Cons.;  via.- play- 
er, Op. -Com.;  chorusm.  under  Colon- 
ne  ;  1891,  dir.  the  Lille  branch  of  the 
Paris  Cons.;  prod.  2  operas  ''Ruse 
d' Amour  "  (Besan9on,  1886),  and 
succ.  "  Zj'i/tvvV "  (Lille,  1895);  c.  a 
symph.  poem  with  soli  and  chorus, 
"  Scenes  hJroiques,'"  etc. 

Rathgeber  (rat-ga-ber),  Valentin, ca. 
1691) — after  1744,  Benedictine  monk 
at  Banz,  Franconia  ;   composer. 

Ratzenberger  (rat'-sen-berkh-er),  Th., 
Grossbreitenbach,  Thuringia,  1840 — 
Wiesbaden,  1879  '<  teacher  and  comp. 

Rauchenecker  (row'-khe-nek-er),  G. 
Wm.,  b.  Munich,  March  8,  1844; 
pupil   of    Th.  Lachner,  Baumgartner 


and  Jos.  Walter  (vln.)  ;  dir.  Avignon 
Cons.;  then  1873,  mus.-dir.  at  Win- 
terthur ;  1874,  prod,  prize  cantata, 
"  A^iklatts  von  der  Fliie  "  (Zurich 
Music  Festival)  ;  for  one  year  cond. 
Berlin  Philh.  Concerts  ;  1889,  mus. 
dir.  at  Elberfeld,  where  he  prod. 
3  succ.  operas,  "Die  letzten  Tage 
von  Thule"  (1S89),  "  Ingo''  (1893), 
and  "  Stmjia"  (i-act,  1893);  c.  also 
"  Le  Florentin"  (not  prod.);  a 
symph.,  etc. 

Ra'uscher  (row'-sher).  Max,  b.  Wett- 
stetten,  Bavaria,  Jan.  20,  i860; 
1884,  took  holy  orders;  from  1885, 
cond.  Ratisbon  Cath. 

Rauzzini  (ra-ood-ze'-ne),  (i)  Venan- 
zio,  Rome,  1747 — Bath,  Engl.,  1810; 
tenor  and  dram,  composer.  (2)  Mat- 
teo,  d.  1791;  bro.  of  above;  dram, 
composer. 

Ra'venscroft,  (i)  Thos.,  1582  (?) — 
London,  1635  (?)  ;  prominent  early 
English  composer  and  writer.  (2) 
John,  d.  1740;  violinist,  London. 

Ravera  (ra-va'-rii),  Niccolo  Teresio, 
b.  Alessandria,  Italy,  Feb.  24,  185 1; 
pupil  Milan  Cons.;  won  first  prizes 
for  pf.,  organ  and  comp.;  now  cond. 
Th.-Lyrique  de  la  Galerie-Vivienne, 
Paris  ;   c.  4  operas. 

Ravina  (ra-ve'-na),  J.  H.,  b.  Bordeaux, 
May  20,  1818  ;  pianist;  pupil  of 
Zimmermann  (pf.)  and  Laurent 
(theory)  at  Paris  Cons.,  won  first 
pf.-prize,  1834  ;  ist  harm. -prize, 
1836  ;  asst. -teacher  there  till  1837, 
and  also  studied  with  Reicha  and  Le- 
borne ;  made  tours;  1861,  chev.  of 
the  Legion  of  Honour  ;  c.  a  concerto, 
etc. 

Raw'lings,  (i)  Thos.,  1703— 1767; 
Engl,  organist.  (2)  Robt.,  1742 — 
1 8 14;  son  of  above;  violinist.  (3) 
Thos.  A.,  1775  ;  violinist,  teacher 
and  composer.     Son  of  (2). 

Raymond  (re'-moh),  G.  M.,  Cham- 
bery,  1769 — 1839;  acoustician. 

Rea  (ra),  Wm.,  b.  London,  March  25, 
1827;  articled  pupil  of  Josiah  Pitt- 
mann  ;  at  16,  organist  ;  studied  with 
Sterndale    Bennett    (pf.,    comp.    and 


688 


THE    MUSICAL    GUIDE 


instr.),  then  at  Leipzig  and  Prague  ; 
returned  to  London,  and  gave  cham- 
ber-concerts ;  1856,  founded  the  Poly- 
hymnian  Choir ;  organist  at  various 
churches;  since  1878,  at  St.  Hilda's, 
South  Shields  ;  c.  anthems,  etc. 

Read,  Daniel,  Rehoboth,  Mass., 
1757 — New  Haven,  Conn.,  1836; 
mus. -teacher  and  composer. 

Reading  (red'-lng),  (i)  John,  1645 — 
Winchester,  Engl.,  1692;  organist  and 
co:nposer  of    "  Dulce    domum,"  etc. 

(2)  John,  1677 — London,  Sept.  2, 
1764 ;  son  of  above ;  organist  and 
composer;  the  '^  Portuguese  Hymn'' 
''  Adeste  Fideles"  is  credited  to  him. 

(3)  John,      1674 — 1720 ;      organist. 

(4)   ,    singer   at    Drury    Lane, 

1695.  (5)  Rev.  John,  Prebendary  of 
Canterbury  Cath. ;  pub.  ''A  Sernion, 
concerning  Church  Miisick  "  (1663). 

Reay  (ra),  Samuel,  b.  Hexham,  Engl., 
March  17,  1822  ;  a  pupil  of  Hen- 
shaw  and  Stimpson ;  1841,  organist 
St.  Andrew's,  Newcastle  ;  since  song- 
schoolmaster,  Newark  Parish  Ch. 
and  cond.  Philh.  Soc. ;  c.  Psalm  102, 
with  string-orch. ;  Communion  Ser- 
vice, etc. 

Rebel  (ru-bel),  (i)  J.  Ferry,  Paris, 
1669— 1747  ;  conductor  and  com- 
poser. (2)  Fran.,  Paris,  1701 — 
1755  ;  violinist  and  dram,  composer. 

Rebello  (ra-bel'-lo),  Joao  Lourengo 
(Joao  Soares),  Caminha,  1609 — 
San  Amaro,  Nov.  16,  1661,  eminent 
Portuguese  composer. 

Reber  (ru-ba).  Napoleon  H.,  Miihl- 
hausen,  Alsatia,  Oct.  21,  1807 — Paris, 
Nov.  24,  1880;  1851,  prof,  of  comp., 
Paris  Cons.;  pub.  one  of  the  best 
French  harm,  treatises  (1862);  c. 
comic  operas,  etc. 

Rebicek  (ra-bl-tsek),  Josef,  b. 
Prague,  Feb.  7,  1S44  ;  violinist ;  pu- 
pil Prague  Cons.;  1861,  Weimar  ct.- 
orch.;  1863,  leader  royal  th.,  Wies- 
baden; 1875,  R.  Mus.-Dir.;  1882, 
leader  and  op.-dir.  Imp.  Th.  War- 
saw; 1891,  cond.  Nat.  Th.,  Pesth  ; 
1893,  at  Wiesbaden ;  1897,  cond., 
Berlin  Philh.  Orch. 


Rebling  (rap'-llng),  Gv.,  b.  Barby, 
Magdeburg,  July  10,  1821;  pupil  of 
Fr.  Schneider  at  Dessau ;  1856,  R. 
Mus.-Dir.;  1858,  organist  Johannis- 
kirche  ;  1846,  founded,  and  cond.  a 
church  choral  soc;  1897,  c.  Psalms, 
"  a  cappella"  'cello-sonata,  etc.  (2^ 
Fr,,  b.  Barby,  Aug.  14,  1835  ;  pupi: 
of  Leipzig  Cons,  and  of  Gotz  (sing.j 
ing);  1865-78,  tenor  at  various  thea- 
tres ;  from  1S77,  singing-teacher  Leip. 
zig  Cons. 

Reckendorf  (rek'-en-dorf),  Alois,  b 
Trebitsch,  Moravia,  June  10,  1841 
studied  Leipzig  Cons.;  since  1877; 
teacher  of  pf.  and  theory  there 
composer. 

Redan,  K.     Vide  c.  converse. 

Redeker  (ra'-dek-er),  Louise  Dorettr 
Auguste,  b.  Duingen,  Hanover 
Jan.  19,  1853 ;  contralto ;  studiec 
Leipzig  Cons.;  debut,  Bremen,  1873 

Red'ford,  J.,  organist  and  compose 
St.  Paul  Cath.,  1491-1547. 

Redhead,  Richard,  Harrow,  Engl. 
1820 — May,  1901  ;  studied  at  Mag 
dalen  Coll.,  Oxford;  organist  of  St 
Mary  Magdalene's  Ch.,  London 
ed.  colls.;  c.  masses,  etc. 

Ree  (ra),  Anton,  Aarhus,  Jutland 
1820 — Copenhagen,  1886  ;  pianist 
teacher  and  writer. 

Reed,  (i)  Thos.  German,  Bristol,  i8r 
— Upper  East  Sheen,  Surrey,  1888 
pianist  and  singer.  In  1844  he  m.  (2 
Priscilla  Horton  (1818— 1895),  : 
fine  actress  and  contralto.  T  hei 
entertainments  were  continued  b 
their  son  (3)  Alfred  German  (d 
London,  March  10,  1895).  (4)  Robt 
Hopk6,  and  (5)  Wm.,  bros.  of  (i) 
'cellists. 

Reeve,  Wm.,  London,  1757— 1815 
c.  operettas. 

Reeves,  (i)  (John)  Sims,  Woolwich 
Sept.  26,  '818  (ace.  to  Grove 
Shooters  Hill,  Oct.  21,  1822)— Lon 
don,  Oct.  25,  1900;  noted  tenor; 
14  organist  of  North  Cray  Ch 
learned  the  vln.,  'cello,  oboe  andbas 
soon  ;  and  studied  with  J.  B.  Crame 
;,pf.)   and  W.    H.  Callcott  (harm.) 


Lonj    f*r 
Ch.l    |?v 


DICTIONARY  OF  MUSICIANS    689 


debut  as  barytone,  1839;  studied 
with  Hobbs  and  Cooke,  and  sang 
minor  tenor  parts  at  Drury  Lane ; 
then  studied  with  Bordogni,  Paris, 
and  Mazzucato,  Milan ,  sang  at  La 
Scala,  1846,  Drury  Lane,  1S47,  with 
great  succ;  debut  in  Italian  opera, 
1848,  at  H.  M.'s  Th.,  also  in  orato- 
rio at  the  Worcester  and  Norwich 
Festivals,  the  same  year ;  retired  in 
189 1,  but  on  account  of  reverses,  re- 
appeared in  1893 ;  and  189I  made 
succ.  tour  of  South  Africa;  pub.  "Zzyi? 
and  Recollections"  (London,  1888); 
he  m.,  1850,  (2)  Emma  Lucombe, 
opera  and  concert  soprano.  (3) 
Herbert,  his  son  and  pupil  ,  studied 
at  Milan  ;  concert-debut,  1880. 

Regan,  Anna.     Vide  schimon-regan. 

Reger  (ra'-ger),  Max,  b.  Brand,  Ba- 
varia, March  19,  1873 ;  pupil  of 
Lindner  and  H.  Riemann  ;  c.  'cello- 
sonata,  etc. 

Regibo  (ra -zhe-bo),  Abel  B.  M.,  b, 
Renaix,  Belgium,  April  6,  1835  ;  or- 
ganist, pianist,  and  composer. 

Regino  (ra-je'-no)  (Prumiensis),  d. 
915  ;  .\bbot  of  Prum  monastery,  near 
Trier,  892;  writer.     (Gerbert. ) 

R^gis  (ra'-zhes),  Jns.,  Belgian  cptist.; 
contemporary  of  Okeghem. 

Regnal,  Fr.     Vide  fr.  d'erlangkr. 

Regnart  (or  Regnard)  (rekh'-nart),  (t) 
Jacob,  Netherlands,  1540 — Prague, 
ca.  1600  ;  imp.  vice-cond.  ;  popular 
composer.  His  brothers  (2)  Fz.,  (3) 
K.,  and  (4)  Pascasius,  also  c.  songs. 

Regondi  (ra-gon'-de),  Giulio,  Geneva, 
1822 — Engl.,  1S72  ;  guitar,  and  con- 
ceitina-virtuoso  ;    composer. 

Rehbaum  (ra-bowm),  Theobald,  b. 
Berlin,  Aug.  7,  1835;  pupil  of  H. 
Ries  (vln.)  and  Kiel  (comp.),  1.  Wies- 
baden ;  c.  7  operas  incl.  "  Turan- 
dot"  (BerHn,  18S8),  etc. 

Rehberg  (ra'-berkh),  (i)  Willy,  b. 
Morges,  Switz.,  Sept.  2,  1863;  pian- 
ist ;  son  and  pupil  of  (2)  Fr.  R.  (a 
mus. -teacher)  ;  later  studied  at  Zurich 
Mus.-Sch.  and  Leipzig  Cons.;  pf.- 
teacher  there  till  1890  ;  18S8-90, 
cond.  at  Altenburg  ■  since  1890,  head 
44 


pf  -teacher  Geneva  Cons.;  since  1892, 
also  cond.  Geneva  Municipal  Orch.; 
c.  vln. -sonata,  pf. -sonata,  etc. 

Rehfeld  (ra-felt),  Fabian,  b.  Tuchel, 
W.  Prussia,  Jan.  23,  1842  ;  violinist ; 
pupil  of  Zimmermann  and  Grlinwald, 
Berlm  ,  1868,  royal  chamber-mus.; 
1873,  leader  ct.-orch. 

Reicha  (rl'-kha),  (i)  (rightly  Rejcha, 
ra'-kha),  Jos.,  Prague,  1746 — Bonn, 
1795;  cellis',  viclinist,  and  cond.  at 
Bonn.  (  ,)  Anton  (Jos.),  Prague, 
Feb.  27,  1770— Paris,  May  28,  1836; 
nephew  and  pupil  of  above  ;  flutist, 
via. -player,  and  teacher.  Notable  in 
his  day  as  a  theorist  and  an  ingenious 
and  original  contrapuntist  ;  c.  an  op- 
era, etc. 

Reichardt  (rl'-khart),  (i)  Jn.  Fr., 
Konigsberg,  Nov.  25,  1752 — Giebich- 
enstein  near  Halle,  June  27,  1814  ; 
cond.,  editor  and  dram,  composer; 
pupil  of  Richter  and  Veichtner  ,  1775, 
ct.-cond.  to  Frederick  the  Great, 
later  to  Fr.  Wm.  IL  and  IIL,  then 
to  Jerome  Bonaparte  ;  he  prod,  many 
German  and  Italian  operas  and  influ- 
ential Singspiele  ;  also  c.  7  symphs.,  a 
passion,  etc.,  and  notable  songs.  (2) 
Luise,  Berlin,  1788  —  Hamburg, 
1826  ;  daughter  of  above  ;  singing- 
teacher.  (3)  Gv.,  Schmarsow,  near 
Demmin,  1797 — Berlin,  18S4  ;  con- 
ductor ;  c.  pop.  songs.  (4)  Alex., 
Packs,  Hungary,  1825 — Boulogne- 
sur-Mer,  18S5  ;  tenor. 

Reichel  (n'-khel),  (i)  Ad.  H.  Jn.,  b. 
Tursznitz,  W.  Prussia,  1816  ;  pupil  of 
Dehn  and  L.  Berger  ;  Berlin  ;  pf.- 
teacher,  Paris;  1857-67,  taught  comp. 
at  Dresden  Cons.;  1867,  municipal 
mus.-dir.  Berne,  Switz.  ;  c.  pf. -con- 
certos, etc.  (2)  Fr.,  Oberoderwitz, 
Lusatia,  1833 — Dresden,  1889;  can- 
tor and  org. -composer. 

Reicher-Kindermann  (rl'-kher-kln'- 
der-man),  (i)  Hedwig,  Munich,  1853 
— Trieste,  1883  ;  soprano  ;  daughter 
of  the  barytone,  A.  Kindermann  ;  m. 
(2)  Reicher,  an  opera  singer. 

Reichert  (rl'-khert),  Mathieu  Andr6, 
b.    Maestricht,    1830  ;  flute-virtuoso  ; 


690 


THE    MUSICAL    GUIDE 


pupil  Brussels  Cons.,  took  ist  prize 
in  1847  ;  toured  Europe  and  Ameri- 
ca ;  composer. 

Reichmann  (rikh'-man),  Th.,  b.  Ros- 
tock, March  18,  1849 ;  barytone  , 
pupil  of  Mantius,  Elsler,  Ress  and 
Lamperti ;  1882-89,  ct. -opera  Vi- 
enna ;  1882,  created  '  Amfortas  "  in 
''Parsifal,"  Bayreuth  ;  1889-90, 
New  York  ;  then  Vienna. 

Reid  (red).  General  John,  Straloch, 
Perthshire,  r72i(?) — London,  1807  ;  a 
musical  amateur,  founded  a  chair  of 
mus.  Edinburgh  Univ. 

Reijnvaan  (or  Reynwaen)  (r^n'-van), 
Jean  Verschuere,  LL.D.;  Middle- 
burg,  Holland,  1743 — Flushing,  May 
12,  1809  ;  organist  and  composer. 

Reimann  (r!'-man),  (i)  Mathieu 
(Matthias  Reymannus),  Lowen- 
berg,  1544— 1597;  composer.  (2) 
Ignaz,  Albendorf,  Silesia,  1820 — 
Rengersdorf,  1885  ;  composer.  (3) 
H.,  b.  Rengensdorf,  March  14,  1850  ; 
son  and  pupil  of  (2)  ;  since  1887 
asst.-libr.,  R.  Library,  Berlin;  or- 
ganist to  the  Philh.  Soc;  teacher  of 
organ  and  theory,  Scharvvenka-Klind- 
worth  Cons.,  and  (since  1895)  organ- 
ist at  the  Gnadenkirche  ;  prominent 
critic  and  writer ;  c.  sonatas  and 
studies  for  organ. 

Reinagle  (rl'-na-ggi),  (i)  Jos.,  b.  Lon- 
don ;  son  of  a  German  mus.,  horn- 
player  and  composer,  1785.  (2)  Hugh, 
d.  young  at  Lisbon  ;  bro.  of  above  ; 
'ceUist.  (3)  Alex.  R.,  Brighton,  1799 
— Kidlington,  near  Oxford,  1877;  or- 
ganist and  composer  ;  son  of  (i). 

Reinecke  (ri'-nek-e),  (i)  Ld.  K., 
Dessau,  1774 — Glisten,  1820  ;  leader 
and  dram,  composer.  (2)  K.  (H. 
Carsten),  b.  Altona,  June  23,  1824; 
noteworthy  pianist  and  teacher  ;  son 
and  pupil  of  a  music-teacher;  at  11, 
played  in  public  ;  at  19  toured  Den- 
mark and  Sweden ;  at  Leipzig  ad- 
vised by  Mendelssohn  and  Schu- 
mann ;  ct. -pianist  at  Copenhagen  ; 
1851  teacher  Cologne  Cons.;  1854- 
59  mus.-dir.  Barmen  ;  1859-60  mus.- 
dir.  and    cond.    Singakademie,  Bres- 


lau  ;  1860-95  cond.  Gewandhaus 
Concerts,  Leipzig  ;  also  prof,  of  pf.- 
playing  and  free  comp.,  Leipzig 
Cons. ;  1897  ' '  Studiendirektor  "  there; 
Dr.  Phil.  /i.  c,  Leipzig  Univ.;  Royal 
Professor ;  toured  almost  annually 
with  great  succ,  c.  2  masses,  3 
symphs.,  5  overtures  ''Davie  Ko- 
bold"  "  Aladin"  "  Friedensfeier" 
"  Festouverture''  "In  memoj-iam" 
(of  David),  "  Zetiobia,"  inirod.  and 
fugue  with  chorus  and  orch  ;  funeral 
march  for  Emperor  William  L;  con- 
certos for  vln.,  'cello  and  harp.;  prod, 
grand  opera  "  Konig  Manfred" 
(Wiesbaden,  1867) ;  3  comic  operas  ; 
fairy  opera  "Die  Teiifelchen  atif 
der  Himmelswiese"  (Glarus,  1899); 
mus.  to  Schiller's  "  Tell" ;  oratorio 
"  Belsazar" ;  2  cantatas  "  Hakon 
farl"  and  "Die  Flucht  nach 
^Fgypten"  with  orch.;  5  fairy  canta- 
tas, 4  concertos,  many  sonatas  ;  '''Aus 
der  Jugetidzeit"  op.  106;  "  Neues 
Notenbuch  fur  Kleine  Leute"  op, 
107  ;  concert-arias,  20  canons  for 
female  voices,  and  excellent  son] 
for  children. 

Reiner  (rl'-ner),  (r)  Jacob,    Altdorf,! 
Wurtemberg,  ca.  1560 — 1606;    com- 
poser. (2)  Ambrosius,  Altdorf-Wein- 
garten,    1604 — 1762  ;    ct. -conductor 
son  of  above. 

Reinhard  (rin'-hart),  B.  Fran.,  Strass 
burg,  mus. -printer,  iSoo  ;  the  first  tc 
scereotype  music  plates. 

Reinhold  (rin'-holt),  (i)  Thos.,  Dres 
den,  1690 — Soho,  175 1  ;  singer.  (2 
Chas.  Fred.,  1737 — Somers  Town 
1815  ;  Engl,  bass  and  organist.  (3 
Hugo,  b.  Vienna,  March  3,  1854 
composer. 

Reinholdt  (rln'-holt),  Th.  Christ 
lieb,  d.  Dresden,  March  24,  1755 
cantor,   teacher  and  composer. 

Reinke(n)  (rin'-ken)  (or  Reinicke) 
Jn.  Adam,  Deventer,  Holland,  Apr' 
27,  1623 — Hamburg,  Nov.  24,  1722 
noted  organist  and  composer. 

Reinsdorf  (rins'-dorf).  Otto,  K6selit2 
1848 — Berlin,    i8go  ;  editor. 

Reinthaler  (rin'-tal-er),   K.  (Martin; 


i"J 


a 


DICTIONARY  OF  MUSICIANS   691 


T;^. 


Erfurt,  1832 — Bremen,  1896  ;  sing- 
ing-teacher, organist,  conductor  and 
dram,  composer. 

Reisenauer  (ri'-ze-now-er),  Alfred,  b. 
Konigsberg,  Nov.  i,  1863;  pianist; 
pupil  of  L.  Kohler  and  Liszt ;  debut, 
iSSr,  Rome,  with  Liszt;  toured, 
composer. 

Reiser  (rl'-zer).  Aug.  Fr.,  b.  Gammer- 
tingen,  Wiirtemberg,  Jan.  19,  1S40  ; 
1S80-S6.  ed  Cologne  ''  Neue  Mii- 
sikzeitung" ,  c  2  symphs.,  choruses, 
incl.  "■'  Barbarossa,"  for  double  ch., 
etc. 

Reiset.     Vide  de  grandval. 

Reiss  (rTs).(i)  K.  H.  Ad.,  b  Frankfort- 
on-Main,  April  24,  1829 ;  pupil  of 
Hauptmann,  Leipzig  ;  chorus-master 
and  cond.  various  theatres ;  1854, 
1st  cond.  Mayence  ;  1856,  2d.,  later 
1st  cond.  at  Cassel  (vice  Spohr). 
1881-86,  ct.-th.,  Wiesbaden;  prod, 
opera,  ""Otto  der  Sckiitz"  (Mayence, 
1856).  (2)  Albert,  b.  Berlin  ;  Wag- 
nerian tenor  ;  studied  law,  then  be- 
came an  actor,  discovered  by  Pollini; 
pupil  of  Liebau  and  Stolzenberg ; 
debut  in  opera  at  Konigsberg,  later 
at  Posen  and  Wiesbaden  ;  famous  as 
"Mime  "  and  "  David."  1902-3,  N.  Y. 

Reissiger  (ris'-sTkh-er),  (i)  Chr.  Gl., 
c.  1790;  comp.  (2)  K.  Gl.,  Belzig,  near 
Wittenberg,  Jan.  31,  179S — Dresden, 
Nov.  7,  1859  ;  son  of  above  ;  pupil 
of  Schicht  and  Winter  ;  singer,  pi- 
anist and  teacher ;  1826,  on  invita- 
tion, organised  at  The  Hague  the  still 
succ.  Cons.;  ct.-cond.  Dresden  (vice 
Weber);  c.  8  operas,  10  masses.  (3) 
Fr.  Aug.,  Belzig,  1809— Frederiks- 
hald,  1883  ;  bro.  of  above  ;  military 
bandm.;  composer. 

Reissmann  (rls'-man),  Aug.,  b. 
Frankenstein,  Silesia,  Nov.  14,  1825; 
studied  there  and  at  Breslau ;  1863- 
80,  lectured  at  Stern  Cons.,  Berlin  ; 
then  lived  in  Leipzig  (Dr.  Phil., 
1875),  Wiesbaden  and  Berlin  ;  writer 
of  important  historical  works,  and 
lexicographer ;  c.  3  operas,  2  dram, 
scenes,  an  oratorio,  etc. 

Reiter     (n'-ter),     Ernst,     Wertheim, 


Baden,  1814 — Basel,  1875;  vln.-prof. 
and  dram,  composer. 

Relfe  (relf),  (i)  Lupton,  d.  1803;  for 
50  years  organist  Greenwich  Hospi- 
tal. (2)  John,  Greenwich,  1763— 
London,  ca.  1837;  son  of  above; 
noted  teacher  ;  theorist. 

Rellstab  (rel'-shtap),  (i)  Jn.  K.  Fr., 
Berlin.  1759 — 1813 ;  son  and  suc- 
cessor of  owner  of  a  printing-estab- 
lishment ;  critic,  teacher,  and  com- 
poser. (2)  (H.  Fr.)  L.,  Berlin,  1799 
— 1860;  the  noted  novelist,  son  of 
above;  wrote  biog.,  libretti  and  criti- 
cisms which  got  him  twice  impris- 
oned ;  c.  part-songs.  (3)  Karoline, 
b.  1793  (or  '94);  sister  of  above; 
singer  of  unusual  compass. 

Remenyi  (rem  -  an  -  ye),  Eduard, 
Heves.  Hungary,  1S30 — on  the  stage, 
of  apoplexy,  San  Francisco,  Cal., 
May  15,  1898  ;  noted  violinist ;  pu- 
pil of  Bohni,  Vienna  Cons. ;  banished 
for  his  part  in  Hungarian  Revolu- 
tion :  toured  America  ;  1854,  solo 
violinist  to  Queen  Victoria ;  i860, 
pardoned  by  Austrian  Emperor  and 
made  ct. -violinist ;  toured  widely, 
1866  round  the  world  ;  c.  a  vln. -con- 
certo, transcriptions,  etc. 

Remi  d'Auxerre  (ra-me  do-sar)  (Re- 
migius  Altisiodorensis),  monk  at 
Rheims,  893  ;  writer. 

Remmers  (rgm'-mers),  Jn.,  Jever, 
1805 — The  Hague,  Jan.  28,  1847 ; 
violinist. 

Rem  mert,  Martha,  b.  Gross-Schwe- 
rin,  near  Glogau,  Sept.  13,  1854  ;  pi- 
anist ;  pupil  of  Kullak,  Tausig  and 
Liszt ;  lives  in  Berlin. 

Remusat  (Remuzat)  (ra-mu-za),  (i) 
Jean,  Bordeaux,  1815 — Shanghai, 
1880;  flute-virtuoso;  writerand com- 
poser. (2)  Bd.  Martin,  b.  Bor- 
deaux, 1822  ;  bro.  of  above  ;  flutist. 

Reray,  W.  A.     Vide  mayer,  wm. 

R^nard  (ra-nar),  Marie,  b.  Graz,  Jan- 
18,1864  ;  soprano  ;  debut,  Graz,  1882; 
1885-88,  Berlin  ct. -opera  ;  then  Vi- 
enna ct. -opera. 

Renaud  (rii-no),  (i)  Albert,  b.  Paris, 
1855  ;  pupil  of  Franck  and  Delibes  ; 


692 


THE    MUSICAL    GUIDE 


organist  St.  Fraiifois-Xavier ;  critic, 
"  Za  Pairie";  c.  4-act  "  feerie," 
'' Aladin"  (1891) ;  opera  comique 
"■A  la  Hoiizaide"  ('91);  operetta 
"Z,?  Soleil  de  Ulinuii"  (1S98)  ;  bal- 
lets, etc.  (2)  Maurice,  b.  Bordeaux, 
1862  ;  notable  bass  ;  pupil  of  Paris 
Cons.;  1883-90,  at  R.  Opera,  Brus- 
sels; 1890-91,  Op. -Com.,  Paris;  from 
1891-1902,  Gr.  Opera;  equally  fine  in 
comic  and  serious  works  ;  has  a  rep- 
ertory of  50  operas. 

Rendano  (ren-dii'-no),  Alfonso,  Caro- 
lei,  Calabria,  April  5,  1S53  ;  pianist  ; 
pupil  of  Naples  Cons.,  Thalberg  ^nd 
Leipzig  Cons.  (1871);  toured  ;  c. 
piano-pcs. 

Rentier,  Josef,  Schmatzhausen,  Ba- 
varia, 1S32 — Ratisbon,  1S95  ;  editor. 

Reszke.     Vide  de  keszki5. 

R^ty  (ra-te),  Chas,,  ca.  1S26— Paris, 
1895  ;  under  the  pseud.  "Chas.  Dar- 
cours,"  critic  for  twenty-five  years. 

Reubke  (roip'-ke),(i)  Ad.,  Halberstadt, 
1805 — 1S75  ;  org.-builder  at  Hausen- 
dorf,  near  Quedlinburg.  (2)  Emil, 
Hausneindorf,  1836 — 1885  ;  son  and 
successor  of  above.  (3)  Julius  R., 
Hausneindorf,  1834 — Pillnitz,  1858  ; 
bro.  of  above  ;  pianist  and  composer. 
(4)  Otto  R.,  b.  Nov.  2,  1842  ;  bro. 
of  above  ;  pupil  of  von  Billow  and 
Marx  ;  mus. -teacher  and  conductor, 
Halle  ;  1892,  mus.-dir.  at  the  Uni- 
versity. 

Reuling  (roi'-ltng),  (L.)  Wm.,  Darm- 
stadt, 1802 — Munich,  1879  ;  con- 
ductor and  dram,  composer. 

Reuss  (rois),  (i)  Eduard,  b.  New  York, 
Sept.  16,  1 851;  pupil  of  Ed.  Kri'iger 
and  of  Liszt ;  1880,  teacher  at  Carls- 
ruhe.  His  wife,  (2)  Reuss-Belce 
(-bel'-tse)  Louise,  b.  Vienna  ;  sopra- 
no ;  pupil  of  Gansbacher  ;  debut  as 
"  Elsa,"  Carlsruhe,  1884  ;  later  at 
Wiesbaden,  and  Bayreuth  as  one  of 
the  "Norns"  and  "  Walkiire "  for 
years ;  1900  sang  Wagner  in  Spain, 
1901,  Met.  Op.,  N.  Y.  (3)  H. 
XXIV.,  Prince  of  Reuss- Kostritz  ; 
b.  Trebschen,  Brandenburg,  Dec.  8, 
1855  ;    pupil    of    Herzogenberg    and 


Rust,  Leipzig  ;  c.  2  symphs. ,  a  mass, 
etc. 

Renter  (roi'-ter),  Florizel  (known  as 
*' Florizel  ") ;  b.  1890  (?) ;  boy  vio- 
linist ;  pupil  of  Bendix,  Chicago,  and 
of  Marteau,  in  Europe  ;  has  toured 
America  with  popular  success. 

Reutter  (roit'-ter),  (i)  G.  (Senior), 
Vienna,  1656 — Aug.,  1738  ;  theorb- 
ist,  ct. -organist  and  conductor.  (2) 
(Jn.  Adam),  G.  (Junior),  Vienna, 
1708 — 1772;  son  and  (1738)  succes- 
sor of  above  as  ct. -conductor  ;  c. 
opera,  etc. 

Rey  (re),  (i)  J.  Bap.,  Lauzerte,  1734 
—  Paris,  18 10;  conductor,  professor 
of  harm,  and  dram,  composer.  (2) 
L.  Chas.  Jos.,  bro.  of  above  ;  for 
40  years  'cellist,  Gr.  Opera.  (3)  J, 
Bap.  (II.),  b.  Tarascon,  ca.  1760; 
from  1795  till  1822,  'cellist,  Gr 
Opera,  and  theorist.  (4)  V.  F.  S.,  b. 
Lyons,  ca.  1762  ;  theorist.     (5)  Vide 

REYEU. 

Reyer  (re-ya)  (rightly  Rey),  L.  Eti- 
enne  Ernest,  b.  Marseilles,  Dec.  i, 
1823  ;  prominent  French  composer  ; 
studied  as  a  child  in  the  free  munic- 
ipal sch.  of  mus. ;  while  in  the  Govt, 
financial  bureau  at  Algiers,  c.  a  sol- 
emn mass  and  pub  songs  ;  the  Revo- 
lution of  1848  deprived  him  of  his 
position  and  he  retired  to  Paris, 
where  he  studied  with  his  aunt,  Mme. 
Farrenc ;  librarian  at  Opera  (vice 
Berlioz);  1876,  Academie ;  critic 
''Journal  dis  Dcbats" ;  1862,  Chev. 
of  the  Legion  of  Honour ;  1886, 
Officier.  Prod,  a  symph.  ode  with 
choruses  "  Le  Selam "  (Th.  Italien 
1850);  i-act  comedy-opera  "A/at' 
tre  Wolfram  "  (Th.-Lyrique,  1854)  ,  ' 
a  ballet-pantomime  ' '  Saconntala  "  i 
(Opera,  1858);  comedy-opera  "La 
Statue"  (Th.-Lyr.,  1 861,  revived  ac 
the  Opera  1878  without  succ);  unsucc. 
opera  "  E  rostrate"  (Baden-Baden,' 
1862);  the  still  pop.  opera  "  Sigurd" 
(Brussels,  1884),  and  "  Salaminhd" 
(Brussels,  1890).  C.  a  cantata  "  Vic- 
toire"  (1859);  ^  hymn,  "  L  Union 
des    Arts"    (1S62),    a    dram,    scene. 


DICTIONARY  OF  MUSICIANS   693 


I;i9<! 


"Z«  Madeleine  au  Deserf'  {l%-]J,)  \ 
male  choruses ;  also  some  church- 
mus.    Pub.  a  volume  of  essays,  1875. 

Reznicek  (rez'-nl-tsek),  Emil  Nico- 
laus,  Freiherr  von,  b.  Vienna,  May 
4,  1861  ;  studied  Leipzig  Cons.;  th.- 
conductor  various  cities  ;  i8g6,  ist 
cond.  ct.-th.,  Mannheim;  prod,  at 
Prague  operas  ' '  Die  Jimgfrau  von 
Orleans  "  (18S7),"  Satanella  "  (1888), 
"■  Etnerich  Fortunat"  (1889),  comic 
opera  (text  and  music),  '"Donna 
Diana"  (1894),  all  very  succ. ;  Volks- 
oper,  "  Till  Eulenspiegel"  (Berlin, 
1903).  C.  also  a  requiem  (1B94),  a 
symph.  suite,  etc, 

Rhaw(Rhau)  (row),  G.,  Eisfeld,  Fran- 
conia,  14S8— Wittenberg,  1548;  mus.- 
printer  and  composer. 

Rheinberger  (rin'-berkh-er),  Jos. 
(Gabriel),  Vaduz,  Lichtenstein, 
March  17,  1837— (of  nerve  and  lung 
troubles)  Munich,  Nov.  25,  1902; 
eminent  teacher  and  composer.  At 
5  played  the  piano  ;  at  7  a  good  or- 
ganist ;  studied  R.  Sch.  of  Mus., 
Munich ;  1859,  teacher  of  theory 
there ;  also  organist  at  the  ct.- 
church  of  St.  Michael,  and  cond. 
Oratorio  Soc.  1865-67,  "■  Repetitor" 
ct.-opera  ;  Royal  Prof,  and  Inspector 
of  the  Sch.  of  Mus.;  from  1877  ct. -cond. 
Royal  Chapel-Choir  ;  m.  Franziska 
von  Hoffnas,  a  poetess  (1822 — 1892); 
prod,  romantic  opera  "  Die  7  Raben  " 
(Munich,  1869);  comic  opera  ''  Des 
Thiirmers  Tochterlein"  (Munich, 
1873)  ;  "  Christophorus,"  a  mass  for 
double  choir  (dedicated  to  Leo  X 1 1 1 .) ; 
mass,  withorch.;  requiem  for  soldiers 
of  the  Franco- Prussian  war  ;  2  Sta- 
bat  Maters;  4  cantatas  with  orch.; 
2  choral  ballades;  '^  Florentine" 
symph.;  symph.  tone-picture  "  IVal- 
lenstein  " ;  a  symphonic  fantasia  ;  3 
overtures  "  Z't'WtVr/wj."  "  The  Tarn- 
ing  of  the  Shrew"  "  Triumph" ;  2 
organ  -  concertos  ;  pf.  -  concertos  , 
chamber-music  ;  vln. -sonatas  ;  pf.v 
sonatas  ("  symphonique";  op.  47  ; 
"romantic,"  op.  184),  etc.,  notably 
iS  important  org.-sonatas  ;    left  un- 


finished mass  in  A  minor  (finished  by 
his  pupil  L.  A.  Coerne). 

Riccati  (rlk-ka'-te),  Count  Giorda- 
no, b.  Castelfranco,  1709 — T revise, 
1790 ;  theorist. 

Ricci  (rit'-che),  (i)  Luigi,  Naples, 
1805  —  insane,  in  asylum,  Prague, 
1859  '>  conductor  and  dram,  com- 
poser ;  m.  (2)  Lidia  Stoltz,  who 
bore  him  two  children,  of  whom  (3) 
Adelaide  sang  at  Th.  des  It.,  Paris, 
1867,  and  died  soon  after.  (4)  Fed- 
erico,  Naples,  1809 — Comeghano, 
1877  ;  bro.  of  (i)  and  collaborator  in 
4  of  his  operas  ;  also  c.  others. 

Riccius  (rek'-tsl-oos),  (i)  Aug.  Fd., 
Bernstadt,  Saxony,  1819 — Carlsbad, 
1886;  conductor,  critic,  singing-teach- 
er and  composer.  (2)  K.  Aug., 
Bernstadt,  July  26,  1830 — Dresden, 
July  8, 1893;  nephew  of  above ;  con- 
ductor, violinist  and  composer  of 
comic  operas,  etc. 

Rice,  Fenelon  B.,  Green,  Ohio,  Jan. 
2,  1841 — Oberlin,  Ohio,  Oct.  26,  1901; 
studied  Boston,  Mass.,  later  Leipzig  ; 
for  3  years  organist,  Boston ;  from 
1871,  dir.  Oberlin  (Ohio)  Cons,  of 
Mus.;  xMus.  Doc.  Hillsdale  (Mich.) 
Coll. 

Richards,  (H.)  Brinley,  Carmarthen, 
Wales,  Nov.  13,  1817  —  London, 
May  I,  1885 ;  pop.  composer  and 
pianist. 

Richardson,  (i)  Vaughan,  d.  1729 ; 
organist  and  composer,  London.  (2) 
Jos.,  1S14 — 1862  ;  flutist  and  com- 
poser, London. 

Richault  (re-sho),  (i)  Chas.  Simon, 
Chartres,  1780 — Paris,  1866;  mus.- 
publisher,  succeeded  by  his  sons  (2) 
Guillaume  Simon  (i8o6  —  1877) 
and  (3)  Leon  (1839— 1895). 

Riche,  A.  Le.     Vide  divitis. 

Richter  (rlkh'-ter),  (i)  Fz.  X.,  Hole- 
schau,  Moravia,  1709 — 1789  ;  cond., 
writer  and  composer.  (2)  Jn.  Chr. 
Chp.,  Neustadt-am-Kulm,  1727  — 
Schwarzenbach  -  on  -  Saale,  1779  ; 
Father  of  Jean  Paul  R.;  organist. 
(3)  Ernst  H.  Ld.,  Thiergarten, 
Prussian    Silesia,     1805 — Steinau-on- 


694 


THE  MUSICAL  GUIDE 


Oder,  1876  ;  notable  teacher ;  c.  an 
opera,  etc.  (4)  Ernst  Fr.  (Edu- 
ard),  Gross  Schonau,  Saxony,  Oct. 
24,  1808— Leipzig-,  April  g,  1879; 
eminent  theorist ;  pupil  of  Weinlig, 
and  self-taught  ;  1S43  teacher  at 
Leipzig  Cons,  newly  founded  ;  1843- 
47,  conductor  Singakademie ;  or- 
ganist various  churches  ,  1863  mus.- 
dir.  Nikolaikirche ;  1868  mus.-dir. 
and  cantor  Thomaskirche ;  Prof. ; 
wrote  a  standard  ' ' Lehrbuch  der  Har- 
monie"  (1853),  and  '"  Lehrbuch  der 
Fuge ";  c.  an  oratorio,  masses,  etc. 

(5)  Alfred,  b.  Leipzig,  April  i,  1846  ; 
son  of  above  ;  teacher  at  the  Cons., 
1872-83  ;  then  lived  in  London  ;  1897, 
Leipzig  ;  pub.  supplement  to  his 
father's  "'  Harmonie"  and  "  Koiitra- 

puiikt" ;  also  "  Das  Klavierspicl  fiir 
Miisikstudierende"    (Leipzig,    1898). 

(6)  Hans,  b.  Raab,  Hungary,  April 
4,  1843;  eminent  conductor;  son  of  the 
cond.ofthe  local  cath.;  his  mother  was 
a  prominent  sopr.  and  later  a  distin- 
guished teacher  ;  choirboy  in  the  ct.- 
chapel,  Vienna  ;  studied  with  Sech- 
ter  (piano-playing),  and  Kleinecke 
(the  French  horn),  at  the  Cons. ;  horn- 
player  in  Karnethor  Th.  orch.;  then 
with  Wagner,  1866-67  in  Lucerne, 
making  a  fair  copy  of  the  "  Mcister- 
singer"  score.  On  W.'s  recommen- 
dation, 1867,  chorusm.,  Munich 
Opera.  1868-69  ct.-cond.  under  von 
Biilow.  Cond.  first  performance  of 
"■Lohengrin"  (Brussels,  1870);  again 
at  Lucerne  with  Wagner,  making  fair 
copy  of  the  score  of  the  "  Nibelungen 
Ring" ;  1871-75,  cond.,  Pesth  Na- 
tional Th.;  then  cond.  of  the  Imp. 
Opera,  Vienna ;  1893,  ist  cond.  ; 
since  1875  also  cond.  "  Gesellschaft 
der  Altisikfreunde  "  excepting  1882- 
83.  Selected  by  Wagner  to  cond. 
X\\Q.''Ring  dcs  N'icbehtvgen"  (Bay- 
reuth,  1876),  and  alternate  cond. 
with  Wagner  at  the  Wagner  Concerts, 
Albert  Hall,  London,  1877  ;  chief- 
cond.  Bayreuth  Festivals,  and  since 
1879,  annually  cond.  Philh.  concerts  at 
London.     Cond.  several  Lower  Rhe- 


nish  Festivals   and   (since   1885)  the 
Birmingham     Festivals.       In     1885, 
Mus.   Doc.   h.  c,  Oxford    Univ.     In 
1S98  the  freedom  of  the  city  of  Vi- 
enna was  given  him. 
Ricieri  (re-cha'-re),  Giov.  A.,  Venice, 
1679 — Bologna,  1746  ;  male  soprano 
and  composer. 
Ricordi  (re-kor'-de),  (i)  Giov.,  Milan,-, 
1785 — 1853 ;    founder   of    the   mus..^: 
publishing    firm    in    Milan  ;    violinist 
and  conductor  ;  succeeded  by  his  son 
(2)  Tito    (1811— 18S8);    the   present 
head  is  (3)  Giulio  (b.  Milan,  Dec.  19, 
1S40);  also  ed.  of   the   '"Gazetta  Mit- 
sicale." 
Riechers  (re'-khers),  Aug.,  Hanover,    ; 
1836 — Berlin,  1893  ;    maker   and    re-    ; 
pairer  of  vlns. ;  writer. 
Riedel   (re'-d'l)  (i)  Karl,  Kronenberg,    ; 
Oct.  6,  1827— Leipzig,  June  3,  1888;    j 
pupil   Leipzig  Cons.;   1S54,   founded 
the    noted    social    society    Riedelve-   t 
rein  ;      prcs.     Wagnerverein,     etc.  ; 
pub.    colls.    (2)  Hn.,   b.   Burg,   near 
Magdeburg,   Jan.    2,  1S47;  pupil  Vi- 
enna   Cons.;      ct.-cond.    Brunswick; 
composer.     (3)  Furchtegott  Ernst 
Aug.,    b.  Chemnitz,    May  22,  1855  I 
pupil    Leipzig    Cons.;      from    1890, 
town    cantor,    Plauen,    Sa.xony,    also 
cond. ;  c.  cantatas,  etc. 
Riedt  (ret),  Fr.  Wm.,  Berlin,  1712 — 
1784;  flute-virtuoso;  writer  and  com- 
poser. 
Riehl  (rel),  Wm.   H.  von,    Biebrich, 
1823 — Munich,  1897;  director,  writer 
and  composer. 
Riem  (rem),  Fr,  Wm.,  Kolleda,  Thu- 
ringia,    1779 — Bremen,    1857;  organ-   ' 
ist,  conductor  and  composer. 
Riemann  (re-man),  (i)  Jakob,  at  Cas-   , 
sel     i8th    cent.;     ct. -composer.      (2)   ] 
Aug.,  Blankenham,    Thuringia,  1772   ji 
— Weimar,    1826 ;    ist    violinist    ct.-   J. 
orch.       (3)    Hugo,    b.    Grossmehlra,    \ 
near   Sondershausen,   July   18,   1849; 
notable    theorist.     Son   of   a    farmer 
who    taught    him    the    rudiments   of 
mus.,  and   who  had  prod,  an   opera 
and    choral   pes.    at    Sondershausen, 
but  opposed    his   son's    mus.    ambi- 


DICTIONARY  OF  MUSICIANS    695 


tions ;  the  youth,  however,  studied 
theory  with  Frankenberger,  and  piano 
with  Barthel  and  Ratzenberger,  at 
Sondershausen.  Studied  law,  then 
philosophy  and  history,  at  Berlin  and 
Tubingen  ;  after  serving  in  the  cam- 
paign of  1870 — 71,  entered  Leipzig 
Cons.;  1S73,  Dr.  Phil.  Gottingen ; 
wrote  dissertation  "  Musikalische 
Logik";  until  1878,  a  cond.  and 
teacher  at  Bielefeld,  then  lecturer 
Leipzig  Univ.;  1880-81,  teacher  of 
mus.  at  Bromberg ;  then  till  i8qo, 
Hamburg  Cons.,  then  the  Wiesbaden 
Cons.  ;  1895,  lecturer  at  Leipzig 
Univ.  ;  m.  in  1876.  Notable  at  times 
under  pseud.  *'  Hugibert  Ries  " 
as  an  essayist,  writer  of  theoretical 
treatises  of  much  originality,  also  an 
important  historian  and  lexicographer; 
mus.-ed.  of  Meyer's  ''  Konversations- 
Uxikon"  and  ed.  a  valuable  '"  Mu- 
sik-Lexikon"  (1882;  Engl.  ed.  1893); 
c.  chamber-mus.,  vln. -sonata,  etc. 

Riemenschneider  (re'-men-shnl-der), 
G.,  b.  Stralsund,  April  i,  1848;  pu- 
pil of  Haupt  and  Kiel ;  th.-cond.  Lu- 
beck  (1875)  and  Danzig;  later  cond. 
Breslau  concert-orch. ;  c.  operas 
^^  Mondeszauber"  (Danzig,  1887), 
and  ''Die  Eisjungfrau"  (symphonic 
picture),  '' Julinacht"  etc. 

Riepel  (re'-pel),  Jos.,  Ilorschlag,  Up- 
per Austria,  1708 — Ratisbon,  1782  ; 
chamber-musician,  theorist  and  com- 
poser. 

Ries  (res),  (i)  Jn.,  Benzheim,  1723— 
1786  (7) ;  ct. -trumpeter  and  violinist 
to  the  Elector  of  Bonn ;  also  con- 
ductor (2)  Anne  Maria,  daughter 
of  above  ;  ct. -soprano,  Bonn,  1764- 
1794 ;  m.  a  violinist  Fd.  Drewer. 
(3)  Fz.  (der  alter),  Bonn,  1755 — 
Bremen,  1846  ;  bro.  of  above  ;  lead- 
er, later  ct.-mus.  dir.,  Bonn.  (4) 
Fd.,  Bonn,  Nov.  29,  1784 — Frank- 
fort-on-Main,  Jan.  13,  1838  ;  noted 
pianist ;  pupil  of  Beethoven  (of  whom 
he  wrote  a  valuable  sketch)  and  Al- 
brechtsberger ;  toured,  1813-24, 
London  ;  m.  an  English  woman ; 
from  1830,  1.  Frankfort  as  cond.;  c.  8 


operas,  6  symphs.,  etc.  (5)  Peter 
Jos.,  1790 — London,  1882  ;  bro.  of 
above  ;  Royal  Prussian  Prof.  (6) 
Hubert,  Bonn,  April  i,  1802 — Ber- 
lin, Sept.  14,  1886  ;  bro.  of  above  ; 
violinist,  teacher  and  composer  of 
valuable  method,  studies,  etc.,  for  vln. 
(7)  Louis,  b.  Berlin,  Jan.  30,  1830; 
son  of  (6),  vln. -teacher,  London.  (8) 
Ad.,  b.  Berlin,  Dec.  20,  1837;  bro. 
of  above  ;  pf. -teacher,  London  ;  com- 
poser. (9)  Fz.,  b.  Berlin,  April  7, 
1846  ;  son  and  pupil  of  (6);  studied 
with  Massart  at  Paris  Cons,  and  with 
Kiel  (comp.)  ;  concert-violinist  till 
1S75  when  he  retired  because  of  ner- 
vousness, and  entered  mus. -publishing 
(Ries  &  Erler,  Berlin)  ,  c.  excellent 
orch.  and  chamber-mus.,  etc.  (10) 
Hugibert.     Vide  hugo  riemann. 

Rieter-Biedermann  (re'-ter-be'-der- 
man),  J.  Melchior,  181 1 — Winter- 
thur,  Switz.,  1876 ;  founded  pub.- 
house,  1849;   1862,  branch  at  Leipzig. 

Rietz  (rets),  (i)  Jn,  Fr.  R.,  d.  Berlin, 
1828  ;  via. -player,  royal  chamber- 
mus.  (2)  Eduard,  Berlin,  1802 — 
1832 ;  son  of  above ;  violinist  and 
tenor ;  founded  the  Berlin  Philh. 
Soc,  1826;  was  its  cond.  till  death. 
(3)  Julius,  Berlin,  Dec.  28,  1812 — 
Dresden,  Sept.  12,  1877;  son  of  (i) ; 
'cellist  and  cond.;  pupil  of  Schmidt, 
Romberg  and  Ganz ;  1834,  asst.- 
cond.  to  Mendelssohn,  Dusseldorf  op- 
era ;  1835,  his  successor  ;  1847,  cond. 
Singakademie,  Leipzig,  later  also 
cond.  Gewandhaus  and  prof,  of  comp. 
at  the  Cons.;  i860,  ct.-cond.  at  Dres- 
den ;  later  dir.  of  the  Cons. ;  editor 
of  scores;  c.  4  operas,  3  symphs., 
various  overtures,  masses,  etc. 

Riga  (re'-ga),  Frantz  (Francois), 
Liege,  183 1 — Schaerbeek,  near  Brus- 
sels, 1892  ;  conductor  and  composer 
of  male  choruses,  etc. 

R'&by»  Geo.  Vernon,  b.  Birming- 
ham (?),  Jan.  21,  1840;  notable  oper- 
atic and  concert  tenor  ;  toured  Engl., 
Ger.  and  Italy. 

Righini  (re-ge'-ne),  V.,  Bologna.  Jan. 
22,    1756 — Aug.     19,    1812  ;      tenor, 


696 


THE    MUSICAL    GUIDE 


singing-teacher  and  court-cond.  at 
Mayence,  later  Berlin  ;  c.  20  operas, 
etc.,  inch  vocalises. 

Rille.     Vide  Laurent  de  rille. 

Rimbault  (rim'-bolt),  (i)  Stephen 
Francis,  organist  and  composer, 
1773 — 1837.  (2)  Edw.  Fran.,  Lon- 
don, June  13,  1816— Sept.  26,  1876; 
son  and  pupil  of  above  ;  organist  and 
noted  lecturer,  editor,  essayist  and 
writer  of  numerous  valuable  historical 
works  basc<l  on  research. 

Rimsky-Korsakov  (rlm'-shkT-kor'-sa- 
kof),  Nikolas  Andrejevitch,  b. 
Tikhvin,  Novgorod,  May  21  (new 
style),  1844 ;  notable  Russian  com- 
poser ;  studied  at  the  Naval  Inst., 
Petersburg  ;  also  took  pf.-lessons  ; 
1861,  took  up  mus.  as  a  profession 
after  study  with  Balakirev;  at  21  prod, 
his  first  symph.;  1871,  prof,  of  comp. 
and  instr.  at  Petersb.  Cons.,  also 
1873-84  inspector  of  Marine  Bands  ; 
1874-87,  dir.  Free  Sch.  of  Mus.,  and 
until  1881,  cond.  there  ;  1883,  asst. 
cond.  (to  Balakirev)  of  the  Imp. 
Orch.;  from  1886,  cond.  Russian 
Symph.  Concerts ;  1889,  cond.  2 
Russian  concerts  at  tJie  Trocadero, 
Paris.  He  orchestrated  the  posthu- 
mous operas  :  Dargomyzsky's  "'Com- 
modore" Mussorgsky's  ''  Khovanst- 
chyna"  and  Borodin's  ''Fri?tce 
Igor";  pub.  coll.  of  Russian  songs 
and  a  harmony.  C.  operas  "  Fsko- 
vitjanka"  ("The  Girl  from  Pskov") 
(St.  Petersburg,  Imp.  Th.  1S73)  ;  ".4 
May  Night"  (do.  1880);  "  Snegorotch- 
ka"  ("The  Snowy  Princess")  (do. 
1882);  '"Mozart  und  Salieri"  (Mos- 
cow); opera  ballet  "  Mlada  "  (Peters- 
burg, 1892);  opera  ''Christmas  Eve" 
(1895);  3  symphs.  incl.  "Antar" 
(188 1),  sinfonietta;  "  Russian  "  over- 
ture ;  Servian  fantasia  ,  mus.  tableau 
"  Sadko  "  (1876)  :  pf.  concerto,  etc.  ; 
opera  "  Zarskaja  Ne-ivjesta  "  (1901). 

Rinaldi  (re-nal'-de),  Giov.,  Reggiolo, 
Italy,  1840 — Genoa,  1895  ;  pianist. 

Rinck  (rink),  Jn.  Chr.  H.,  Elgersburg, 
Thuringia,  Feb.  18,  1770— Darm- 
stadt, Aug.  7,    TS46     famous   organ- 


ist, writer  and  composer ;  pupil  of 
Kittel,  etc.;  town  organist  Giesen, 
then,  1805,  at  Darmstadt,  where  he 
also  taught  in  the  seminary ;  1813 
ct. -organist  there  ;  autobiog.  (Bres- 
lau,  1833). 
Ringel,  Federico.     Vide  f.  d'erlan- 

GER. 

Ringler  (ring'-ler),  Eduard,  b.  Niirn- 
berg,  Jan.  8,  1838  ;  pupil  of  Hoh- 
niann;  but  did  not  adopt  mus.  till  30, 
then  studied  with  Grobe,  and  Dupont 
at  Niirnberg  ;  cond.  the  "  Singver- 
ein "  ;  from  1883  choir-dir.  in  the 
synagogue,  and  from  1890,  cond.  the 
e.xcellent  "  Verein  fur  klassischen 
Chorgesang "  ;  singing-teacher  and 
critic;  c.  succ.  "  Volksoper "  "  Ep- 
pclein  von  Gailigen  "  (Niirnberg,  1896), 
grand  opera  "  Frithjof"  songs,  etc. 

Rinuccini  (re-noot-che'-ne),  Ottavio, 
Florence,  1562 — 1621 ;  the  librettist 
of  the  first  opera  ever  performed, 
Peri  (q.  v.)  and  Caccini's  "  Z>rt/;/^  " 
(1594),  also  of  Peri's  "  Eitridice" 
(1600),  and  Monteverde's  "  Arianna 
a  Nasso  "  (1608). 

Riotte  (rl-ot),  Phillip  J.,  St.  Mendel, 
Treves,  Aug.,  1776 — 1856;  conduct- 
or and  dram,  composer. 

Ripa  (re'-pa),  Alberto  de  (called  Al- 
berto Mantovano),  b.  Mantua — d. 
ca.  1580  ;   lutist  and  composer. 

Rischbieter  (rish'-be-ter),  Wm,  Al- ; 
bert,  b.  Brunswick,  1834  ;  pupil  of 
Hauptmann,  theory  ;  violinist  in  i 
Leipzig  and  other  cities  ;  from  1862  i 
teacher  harm,  and  cpt.,  Dresden  1 
Cons.,  pub.  treatises,  etc.;  c.  symph., ! 
overtures,  etc.  .  ! 

Risler  (res'-ler),  Edouard,  b.  Baden-; 
Baden,  Feb.  23,  1S73  ;  notable  pia- i 
nist  ;  pupil  of  Diemer  and  d'Albert,  \ 
Stavenhagen,  etc.;   lives  in  Paris. 

Ristori  (res-to'-re),  Giov.  Alberto,; 
Bologna,  1692 — Dresden,  Feb.  7, 
1753  ;  organist  and  conductor;  c.  2' 
of  the  earliest  comic  operas,  also 
church-music. 

Rit'ter,  (;)  G.  Wenzel,  Mannheim,  j 
April  7,  T748 — Berlin,  June  16,  1808; • 
bassoonist,  Berlin  ct.-orch.;  compos- 


DICTIONARY  OF  MUSICIANS  697 


w| 


er.  (2)  Aug.  Gf.,  Erfurt,  Aug.  25, 
i8n— Magdeburg,  Aug.  26,  1885; 
organ-virtuoso,  editor  and  composer. 
(3)  Alex,  Narva  (or  Reval),  Russia, 
June  27  (new  style),  1833 — Munich, 
April  12,  1896  ;  violinist  ;  c.  succ. 
operettas,  etc.  (4)  Frederic  Louis, 
Strassburg,  June  22,  iS34^x\nt\verp, 
July  22,  iSgr  ;  prof,  of  mus.  and 
conductor  at  Loraine  ;  1856,  Cincin- 
nati (U.  S.  A.),  organist  Philh.  orch. 
and  Cecilia  Soc;  1S61  New  York, 
cond,  the  Arion  ;  1867  prof.  Vassar 
Col.;  wrote  "  Music  in  England," 
and  '"Music  in  Amei-ica"  (both  N. 
Y.,  1883);  and  other  Jiistorical 
works;  c.  5  symphs..  etc.  (5)  (Ray- 
mond-Ritter),  Fanny,  b.  Philadel- 
phia, 1S40  ;  wife  of  above  ;  writer 
and  translator.  (6)  (rightly  Bennet) 
Theodore,  near  Paris,  1841 — Paris, 
1SS6 ;  pianist  and  composer.  (7) 
Hermann,  b.  Wismar,  Sept.  16, 
1849  ;  violinist ;  studied  Berlin  with 
Joachim,  etc. ;  invented  and  played  a 
viola  alta ;  for  20  yrs.  teacher  at 
Wurzburg.  (8)  Josef,  b.  Salzburg, 
Oct.  3,  1859  ;  barytone  at  Vienna,  (g) 
Ritter-Gotze  (get-'tse),  Marie,  b. 
Berlin,  Nov.  2,  1865;  mezzo-sopr.; 
pupil  of  Jenny  Meyer  and  Levysohn  ; 
debut  R.  Opera,  Berlin  ;  later  Ham- 
burg for  4  years  ;  sang  at  Met.  Op. 
and  in  concert  U.  S.  A.  1890-02 ; 
then  Berlin  R.  Opera. 
?iye-King  (re'-va-king),  Julie,  b. 
Cincinnati,  Ohio,  Oct.  31,  1857; 
noteworthy  pianist ;  toured  the  world 
with  great  succ;  c.  pop.  pf.-pcs. 
?ivifere  (rev-yar),  Jules,  1809 — Paris, 

Dec.  26,  1900  ;  conductor. 
Robinson,  (i)    J.,  1682 — 1762  ;  Eng- 
lish organist  and  composer.    (2)  Ann 
I   (ijiee  Turner),  d.  1741  ;  singer;  wife 
'  o^above.  (3)  Anastasia,  1750;  Engl, 
dinger ;    m.    Earl    of    Peterborough. 
(4>  Margaret,  sister   of   (i)  ;  singer 
in  Handel's  oratorios.     (5)  Francis, 
prpfessor  at  Dublin,  18 10.     His  four 
;  spns  were   (6)   Francis,    tenor  ;  (7) 
Wm.,  bass  ;  (8)  J.,  tenor  and  organ- 
ist ;  (9)  Jos.,  b.  Aug.,  18 16  ;  famous 


cond.  and  composer ;  his  wife,  (10) 
Fanny  Arthur,  1831— 1879,  was  a 
singer  and  composer. 
Roberts,  J.  Varley,  b.  Stanningly, 
near  Leeds,  Sept.  25,  1841  ;  organist 
and  composer;  from  1868  at  HaHfax; 
1876  Mus.  Doc.  O.xford  ;  c.  cantata 
"  [onah"  etc. 
Rob'john,  Wm.  Jos.,  b.  Tavistock, 
Devon,  Nov.  3,  1843  ;  self-taught 
mus.;  at  14  went  to  America;  has 
been  organist  various  churches  ;  c. 
various  operettas,  etc.;  wrote  under 
pen-name  Caryl  Florio. 
Robyn  (rS'-bln),  (r)  Alfred  G.,  b.  St. 
Louis,  Mo.,  April  29,  i860  ;  son  of 
(2)  Wm,  R.  (who  organised  the  first 
symph.  orch.  west  of  Pittsburgh) ;  at 
10  A.  succeeded  his  father  as  organist 
at  St.  John's  Church  ;  at  16  solo-pianist 
with  Emma  Abbott's  Co. ;  prod,  comic 
opera  "y(Z««/a  "  (1894)  ;  c.  pf. -con- 
certo, etc.,  also  very  pop.  songs  (incl. 
"  Answer  "),  etc. 
Rochlitz  (rokh'-IIts),  Jn.  Fr.,  Leipzig, 
Feb.  12,  1769— Dec.  16,  1842  ;  com- 
poser, editor  and  prominent  writer  of 
essays,  biog.  and  librettos. 
Rock,     Michael,    d.     March,     1809 ; 

English  organist  and  composer. 
Rockel  (rek'-el),  (i)  Jos.  Aug., 
Neumburg-vorm-\Vald,  Upper  Pala- 
tine, 17S3— Anhalt-Cothen,  1870; 
singer,  prof,  and  operatic  dir.  at  Aix; 
1829-32,  of  a  German  co.  at  Paris  ; 
1832,  London.  (2)  Aug.  Gratz, 
1814— Buda-Pesth,  1S76  ;  joint-con- 
ductor at  Dresden  opera  (with  Wag- 
ner) ;  1848,  abandoned  mus.  for  poli- 
tics. (3)  Edw.,  b.  Treves,  Nov.  20, 
18 16  ;  pupil  of  his  uncle,  J.  N.  Hum- 
mel ;  toured  as  pianist  ;  from  1848 
lived  Bath,  Eng. ;  c.  pf.-pcs.  (4) 
Jos.  (Ld.),  b.  London,  April  11, 
1838  ;  bro.  of  above  ;  pupil  of  Eisen- 
hofer,  Gotze,  and  of  his  father  and 
bro.  Eduard  (pf.)  ;  lives  in  Bristol,  as 
teacher  and  pianist  ;  c.  cantatas, 
pf.-pcs.,  pop.  songs,  etc. 
Rock'stro  (rightly  Rackstraw),  Wm. 
Smyth,  North  Cheam,,  Surrey,  Jan. 
5,  1823 — London,  July  2,  1895  ;  no- 


698 


THE    MUSICAL    GUIDE 


table  historian;  pupil  Leipzig  Cons. ; 
pianist  and  teacher,  London ;  1891, 
lecturer  R.  A.  M.  and  R.  C,  M.; 
wrote  treatises,  biog.  and  "  General 
History  of  Music"  (1886);  c.  over- 
ture, cantata  "  Ilie  Good  Shepherd," 
etc. 

Roda  (ro'-da),  Fd.  von,  Rudolstadt, 
1815 — near  Kriwitz,  1876;  mus.-dir. 
and  composer. 

Rode  (rod),  (Jacques)  P.  (Jos.),  Bor- 
deaux, Feb.  16,  1774  —  Chateau- 
Bourbon,  near  Damazon,  Nov.  25, 
1830  ;  notable  violinist ;  pupil  of  Fau- 
vel  and  Viotti ;  debut,  Paris,  1790  ; 
toured  ;  prof,  at  the  Cons.;  1800,  so- 
loist  to  Napoleon,  later  to  the  Czar  ; 
c.  13  concertos,  famous  etudes,  etc. ; 
wrote  a  method  (with  Baillot  &  Kreut- 
zer). 

Rode  (ro'-de),  (i)  Jn.  Gf.,  Kirch- 
scheidungen,  Feb.  25,  1797 — Pots- 
dam, Jan.,  1857;  horn-virtuoso;  c. 
tone-pictures,  etc.  (2)  Th.,  Pots- 
dam, 1821 — Berlin,  18S3  ;  son  of 
above  ;  singing-teacher  and  writer. 

Roder  (ra'-der),  (i)  Jn.  Michael,  d. 
ca.  1740 ;  Berlin  org. -builder.  (2) 
Fructuo'sus,  Simmershausen,  March 
5,  1747 — Naples,  1789  ;  notable  or- 
ganist. (3)  G.  v.,  Rammungen, 
Franconia,  17S0 — Altotting,  Bavaria, 
1848 ;  ct.-cond.  and  composer.  (4) 
Carl  Gl.,  Stotteritz,  near  Leipzig, 
1812— Gohlis,  18S3  ;  1846,  founded 
the  largest  mus.  and  engraving  estab- 
lishment in  the  world  ;  in  1872,  his 
sons-in-law,  C.  L.  H.  Wolf  and  C.  E. 
M.  Rentsch,  became  partners.  (5) 
Martin,  Berlin,  April  7,  1851 — Bos- 
ton, Mass.,  June  7,  1895;  pupil  R. 
Hochschule  ;  conductor  and  teacher 
of  singing  in  various  cities,  incl.  Dub- 
lin and  Boston  ;  critic  and  writer  un- 
der pseud.  "  Rare  Miedtner  "  ; 
wrote  essays,  librettos,  etc.;  c.  3  op- 
eras, a  symph. ,  2  symph.  poems,  etc. 

Rodio  (ro'-dl-o),  Rocco,  b.  Calabria, 
ca.  1530 ;  famous  Neapolitan  con- 
trapuntist and  theorist. 

Rodolphe  (ro'-dolf)  (or  Rudolph), 
Jean  Jos.,  Strassburg,  Oct.  14,  1730 


— Paris,  Aug.  r8,  1812  ;  horn-virtu- 
oso and  violinist  ;  pub.  treatises ; 
prod,  operas. 

Rogel  (ro'-hel),  Jos6,  b.  Orihuela,  Ali- 
cante, Dec.  24,  1829  ;  conductor  and 
composer  of  61  zarzuelas,  etc. 

Roger  (ro-zha),  Gve.  Hip.,  La  Cha- 
pelle  St. -Denis,  near  Paris,  Dec.  17, 
1S15 — Paris,  Sept.  12,  1879;  noted 
tenor;  created  ''Le Prop h tie"/  1868, 
prof,  of  singing  at  the  Cons.  (2) 
Victor,  b.  Montpcllier,  France,  July 
21,  1854;  pupil  Ecole  Niedermeyer; 
critic  of  "La  France";  prod,  about 
20  operettas,  etc.,  incl.  "La  Petite 
I'dche"  (^1898);  succ."Po2t/e  Blanche" 
(1899);  and  succ.  "Mile.  Georges" 
(1900). 

Rogers  (ra'-jers),  (i)  Benj.,  Windsor, 
1614 — Oxford,  1698  ;  organist  at 
Dublin ;  later  at  Windsor ;  c.  the 
hymn  sung  annually  at  5  A.  M.,  May 
I,  on  the  top  of  Magdalen  tower, 
Oxford.  (2)  John,  d.  Aldersgate. 
ca.  1663;  lutenist  to  Chas.  IL  (3)! 
Sir  John  Leman,  17S0 — 1S47;  com-; 
poser;  pres.  Madrigal  .Soc.  (4)! 
Clara  Kathleen  (nee  Barnett),  b. 
Cheltenham,  Engl.,  Jan.  14,  1844; 
daughter  and  pupil  of  John  Barnett ; 
pupil  of  Leipzig  Cons.;  studied  also 
singing  with  Ciotze  and  Sangiovanni,  1 
at  Milan  ;  debut  Turin,  1863  (under) 
name  "Clara  Doria");  sang  in 
Italy,  then  in  London  concerts; 
1871,  America  with  Parepa-Rosa  Co.; 
1872-73,  also  with  Maretzek  Co.; 
since  then  lived  in  Boston  as  singer 
and  teacher  ;  1878,  m.  a  Boston  law- 
yer, Henr\'  M.  R.;  pub.  "  The  Phi- 
losophy of  Singing"  (New  York, 
1893)  ;  c.  songs,  sonata  for  pf.  and 
vln.,  etc.  (5)  Roland,  b.  West 
Bromwich,  Staffordshire,  Nov.  17, 
1847;  at  II,  organist  at  St.  Peter's 
there  ;  1871-91,  organist  a  Bangor 
Cath.  and  cond.  of  the  Penrhyn  and 
Anonic  Choirs ;  teacher  in  Wales; 
1875,  Mus.  Doc.  Oxford;  c.  canta- 
tas "Prayer  and  Praise  "  (with  orch.), 
"The  Garden"  (piize,  Llandudno, 
1S96);   and  "  Florabel" ;    Psalm  1 30, 


Wa 


fc<; 


! 


DICTIONARY  OF  MUSICIANS    699 


for  soli,  chorus  and  strings  ;  a  symph., 
etc.  (6)  James  H.,  b.  Fair  Haven, 
Conn.,  U.  S.  A.,  1857;  at  18  studied 
in  Berlin  with  Loschorn,  Haupt,  Ehr- 
lich  and  Rohde,  and  at  Paris  with 
Firsot,  Guilmant  and  Widor  ;  lives  in 
Cleveland,  Ohio,  as  organist,  pianist 
and  composer  of  notable  songs.  (7) 
Delia,  b.  Denver,  Colorado,  ca. 
1S69  ;  soprano ;  pupil  of  Mine,  de  la 
Grange  and  Leon  Jancey  (French 
diction)  ;  debut,  St.  Petersburg  ;  has 
sung  at  La  Scala,  Milan,  in  Rouma- 
nia,  Turkey,  etc. 

Jognone  (r6n-y5'-ne),  (i)  Riccardo, 
a  Milanese  violinist.  His  son  (2) 
Fran.,  pub.  a  vln.  method,  16 14, 
etc. 

iohde  (ro'-de),  Eduard,  Halle-on- 
Saale,  1828— BerUn,  March  25,  1883  ; 
writer  of  pf.-method  ;  singing  teacher 
and  composer. 

lohleder  (ro'-la-der),  (i)  Jn,,  pastor  at 
Friedland,  Pomerania  ;  pub.  a  trea- 
tise, 1792.  (2)  Fr.  Traugott,  Pas- 
tor at  Lahn,  Silesia  ;  pub.  articles  on 
church-mus.  (i829-3f3). 

lokitansky  (ro-kl-tan'-shkl),  Victor, 
Freiherr  von,  Vienna,  1836 — 1896  ; 
pub.  treatises  on  singing. 

lolandt  (ro'-lant),  Hedwig  (stage- 
name  of  Hedwig  Wachutta),  b. 
Graz,  Sept.  2,  1858 ;  soprano ;  pu- 
pil of  Frau  Weinlich-Tipka,  Graz ; 
debut,  Wiesbaden,  1877;  1883,  ^■ 
the  merchant  Karl  Schaaf. 

llol'la,  Ales.,   Pavia,   April    22,    1757 

}  — Milan,    Sept.     15,    1841  ;    violinist 

I  and  teacher  ;  prof,  of  vln.  and  via.: 
Paganini  was  his  pupil. 

ioUe  (rol'-le),  Jn.  H.,  Quedlinburg,, 
Dec.  23,  1718 — Magdeburg,  Dec.  29, 
1785  ;  son  and  successor  of  the  town 
mus.-dir.  of  Magdeburg ;  1741-46, 
via. -player,  Berlin  ct.-orch.;  c.  4 
Passions,  20  oratorios,  etc. 

^ollig  (rel'-llkh;,  K.  Ld.,  Vienna, 
1761— March  4,  1804  ;  harmonica- 
player  ;  inv.  of  the  "  Orphika  "  and 
"Xanorphika"  (v.  D.  D.)  ;  wrote 
treatises  on  them  ;  c.  comic  opera. 

lomaniello  (r6-man-I-el'-l6),  (i)  Lui- 


gi,  b.  Naples,  Dec.  29,  i860 ;  pian- 
ist ;  pupil  of  his  father,  his  broth- 
er (2)  Vincenzo,  and  at  Naples 
Cons.;  graduating  with  highest  hon- 
ours ;  dir.  of  the  pf.-dept.  there, 
later  member  of  the  Soc.  del  Quar- 
tetto,  also  pianist  Ferni  Quartet ;  in- 
structor in  the  R.  "  Educandato  di 
San  Marsellino  "  and  critic  ;  Chev.  of 
the  Italian  Crown  ;  has  made  tours 
and  pub.  a  pf.-method  (prize  at  Na- 
ples, 1886)  ;  c.  3  operas,  symphonic 
poems  "  Corsair  "  and  "  Manfred" 
2  symphs.,  etc. 

Romanina.     Vide  albertini,  g. 

Romanini  (ro-ma-ne'-ne),  Romano,  b. 
Parma,  1864 ;  pupil  of  Mandovani 
(vln.)  and  Dacci  (comp.)at  the  Cons. ; 
1st  vln.  Teatro  Regio  ;  then  cond. 
concert  and  theatre-orch.  at  Savigli- 
ano  ;  1890,  prof,  of  vln.;  since  1897, 
director  "  Instituto  Venturi,"  Bre- 
scia ;  c.  succ.  opera  ".4/  Campo" 
(Brescia,  1895),  symph.,  etc. 

Romano,  (i)  Alessandro  (q.  v.).  (2) 
Giulio.     Vide  caccini. 

Romberg  (rom'-berkh),  (i)  Anton  (a) 
and  (2)  H.,  two  brothers,  lived  in 
BerHn,  1792.  (3)  Anton  (b),  West- 
phalia, 1745— 1812  (1742 — 1814, 
ace.  to  Riemann) ;  bassoonist.  (4) 
Gerhard  H.,  b.  1748  ;  clarinettist 
and  mus.-dir.  at  Munster.  (5)  Bd., 
Dincklage,  near  Munster,  Nov.  n, 
1767 — Hamburg,  Aug.  13,  1841;  the 
head  of  the  German  sch.  of  'cellists  ; 
prof.;  ct.-cond.,  1815-ig  ;  c.  many 
operas,  incid.  mus. ;  9  excellent  con- 
certos. (6)  Andreas  (Jakob), 
Vechta,  near  Munster,  1767 — Gotha, 
1821  ;  vln. -virtuoso  ;  son  of  (7)  Ger- 
hard H.,  b.  1748  ;  dir.  and  clarinet- 
tist. (8)  Cyprian,  Hamburg,  1807 
— 1865  ;  son  of  (6)  and  pupil  of  (5), 
'cellist  and  composer.  (9)  Anton  (c), 
b.  1777;  bassoonist  ;  son  of  (3).  (10) 
Therese,  b.  1781;  pianist;  sister  of 
(6). 

Ro'mer,  Emma,  1814 — Margate,  1868; 
Elngl    soprano. 

Ronchetti  -  Montevjti  (ron-ket'-te 
mon-ta-ve'-te),  Stefano,  Asti,  1814— 


i. 


yoo 


THE    MUSICAL    GUIDE 


Casale  Monferrato,  1882;  pupil  of 
B.  Neri,  Milan  ;  1850,  prof,  of  comp. 
at  the  Cons. ;  1877,  dir. ;  c.  an  opera, 
a  motet,  etc. 

Ronconi  (r6n-k5'-ne),  (i)  Dom.,  Len- 
dinara,  Rovigo,  July  11,  1772 — Mi- 
lan, April  13,  1S39 ;  singer  and  fa- 
mous vocal-teacher;  tenor;  1809, 
dir.  of  the  ct. -opera,  Vienna  ;  1819- 
29 ;  singing-master  to  the  princess, 
Rlunich ;  1829,  founded  a  singing- 
sch.  at  Milan  ;  pub.  vocal  exercises. 
(2)  Giorgio,  Milan,  1810 — 1S90 ; 
son  of  above  ;  barytone;  1S63,  teach- 
er at  Cordova,  Spain  ;  from  1867, 
New  York  ;  composer.  (3)  Felice, 
Venice,  181 1 — St.  Petersburg,  1875  ; 
singing-teacher  and  writer.  (4)  Se- 
bastiano,  b.  Venice,  1814;  barytone, 
violinist  and  teacher,  Milan. 

Rong  (rong),  Wm.  Fd.,  d.  Berlin ; 
said  to  have  been  living  in  1821, 
aged  100  ;  chamber-musician  of  Prus- 
sia ;  mus. -teacher,  writer  and  com- 
poser. 

Ronisch  (ra'-nlsh),  K.,  Goldberg,  Sile- 
sia, 18 14 — Blasewitz,  1894;  piano- 
manufacturer  at  Dresden. 

Rontgen  (rent'-gen),  (i)  Engelbert, 
Deventer,  Holland,  1829— Leipzig, 
1S97  ;  violinist.  (2)  Julius,  b.  Leip- 
zig, May  9,  1S55  ;  pianist ;  son  of 
above  ;  pupil  of  Hauptmann  and  E.  F. 
Richter,  Plaidy,  Reinecke  and  Fr. 
Lachner  ;  at  10  began  to  c;  at  17 
pub.  a  vln. -sonata  ;  debut  as  pianist, 
1878;  teacher  mus.-sch.,  Amster- 
dam ;  i886-g8,  cond.  to  the  Soc.  for  ^ 
the  Promotion  of  Mus.,  also  Felix 
Meritis  Soc;  co-founder  (1885)  of 
the  Cons. ;  c.  "  Toskaiiische  Rispetti" 
an  operetta  for  voices  and  pf. ;  a  pf.- 
concerto,  etc. 

Rooke,  ^Vm.  M.,  DubHn,  1794 — Lon- 
don, 1847  ;  teacher,  pianist,  violinist 
and  dram,  composer. 

Root,  (i)  G.  Ed.  Fr.,  Sheffield,  Mass., 
Aug.  30,  1820 — Barley's  Island,  Aug. 
6,  i8g5  ;  teacher  of  singing  and  con- 
ductor ;  pupil  of  Webb,  Boston  ; 
studied  Paris,  1850  ;  c.  "Battle-cry 
0/    Freedom,'"'    "    Tramp,      Trat?ip, 


Tramp"    ''Just    before    the  BattU    l^.' 
Mother"  etc.      (2)  Fr.  Woodmarl  «r 
b.    Boston,    Mass.,    June    13,    184M 
son   and    pupil    of   above  ;    pupil   <  . 
Blodgett  and  Mason,  New  York  ;  0 
ganist  ;   1869-70,  studied  in  Europe    - 
later    lecturer,  writer  and   teacher  . 
large  vocal  classes. 

Rooy,  van.     Vide  van  rooy.  , 

Roquet  (r6-ka),  Ant.  Ernst,  Nante; 
1827 — Paris,  1894  ;  amateur,  who  u;i( 
der  pen-name  "  Ernest  Thoinans 
(twa-nah)  pub.  valuable  historic) 
works  based  on  research.  : 

Rore   (r5'-re),  Cipriano  de,  Mechli; 
1 5 16 — Parma,    1565  ;    eminent    cori 
poser  of  Venetian  sch.;  pupil  of  W) 
laert,  1550,  and  his  successor,  156;- f 
ct. -conductor. 

Rorich  (ro'-rlkh),  Carl,  b.   Number 
Feb.    27,  1S69  ;    pupil  of  R.  Sch. 
Mus.,  Wurzburg  ;  from  1892,  teach 
Gr.  Ducal  Sch.  of  Mus.,  Weimar; 
an    overture    ''  Marc  hen,'"  .  a    si 
"  Waldleben"  etc. 

Ro'sa,  (i)  Salvato're,  Aranella,  Ni  «' 
pies,  1615 — p.ome,  1673;  famoj  «!J 
painter  and  poet ;  wrote  a  satire  \  %. 
mus.,  etc.;  composer.  (2)  Ce  '< 
(rightly  Carl  Rose),  Hamburg,  18  ,\ 
— Paris,  1889;  violinist;  1867,  \'y\ 
Parepa-Rosa,  and  with  her  organisj  .j 
an  English  opera-company  ;  tourJ  1 
with  great  frequency,  especially  "  \ 
head  of  an  Engl,  opera  syndicate.  1 

Rose  (r5'-za),  Arnold  Josef,  b.  Jas;! 
Oct.  24,  1863  ;  pupil  of  Heissler,  'f 
enna  Cons.;  ist  vln.  Rose  Quarti^  I. 
since  1881,  soloist,  Vienna  ct.-orci.i 
and  since  1888,  leader  Bayreuth  Fj-t; 
tivals.  i 

Roseingrave  (roz'-In-grav),  Tho^ ' 
Dublin — London,  1750;  12  ye; 
organist  at  St.  George's,  Hano  r 
Square  ;  composer  and  writer. 

Rosel  (ro'-zel),  Rudolf  Arthur,  ,. 
Munchenbernsdorf,  Gera,  Aug.  , 
1859;  pupil  of  Weimar  Mus.-Sc, 
later  of  Thomson  ;  1877-79,  ist  \j. 
various  cities  ;  from  1888  in  the  M^ 
mar  ct.-orch.;  also  teacher  at  Mii- 
Sch. ;    c.    fairly    succ.    "lyric   sta- 


DICTIONARY  OF  MUSICIANS    701 


play  "    "  Halimah  "  (Weimar,  1895) , 
syniph.  poem  "  Friihlingsstiirnie"  a 
notturno  for  horn   with  orch.,  a  not- 
turno  for  oboe  with  orch.,  etc. 
'osellen  (ro-zel-lafi),   H.,   Paris,  1811 

I'  — 1876  ;  pf. -teacher,  writer  and  com- 
j  poser, 
iiosenhain    (ro'-zen-hln),    (i)    Jacob 

'  (Jacques),  Mannheim,  1813 — Baden- 
Baden,  1S94  ;  pianist  and  dram,  com- 
poser. (2)  Eduard,  Mannheim, 
1818 — Frankfort,  1861;  bro.  of  above; 
pianist,  teacher  and  composer. 

iosenmiiller  (ro'-zen-mll-ler),  Jn., 
1615 — Wolfenbiittel,  1682;  mus. -di- 
rector and  composer. 

tosenthal  (ro -zen-tJil),  Moriz,  b. 
Lemberg,  1862  ;  brilliant  pianist ;  at 
8  his  ability  enlisted  the  aid  of  Miku- 
li ;  at  10,  pupil  of  R.  Joseffy  ;  at  14, 
gave  a  concert  Vienna  ;  Royal  Pian- 
ist ;  1876-86,  pupil  of  Liszt ;  from 
1887,  toured  America  and  Europe  ; 
1896-97,  tour  of  U.  S.  interrupted 
by  illness ;  pub.  (with  L.  Schytte) 
"  Technical  Studies  for  the  Highest 
Degree  of  Development^'' 

loses  (ro'-zes),  Jose,  Barcelona,  1791 
— 1856;  organist,  composer  and 
teacher. 

losetti  (ro-set'-te),  Fran.  Ant. 
(Fz.  Anton  Rossler,  res-ler),  Leit- 
meritz,  Bohemia,  1750 — Ludwigslust, 
1792  .  ct. -conductor  and  composer. 

hosier  (ras'-ler),  Gv.,  1819 — Dresden, 
1882  ;  teacher  and  dram,  composer  ; 
prod.  succ.  opera  (^Dessau). 

loss,  J.,  b.  Newcastle-on-Tyne    1764, 
organist  and  composer. 
1, ,.  iiossaro   (ros-sa'-ro).  Carlo,  Crescen- 
tj  tino,    VercelH,    1828— Turin,     1878, 
P(  pianist  and  dram,  composer. 
■'■  '^os'setor,  Phillip,  Engl,  luttnist  and 
composer,  16 16. 

.lossi  (ros'  se).  (i)  Giov.  Bat.,  Gen- 
oese monk  ;  theorist,  ca.  161 8.  (2) 
Abbate  Fran.,  b.  Bari,  Italy,  ca. 
1645  ,  canon  and  dram,  composer, 
(3)  Gaetano,  Verona  1780— 1855  • 
librettist.  (4)  Luigi  Felice,  Bran- 
dizzo.  Piedmont  1804 — Turin,  1863  , 
essayist  and  translator,     (5)  Lauro, 


Macerata,  1812 — Cremona,  1885; 
wrote  a  harmony  and  c.  operas.  (6) 
Giov.  Gaetano,  Borgo,  S.  Donino, 
Parma,  1828 — Genoa,  1886 ;  c.  4 
operas. 
Rossini  (ros-se'-ne),  Gioacchino  A,, 
Pesaro,  Feb.  29,  1792 — Ruelle,  near 
Paris,  Nov.  13,  1868;  eminent  Italian 
opera-composer.  His  father  was  in- 
spector of  slaughter-houses  and  also 
horn  -  player  in  strolling  troupes  in 
which  the  mother  (a  baker's  daugh- 
ter) viSiS  prima  donna  biiffa.  Left  in 
charge  of  a  pork-butcher,  R.  picked 
up  some  knowledge  of  the  harpsichord 
from  a  teacher,  Prinetti  ;  1802  stud- 
ied with  Angelo  Tesci  ;  this  began 
his  tuition  ;  he  made  rapid  progress, 
and  sang  in  church,  and  afterwards 
joined  his  parents  as  a  singer,  horn- 
player  and  accompanist  in  the  theatre. 
At  14  he  studied  comp.  with  Padre 
Mattel,  and  'cello  with  Cavedagni  at 
the  Bologna  Liceo.  At  15  he  prod, 
a  cantata  "  //  Pianto  d'  Armenia  per 
la  Morte  d'Orfeo"  which  won  a 
prize.  Mattel  soon  told  him  that, 
though  he  had  not  enough  cpt.  to 
write  church-mus.,  he  knew  enough 
to  write  operas,  and  he  ceased  to 
study.  At  17  he  prod,  a  succ.  i-act 
opera  buffa  '  La  Cambiale  di  JMatri- 
ntonio"  {\'(tn\ce,  1810);  next  year,  a 
succ.  2-act  opera  buffa  ''  L Eqnivoco 
Stravagante"  Bologna.  He  received 
various  commissions,  writing  5  operas 
during  t8i2.  1813,  his  ''  Tancredf 
(Fenice  Th.,  Venice)  was  an  im- 
mense succ.  and  ''  Lltaliana  in  Al- 
ger i"  an  opera  buffa  (San  Benedetto 
Th.),  was  also  succ.  Two  failures 
followed  with  disheartening  effect, 
but  '' Elisabetta"  (its  libretto  curi- 
ously anticipating  Scott's  "  Kenil- 
■worth'")  was  a  succ.  (Naples,  1813), 
and  in  it  he  dropped  recitativo  secco. 
A  failure  followed  and  on  the  first 
night  of  the  next  work  the  public  re- 
sentment at  his  daring  to  set  to  mus. 
the  text  of  one  of  Paisiello's  operas 
led  to  its  being  hissed.  This  work 
''  Almaviva"     (Rome,       1816)      was 


702 


THE    MUSICAL    GUIDE 


better  received  the  second  night  and 
gradually  est.  itself  in  its  subsequent 
fame  under  the  title  "  11  Barbiere  di 
Seviglia" ;  iS  15-23  he  was  under 
contract  to  write  two  operas  yearly 
for  Barbaja,  manager  of  La  Scala  at 
Milan,  the  Italian  opera,  Vienna,  and 
Neapolitan  theatres.  His  salary  was 
12,000  lire  (about  $2,400).  During 
these  S  years  he  c.  20  operas,  travel- 
ling from  town  to  town  and  working 
under  highest  pressure.  1S21  he  m. 
Isabella  Colbran  (d.  1S45),  who  had 
sung  in  his  operas.  The  ill-succ.  of 
his  most  carefully  written  "  Semirain- 
ide"  (Venice,  1823)  and  an  offer 
from  Benelli,  amgr.,  led  him  to  Lon- 
don where  he  was  lionised  and  in  5 
months  earned  £-j,oo(i.  For  iS 
months  he  was  mgr.  of  the  Th.  Ital- 
ien  at  Paris,  and  prod,  several  operas 
with  artistic,  but  not  financial  succ. 
He  was  however  "  Premier  composi- 
teur du  roi"  and  "  Inspector-general 
du  chant  en  France,"  sinecures  with 
a  salar)'  of  20,000  francs  ($4,000). 
He  lost  these  in  the  Revolution  of 
1830,  but  afterwards  on  going  to  law 
received   a  pension  of   6,000  francs. 


At  the  Gr.  Opera  he  prod,  with  succ. 
revisions  in  French,  of  earlier  Italian 
succs.    1S29  he  gave  there  his  greatly  • 
succ.  masterpiece  "  Guglielvio  Tell."  \ 
At  the  age  of  37,  having  prod,  under  ' 
his  direction    Meyerbeer's  first  opera  ji 
and  having   heard  "  Les  Huguenots,"    ) 
R.  foreswore  opera  and  never  wrote 
again  anything  more  dramatic  than  his 
famous  "  Stabat  Mater"  (1832),  not 
performed  entire  till   1842;    ''Petite 
messe   soUiuielle''  with  orch.;  a  can- 
tata for  the  Exposition  of  1S67  ;  and 
pf.-pcs.  with   burlesque  names.     He 
retired  to  Bologna  and  Florence,  re- 
turning to  Paris  in  1855.     1847  he  m. ; 
Olympe  Pelissier.     He  c.  35  operas, 
16    cantatas,  canzonets     and    arias.^ltaci 
'''Gorgheggi  e  solfeggi  per  soprano  per 
reiulere  la    voee  agile"    "  Chant  des 
Titans  "    for     4   basses   with   orch. ; 
"  Tantuvt  ergo"   for  3   male   voices 
with  orch.;  "  Quoniam  "  for  solo  bass 
with  orch.;    "6*  salutaris"  for    solo 
quartet,     etc.       Biog.     by      Stendhal  )| 
(1823),    Azvedo    (1865),    H.    S.    Ed- 
wards     (London,     1S69),      Zanolinij 
(1875),  Struth    (Leipzig),  Dr.  A.  Ko-, 
hut  (Leipzig,  1892). 


ciiii 


Rossini.  j 

By  Irenaeus  Prime-Stevenson.  r 

IT  is  like  a  page  of  goldenest  sunshine  in  the  volume  of  musical  personalia 
to  review  the  brief,  brilliant,  artistic  story  of  Rossini's  activity  or  tc 
glance  at  his  long  and  happy  life.  Almost  from  the  first  came  to  him' 
fame,  fortune,  and  opportunity  for  that  amazing  fecundity  of  mind  which  waf 
so  curiously  sorted  with  his  indolence  of  body.  Few  men  of  genius  have 
lived  and  worked  and  rivalled  and  succeeded,  of  whom  so  litde  is  curreni 
that  is  ungracious  or  discreditable.  ^["As  to  Rossini's  place  in  art,  albeit  i 
huge  fraction  of  his  operas  are  empty  to  our  ears,  and  bore  us  with  theii 
flowery  ornamentation  and  feeble  dramatic  substructure,  we  have  no  right  tc. 
predict  that  thorough  neglect  will  soon  deliver  to  darkness  and  dust  sucl" 
scores  as  "  U Italiana  in  Algeri,''*  ^'11  Barbiere  di  Seviglia, ^^  "  Gugli- 
elmo  Tell,''^ — and  possibly  '*  Semiramide^'  ;  for  the  world  will  have  los 
too  completely  a  natural  irresistible  feeling  for  melody,  for  restrained  eleganc< 


i 


DICTIONARY  OF  MUSICIANS   703 


oreiict, 

■  iOpB 


I. 


of  orchestral  diction,  and  above  all  for  the  perfect  expression  of  true  comedy 
in  music.  Only  in  one  other  master,  Mozart,  to  whom  Rossini  felt  that  he 
owed  so  much,  and  to  whom  he  declared  himself  so  far  inferior,  do  we  meet 
equal  sincerity,  taste,  and  eloquence  as  prolifically  put  into  operatic  song  and 
orchestration.  ^  And  as  to  '*  TV//,"  with  that  noble  and  serious  work,  a 
striking  variant  from  the  old  Italianistic  Rossini,  a  work  by  a  mature  and 
serious-minded  composer  of  the  first  order,  all  the  great  and  the  little  musical 
world  will  long  have  to  reckon.  ^  The  great  influences  on  Rossini  were 
two :  Mozart,  whose  greatest  successor  in  Italian  operatic  comedy  Rossini 
certainly  is  ;  and  a  mixture  of  French  form  and  French  dramatic  spirit  with 
German  importance  in  every  detail  of  the  orchestra.  •[[  It  cannot  be  said 
that  Rossini  founded  a  school.  He  "  said  it  all  himself,"  as  the  phrase  goes  ; 
and  his  imitators  either  gave  over  copying  (often  with  most  happy  and  sig- 
nificant advantages  to  great  individualities  for  themselves,  as  in  the  instances 
of  Meyerbeer  and  Donizetti  and  Verdi),  or  else  they  were  not  of  substance 
in  their  efforts  to  eclipse  the  dazzling  master  of  Pesaro.  His  effect  upon  the 
whole  operatic  public  of  Europe  was  for  a  time  almost  demoralising,  paralys- 
ing to  all  other  music.  ^Immediately  after  the  striking  renunciation  of  his 
career,  at  only  thirty-seven  years  of  age,  came  the  Wagner  movement,  which 
is  showing  not  unwelcome  signs  of  sluggishness  and  eventual  disappearance. 


'■A.I 


person 
aiefflli 


Rossler,  F.  A.     Vide  rosetti,  f.  a.  for   vln.;    studied    comp.    at    Leipzig 

Rest    (rost),    (r)   Nicolas,    pastor    at  Cons.,    then    with   Joachim,    Berlin. 

Kosmenz,       Altenburg ;      composer,  1893-94,     leader     Covent      Garden ; 

1583-1614.     (2)    Fr.   Wm.    Ehren-  toured   Europe ;    decorated   by  King 

fried,  Bautzen,  1768 — Leipzig,  1835;  of  Hungary,  King  of  Servia,  Prince 

writer.  of  Bulgaria  and  the   Sultan  ;  pub.  a 

Roth   (rot),    (i)  Ph.,   Tarnowitz,  Sile-  few  songs  ;  c.   also   sonatas  for  vln. 

sia,  1853— Berlin,  1898  ;  'cellist.     (2)  and  piano,  etc. 

Bertrand,  b.  Degersheim,  St.  Gal-  Rotoli  (ro-to'-le),  Augusto,  b.  Rome, 
len,  Feb.  12,  1855  ;  pianist ;  pupil  of  Jan.  7,  1847;  pupil  of  Lucchesi ; 
Leipzig  Cons,  and  Liszt;  teacher  founded  and  cond.  "  Societa  corale 
Hoch  Cons.,  Frankfort,  co-founder.  de'  concerti  sagri,"  1876,  singing- 
Raff  Cons.,  1882  ;  1885-90,  Dresden  master  to  Princess  Margherita  ;  1878, 
Cons.;  then  opened  a  private  mus.-  maestro,  Capella  reale  del  Sudario  ; 
sch.  there.  1885,   invited  to   Boston,    Mass.,    as 

Rothmiihl    (rdt'-mul),     Nikolaus,    b.  teacher  in  the  N.  E.  Cons.;  Chev.  of 

Warsaw,  March  24,  1857:  tenor;  pu-  the  Ital.  Crown,  etc.     C.  mass  for  the 

pil  of   Gansbacher ;    debut,   Dresden  funeral  of  Victor   Emmanuel,   1878; 

ct. -theatre,  then   Berlin,   etc.;  toured  "■  Salino  ckgiafo"  with  orch.  (1878), 

widely,  incl.  America  ;  then  at  Stutt-  etc. 

gart  ct. -opera.  Rot'tenberg  (-berkh).  Dr.  Ludwig,  b. 

Roth-Ronay  (rot-ro'-na-e),    Kalman,  Czernowicz,    Oct.    11,  1864;    studied 


b.  Veszprein,  Hungary,  July  20,  1869;  vln.  and  piano  with  Fuchs,  and  theo- 

I  jjj  notable  violinist  ;  pupil   Grun,  Vien-  ry    with     Mandyczewski ;     debut    as 

'     '*'      na  Cons.,  took   ist  prize  gold  medal  pianist;   1888,   director;   1891,  cond. 


704 


THE    MUSICAL    GUIDE 


[ 


k  » 
»»« 

pi  il 

EJf,  »1 

ixiina 


at  Brunn,  then  ist  opera  cond.  at 
Frankfort. 

Rotter  (rot'-ter),  L.,  Vienna,  1810 — 
1895  ;  pianist,  conductor,  theorist  and 
composer. 

Rottmanner  (rot'-man-ner),  Ed.,  Mu- 
nich, iSog — Speyer,  1843  ;  organist. 

Rouget  de  I'lsle  (roo-zha  du-lel), 
Claude  Jos.,  Lons-Ie-Sauhiier,  Jura, 
May  10,  1760 — Choisy-le-Roy,  June 
27,  1836;  composer  of  the  ''  /Mar- 
seillaise,"  military  engineer,  poet,  li- 
brettist, violinist  and  singer ;  wrote 
"Za  Marseillaise"  picking  out  the 
air  on  his  vln.;  he  called  it  ''Chant 
de  Guerre  "  but  it  grew  popular  first 
in  Marseilles,  and  was  brought  to 
Paris  by  Marseillaise  volunteers  in 
1792  ;  R.  was  imprisoned  for  refus- 
ing to  take  an  oath  against  the  crown, 
but  was  released,  and  lived  in  Paris 
in  great  poverty. 

Rousseau  (roos-s6),  (i)  Jean  Jacques, 
Geneva,  June  28,  1712 — Ermenon- 
ville,  near  Paris,  July  3,  1778.  The 
great  writer ;  mainly  self-taught  in 
mus  ,  but  aiming  to  reform  nota- 
tion by  the  substitution  of  numerals 
for  letters  and  note-heads,  read  before 
the  Academie,  1742,  a  ''Dissertation 
siir  la  musiqiie  moderne"  (1743); 
his  opera,  "Les  Muses  Gala7ites,"  had 
one  private  representation  (1745);  his 
revision  of  the  intermezzo  "  La  J^eine 
de  Navarre "  (by  Voltaire  and  Ra- 
meau)  was  a  failure  ;  but  his  opera 
"Le  Devin  du  Village"  (Gr.  Opera, 
1752)  was  succ.  for  60  years.  He 
wrote  mus.  articles  for  the  " Encyclo- 
pedie"  which  were  roughly  handled 
by  Rameau  and  others,  but  revised 
and  re-pub.  as  "  Dictionnaire  de  iitu- 
sique"  {lib's).  In  1752  he  partici- 
pated in  the  "Guerre  des  Bouffons," 
between  the  partisans  of  French  and 
Italian  opera,  R.  siding  with  the 
Italianists  and  declaring  that  a 
•  French  national  music  was  impossible 
and  undesirable  ;  for  which  the  mem- 
bers of  the  opera  burned  him  in 
effigy.  "  Fyginalion"  {iT]2))  was  v. 
succ.  being  a  novelty — a  melodrama. 


all  the  dialogue  spoken,  the  orch. 
furnishing  interludes  and  background. 
Si,\  new  arias  for  "  Le  Devin  du  Vil- 
lage" and  a  coll.  of  100  romances 
and  duets  "Les  consolations  des  mi- 
seres  de  ma  vie"  {i^Si),  and  frag- 
ments of  an  opera,  "  Daphnis  ei 
Chloe"  were  pub.  (1780).  (2)J  ean, 
violinist  in  I'aris  ;  pub.  valuable  text- 
books (167 8-8 7)  ;  composer.  (3) 
Samuel  Alex.,  b.  Neuvemaison, 
Aisne,  June  11,  1853;  pupil  of  Paris 
Cons.,  1S78,  won  the  Pri.x  Cressent, 
and  2d  Grand  Pri.x  de  Rome  ;  prod, 
i-act  comedy-opera  "  Dianorah" 
(Op. -Com.,  1S79)  ;  1891,  won  the. 
Prize  of  the  City  of  Paris,  with  opera; 
"  Merowig" ;  1S92,  ist  cond.  Th.: 
Lyrique ;  1S98,  prod,  fairly  succ.i 
lyric  drama  "La  Cloche  du  Rhin";\ 
c.  also  a  solemn  mass,  etc. 

Roussier  (roos-st-a),^  Abbe  P.  Jos.,! 
Marseilles,  17 16 — Ecouis,  Normandy,) 
ca.  1790;  canon  and  theorist.  ; 

Rovel'li,  (i)  Giu.,  Bergamo.  1753—' 
Parma,  1806 ;  'cellist.  (2)  P.,  Ber- 
gamo, 1793 — 1838  ;  nephew  of  above 
violinist  and  composer. 

Rovet'ta,  Giov.,  d.  Venice,  1668  ;  pu- 
pil of  Monteverde,  and  his  successoi 
(1644)  at  San  Marco  ;   c.  operas,  etc 

Row'botham,  John  F.,  b.  Edinburgh; 
April  18,  1854  ;  studied  O.N.fordi 
Berlin,  Paris,  Vienna,  Dresden  ■ 
wrote  numerous  histories  of  mus. 
biogs. ,  etc. 

Roze  (roz).  Abbe  Nicolas,  Bourg. 
Neuf,  near  Chalons,  1745 — St. -Man, 
de,  near  Paris,  1819  ;  composer  anc 
writer.  _      j 

Rozkosny  (roz'-kosh-ne),  Josef  Richi 
ard,  b.  Prague,  Sept.  21,  1833, 
pianist ;  pupil  of  Jiranek,  Tomasche'' 
and  Kittl  ;  toured,  then  lived  i:; 
Prague  ;  prod,  there  9  Bohemian  op. 
eras  :  c.  also  overtures,  2  masses,  etc, 

Rubini  (roo-be'  ne),  Giov.  Bat.,  Re 
mano,  Bergamo,  April  7,  1795 — s 
his  castle,  near  Romano,  March  i; 
1S54 ;  famous  tenor,  said  to  hav 
been  the  first  to  use  the  vibrato  an 
the  sob,  both  since  abused  ;  his  rang 


DICTIONARY  OF  MUSICIANS  705 


was  from  E-b'  (with  a  falsetto  regis- 
ter to  f'.  V.  PITCH,  D.D.);  Bellini 
wrote  many  operas  for  him  ;  toured 
with  Liszt,  earning  by  one  concert 
over  $10,000  ;  had  one  of  the  largest 
fortunes  ever  amassed  by  a  singer. 

Rubinstein  (roo'-bln-shtln).  (i)  Anton 
Gregorovitch,  of  Jewish  parents, 
Wechwotynecz,  Bessarabia,  Nov.  30, 
1S30 — Peterhof,  near  St.  Petersburg, 
Nov.  20,  1S94  ;  one  of  the  greatest 
of  the  world's  pianists.  Early  taken 
to  Moscow,  where  his  father  est.  a 
pencil  factory,  he  was  at  first  a  pupil 
of  his  mother  ;  at  7,  of  Alex.  Vil- 
loing,  who  was  his  only  pf. -teacher. 
At  9  he  made  a  tour  with  Villoing  as 
far  as  Paris,  where,  in  1840,  he  played 
before  Chopin  and  Liszt,  who  ad- 
vised him  to  study  in  Germany.  He 
toured  further  and  returned  to  Mos- 
cow in  1S43.  His  brother,  Nikolai 
(v.  below),  was  also  musical,  and 
in  1844  both  were  taken  to  Berlin, 
where  Anton  studied  comp.  with 
Dehn.  Returning  to  Russia  after  a 
tour  through  Hungar}',  with  the  flut- 
ist Heindl,  he  lived  in  Petersburg 
under  the  patronage  of  the  Grand 
Duchess  Helen  ;  he  prod.  2  Russian 
operas  ;  1S54-58,  with  the  assistance 
of  Count  Wielhorski  and  the  Grand 
Duchess,  he  made  a  wide  tour,  finding 
himself  now  well  known  as  composer 
and  pianist ;  1858,  ct. -pianist  and 
cond.  of  ct.  -  concerts,  Petersburg  ; 
1859,  dir.  Russian  Mus.  Soc;  1S62, 
founded  the  Imp.  Cons,  at  Peters- 
burg, and  was  its  dir.  until  1S67  ; 
1865,  he  m.  Vera  Tchekuanoff. 
1867-70,  he  toured  Europe,  with 
greatest  imaginable  succ;  1872-73, 
he  gave  in  America  215  concerts,  from 
which  he  earned  $40,000  (;!f8,ooo)  ; 
but  he  could  never  be  induced  to 
cross  the  ocean  again,  though  offered 
$125,000  (;^25,ooo)  for  fifty  con- 
certs. 1S87-91,  again  dir.  Petersburg 
Cons.,  then  lived  in  Berlin;    1891,    in 

■  Dresden.  The  Czar  bestowed  on 
him  the  Order  of  Vladimir,   carrying 

j    with  it  nobility,  and  the  title  ot   Imp. 

\         45 


Russian  State  Councillor  ;  he  was  an 
officer  of  the  Legion  of  Honour,  a 
Knight  of  the  Prussian  Ordre  pour  le 
merite,  etc.  He  instituted  the  Rubin- 
stein prizes  of  5,000  francs  each  for 
pf. -playing  and  composition  open 
every  5  years  to  men  between  20  and 
26  of  any  nationality. 

He  wrote  his  "  A/einoirs"  also 
''Die  JMtisik  unci  ihre  Meister" 
(1892),  "  Gedankenkorl"  (1S92). 

As  a  pianist  R.  is  second  only  to 
Liszt,  whom  he  perhaps  excelled  in 
fire  and  leonine  breadth.  He  was, 
however,  frequently  inaccurate  in  his 
performance.  He  chiefly  wished  to 
be  remembered  as  a  composer  and 
placed  great  hope  in  the  creation  of 
what  he  called  "  Sacred  Opera  "  (ora- 
torio to  be  enacted  with  costume  and 
scenery).  In  this  "  new  form  "  he  c. 
"  The  Tower  of  Babel"  "  Paradise 
Lost"  ''  Afoses"  "  Christiis."  Be- 
sides the  noteworthy  operas  ' '  Nero  " 
(Hamburg,  1879),"  The  Demon"  (Rus- 
sian.  P.,  1875),  and  '"Die  Mak~ 
kahcier  "  (German,  Berlin,  1875),  he  c. 
II  other  operas,  a  ballet  "  La  Vigne  " 
{Die  Rebe),  and  2  cantatas  with  orch. 
C.  also  6  symphs.  (incl.  the  famous 
"  Ocean"  op.  42,  in  C,  in  7  move- 
ments);  op  95,  in  D  min.  {"Dra- 
matic ) ;  op.  107,  in  G  min.  (in 
memory  of  Gr.  Duch.  Helen). 
"  Character  -  pictures  "  "  Faust" 
"Ivan  /v.,"  and  "  Don  Quixote"/ 
3  concert-overtures,  incl.  op.  43 
("  Triomphaie"),  and  op.  116  {"An- 
thony and  Cleopatra  ")  ;  a  Suite  in  6 
movements,  op.  119  (his  last  work)  ; 
symph  poem  "  La  Russie";  5  pf.- 
concertos  ;  fantasia  eroica  with  orch.; 
vln. -concerto  ;  romance  and  caprice 
for  vln.  with  orch.;  2  'cello-concertos; 
vln. -sonatas ;  vln.-sonata  (arr.  for 
vln.  by  David),  etc.  For  piano 
SOLO  :  suite  ;  4  sonatas,  6  preludes, 
6  etudes,  5  barcarolles;  "  Kamenoi- 
Ostro'w  "  ("  Isle  of  Kainenoi  "  in  the 
Neva,  a  series  of  24  "  pictures ")  ; 
"  Soirtfes  de  St.  P."  "  Miscellanies," 
"  Le  Bal"  10  pes.  op.  14  ;   "Album 


7o6 


THE    MUSICAL    GUIDE 


de  Peit'ihof"  etc.  For  pf.  4  hands, 
sonata,  "  Bal  Costittne"  6  Charakt- 
erbilder,  fantasia  for  2  pfs. ;  over  100 
songs,  18  duets,  choruses,  etc. 

Autobiog.  "'Memoirs'''  (St.  P. 
1889  ;  Leipzig,  1893).  Biogr.  by 
MacArthur  (London,  1889). 

(2)  Nikolai,  Moscow,  June  2, 
1835 — (of  consumption),  Paris,  March 
23,  1S81;  bro.  of  above,  who  declared 
N.  to  be  the  better  pianist  of  the  two; 
founder  Moscow  Mus.  Soc;  dir. 
Moscow  Cons,  from  its  foundation. 
1864;  c.  pf.-pcs.  etc.  (3)  Jos.,  Staro- 
Constantinow,  Russia,  Feb.  8,  1847 — 
(suicide)  Lucerne,  Sept.  15,  1884; 
pianist  for  rehearsals  at  Bayreuth  ; 
composer.  (4)  Jacques,  Russia, 
1S74 — Paris,  1902  ;  son  of  (i). 

Rubner  (roop'-ner),  Cornelius,  b.  Co- 
penhagen, Oct.  26,  1853;  pianist; 
pupil  of  Gade  and  Reinecke  ;  1892, 
cond.  Carlsruhe  Phiih.  Soc;  c.  a 
symph.  poem  ;  "  Festouvertiire"  etc. 

Ruckers  (rook'-ers),  family  of  clavecin- 
makers  at  Antwerp,  superior  to  all 
others,  (i)  Hans  (Senior),  d.  ca. 
1640  ;  father  of  (2)  Fz.,  b.  1776.  (3) 
Hans  (Junior),  b.  1578.  (4)  An- 
dries  (senior),  h.  1579.  (s)  Anton, 
b.  15S1  ;  the  last  mfr.  was  (6)  An- 
dries  (Junior),  1607-67. 

Rucsicska.     Vide  ruzicka. 

Rudersdorff  (roo'-ders-dorf),  Her- 
mine,  Ivanowsky,  Ukraine,  Dec. 
12,  1.S22 — Boston,  Mass.,  Feb.  26, 
1882  ;  noted  soprano  and  teacher. 

Rudolph,  Jn.  J.  R.,  Arch-duke  of 
Austria,  Florence,  1788  —  Baden, 
Vienna,  183 1  ;  pianist  and  composer; 
pupil  and  intimate  friend  of  Bee- 
thoven. 

Rudorff  (roo'-dorf),  Ernst  Fr.  K.,  b. 
Berlin,  Jan.  18,  1840  ;  pupil  of  Bar- 
giel  (pf.),  and  Leipzig  Cons.;  pri- 
vate pupil  of  Hauptmann  and  Rei- 
necke ;  1865,  pf. -teacher,  Cologne 
Cons.;  1867  founded  the  Bacli-verein; 
1869  head  pf. -teacher  Berhn  Hoch- 
schule  ;  1S80-90  cond.  Stem  Gesang- 
verein ;  c.  2  symphs.,  2  overtures, 
etc. 


Ruegger  (rug'-ger),  Elsa,  b.  Lu- 
cerne, Dec.  6,  188 1  ;  'cellist ;  studied 
with  Jacobs  and  Anna  Campowski  at 
the  Cons,  there,  taking  ist  prize  at 
13 ;  began  touring  widely  America 
and  Europe. 

Riifer  (ru-far),  (i)  Ph.  (Barth616- 
my),  b.  Liege,  June  7,  1844  ;  son  of 
a  German  organist.  (2)  Philipp  R,, 
pupil  of  Liege  Cons.;  1869-71,  mus.- 
dir.  at  Essen ;  pf. -teacher  Stern's 
Cons.,  Kullak's  Cons.,  and  from 
1 88 1  Scharwenka's,  Berlin  ,  c.  ope- 
ras ''Merlin"  (Berlin,  1887);  succ, 
"  Ingo"  (Berlin,  1896);  symph.  in 
F.  ;    3  overtures,  etc. 

Ruffe  (roof'-fo),  v.,  b.  Verona;  maes- 
tro of  the  Cath.;  composer  (1550- 
88). 

Rufinatscha  (roo'-fl-nat-sha),  Jn., 
Tyrol,  1812 — Vienna,  May  25,  1893; 
composer. 

Ruggeri  (Ruggieri)  (rood-ja'-re),  a 
Cremonian  family  of  vln. -makers,  (i) 
Fran.,  flourished,  1668 — 1720.  (2) 
Giov.  Bat.  (1700 — 1725),  and  (3) 
P.  (1700 — 1720),  probablv  his  sons. 
(4)  Guido  and  (5)  V.,  both  of  Cre- 
mona in  iSth  cent.  R.  violins  re- 
semble Amatis.  (6)  Giov.  M.,  Ve- 
netian composer  ;  prod,  operas  there 
1696 — 1712. 

Ruggi  (rood'-je),  Fran.,  Naples,  1767 
— 1845  ;  conductor,  professor  and 
dram,   composer. 

Riihlmann  (riil'-man),  (Ad.)  Julius, 
Dresden,  1817  (16?)— 1877;  court- 
trombonist  ;  professor,  writer  and 
composer. 

Rum'ford,  R.  Kennedy,  b.  London, 
Sept.  2,  187 1  ;  concert  barytone  ; 
studied  in  Frankfort,  Berlin  and 
Paris  ;   m.  Clara   Butt,  1900. 

Rummel  (room'-mel),  (i)  Chr.  (Fz.  L., 
Fr.  Alex.),  Brichsenstadt,  Bavaria, 
1787 — Wiesbaden,  1849  ;  clarinettist,^ 
and  composer.  (2)  Josephine,  Man- 
yares,  Spain,  1812 — Wiesbaden,  1877;' 
daughter  of  above;  ct. -pianist.  (3) 
Jos.,  Wiesbaden,  1818 — London, 
1880  ;  son  and  pupil  of  (i)  ;  ct. -pian- 
ist and  composer.      (4)  Franziska,: 


1 


DICTIONARY  OF  MUSICIANS    707 


Wiesbaden,  1821 — Brussels,  1873;  ct.- 
singer ;  sister  of  above;  m.  Peter 
Schott,  the  pub.  (5)  Aug.,  Wies- 
baden, 1824 — London,  1886;  pian- 
ist. (6)  Fz.,  London,  Jan.  11,  1853 
— May,  1901  ;  pianist  ;  son  of  (3)  ; 
pupil  of  Brassin,  Brussels  Cons.,  win- 
ning 1st  prize,  1872  ;  1877-7S,  toured 
Holland  with  Ole  Bull;  toured  Amer- 
ica 3  times;  teacher  Stern's  Cons., 
then  Kullak's,  Berlin;  1897  "  Profess- 
or" from  the  Duke  of  Anhalt. 

Run'ciman,  John  F.,  b.  England, 
1866  ;  prominent  critic.  Educated 
at  the  science  school  (now  Rutherford 
College),  Newcastle-on-Tyne  ;  or- 
ganist from  childhood ;  1887,  took 
position  in  London  ;  from  1894  musi- 
cal critic  "  Saturday  Review" ;  later, 
until  1898  also  acting  editor  and  man- 
aging director  ;  also  editor  of  the  quar- 
terly "  The  C/ion/"  and  oi  the  "  A/u- 
sician's  Libra>y " ;  for  some  years 
correspondent  Boston  "  Afusical  Rec- 
ord";  1901,  of  New  York  "  Afusical 
Courier''';  some  of  his  essays  were 
published  as  "  Old  Scores  and  New 
Readings"  (1899)  ;  has  also  written  a 
biographical  study  of  Purcell. 

Rung  (roongk),  Henrik,  Copenhagen, 
1807 — 1871  ;  conductor  and  dram, 
composer. 

Rungenhagen  (roong  -  en  -  ha  -  gen), 
K.  Fr,,  Berlin,  1778— 185 1;  Profess- 
or, conductor  and  dramatic  compos- 
er. 

Rupff.       Vide  LUTHER,    M. 

Russell,  (i)  Wm.,  London,  1777 — • 
1813 ;  pianist.  (2)  Henry,  Sheer- 
iiess,  1813 — London,  Dec.  6,  1900 
V.  pop.  Engl,  song-composer.  (3) 
Louis  Arthur,  b.  Newark,  N.  J 
Feb.  24,  1854  ;  pupil  of  S.  P.  War- 
ren, G.  F.  Bristow,  and  C.  C.  Mul 
ler,  New  York;  also  studied,  London 
1878-95;  organist  and  choirm.,  New 
ark ;  since  1879,  cond.  Schubert 
Vocal  Soc. ;  since  1885,  Easton  (Pa.) 
Choral  Soc;  1885,  founded  the  New- 
ark Coll.  of  Mus.,  of  which  he  is  dir. 
and  teacher;  1893,  organised  Newark 
Symph.  Orch. ;  wrote  various  books  ; 


c.  cantata  with  orch.,  "A  Pastoral 
Rhapsody"  etc. 

Rust  (roost),  (i)  Fr.  Wm.,  Worlitz, 
near  Dessau,  July  6,  1739 — Dessau, 
Feb.  28,  1796;  violinist;  bro.  and  pupil 
of  an  amateur  violinist  in  J.  S.Bach's 
orch.  at  Leipzig  ;  ct.-mus.  director: 
c.  stage  pieces,  etc.  (2)  Wm.  K., 
1787 — 1855  ;  son  of  above  ;  pupil  of. 
Tiirk  ;  organist  and  composer.  (3) 
Wm,,  Dessau,  Aug.  15,  1822 — 
Leipzig,  May  2,  1892 ,  nephew  of 
above  ;  composer  ;  notable  organist 
and  teacher ;  cond.  Berlin  Bach- 
Verein  and  editor  of  Bach's  text. 

Ruta  (roo'-ta),  Michele,  Caserta,  1827 
— Naples,  Jan.  24,  1896 ;  theorist 
and  dram,  composer. 

Ruthardt  (root'-hiirt),  (i)  Fr.,  1800 — 
1862  ;  oboist  and  composer.  (2) 
Julius,  b.  Stuttgart,  Dec.  13,  1841  ; 
son  of  above;  violinist,  th. -conductor 
since  1885  at  Bremen  ;  c.  incid.  mus. 
songs.  (3)  Ad.,  b.  Stuttgart,  Feb. 
9,  1849  ;  bro.  of  above  ;  pupil  of  the 
Cons.;  1868-85,  teacher  in"  Geneva, 
then  Leipzig  Cons.;  writer  and  com- 
poser. 

Ruzicka  (Rucsicska,  Rutschitsch- 
ka,  etc.)  (root-shetsh'-ka),  Wenzel, 
Jaumentz,  Moravia,  1758 — Vienna, 
1823  ;  bandm.  and  dram,  composer 
and  ct.-organist  ;  Schubert  was  his 
pupil. 

Ryan,  (i)  Michael  Desmond,  Kil- 
kenny, 1816 — London,  1868  ;  from 
1836  critic  and  librettist  in  London. 
(2)  Thos,,  b.  Ireland,  1827  ;  at  17 
went  to  the  U.  S. ;  studied  Boston, 
1849  ;  co-founder  "  Mendelssohn 
Quintet  Club,"  with  which  he  toured 
America  ;  clarinet  and  via. -virtuoso  ; 
c.  quintets,  quartets,  songs,  etc.; 
wrote  ^'Recollections  of  an  old  Mu- 
sician "  (New  York,  1890). 

Ryba  (re'-ba),  Jakob  Jan.,  Przestitz, 
Bohemia,  1765 — Roczmittal,  1815  ;  c. 
6  comic  operas,  etc. 

Ryder,  Thos.  Philander,  b.  Cohas- 
set,  Mass.,  June  29,  1836;  pupil  of 
Gv.  Satter ;  organist  Tremont 
Temple,  Boston  ;  c.  pf. -pieces. 


7o8 


THE  MUSICAL  GUIDE 


- 


Saar   (zar),  (Louis)   Victor    Fz.,   b. 

Rotterdam,  Dec.  lo,  1868  ;  studied 
with  Rheinberger  and  Abel,  Munich 
Cons.;  then  with  Brahms  ;  1891  took 
the  Mendelssohn  composition  prize 
for  a  pf. -suite  and  songs  ;  1892-95, 
opera-accompanist.  New  York  ;  1896- 
98,  teacher,  comp.  and  cpt.,  National 
Cons.,  N.  Y.;  1898,  Coll.  of  Mus.; 
critic  and  composer  for  piano. 
Sabbatini  (sab-bii-te'-ne),  (i)  Gale- 
azzo,  b.  Pesaro  ;  ct. -maestro  and 
composer  (1627-39).  (-)  Luigi  A., 
Albano  Liziale,  Rome,  1739 — Padua, 
1809  ;  maestro,  writer  and  composer. 
Sacchi  (sak'-ke),  Don  Giovenale,  Bar- 
fio,  Como,  1726 — Milan,  1789;  writer. 
Sacchini  (sak-ke'-ne),  A.  M.  Gaspa- 
re, Pozzuoli,  near  Naples,  June  23, 
1734 — Paris,  Oct.  8,  1786  ;  eminent 
Neapolitan  opera  composer,  son  of  a 
poor  fisher.  Discovered  and  taught  by 
Durante  and  others;  1756,  prod.  succ. 
intermezzo  "  Fra  Donaia"  followed 
by  others  in  Neapolitan  dialect ;  1762- 
66,  at  Rome  in  a  keen  rivalry  with 
Piccini  ;  1772-82,  London,  succ.  as 
composer  but  not  as  financier.  Fled 
from  creditors  to  Paris  where  he  had 
succ.  and  prod,  many  works,  incl. 
"  (Edipe  a  Colone"  his  best  work. 
He  c.  over  60  operas,  6  oratorios,  etc. 
Sachs  (zakhs),  (i)  Hans,  Nurnberg, 
Nov.  5,  1494— Jan.  19,  1576  ;  a 
cobbler ;  chief  of  the  ISIeistersinger 
(v.  D.D.)  and  hero  of  Wagner's  opera 
of  that  name  ;  he  wrote  over  4,000 
poems,  1, 700  tales  and  200  dramatic 
poems  ;  alsoc.  melodies.  (2)  Julius, 
Waldhof,  Meiningen,  1830 — Frank- 
fort-on-Main,  1888  ;  pianist.  (3) 
Melchior  Ernst,  b.  Mittelsinn, 
Lower  Franconia,  Feb.  28,  1843  ; 
pupil  Munich  Cons,  and  of  Rhein- 
berger ;  1868-72,  cond.  "  Lieder- 
kranz  "  ;  1871 ,  teacher  of  harm.  Sch. 
of  Mus.;  founded  and  still  cond. 
"  Tonkiinstlerverein "  concerts;  c. 
opera,  ballade  with  orch.,  etc. 
Sachse-Hofmeister      (zakhs'-  e  -  hof- 


m!-shter),  Anna,  b.  Gumpolds- 
kirchen,  near  Vienna,  July  26,  1852  ; 
soprano. 

Saffieddin',  Abdolmumin,  Ben  Fa- 
chir  el  Ormeve  el  Bagdadi,  chief 
Arabic  and  Persian  theorist  of  the 
13th  and  14th  cents.,  author  of  the 
standard  work  "  Sheieffie.'"' 

Saf'onoff,  W.,  b.  Istchory,  Caucasus, 
f^eb.  6  (new  style),  1852  ;  pupil  of 
Leschetizki  and  Zaremba  ;  then  of 
Brassin,  Petersburg  Cons.,  taking 
gold  medal,  1881-85,  teacher  there  ; 
1885,  Moscow;  1889,  dir.  of  the  Cons, 
there,  and  since  1890  conductor. 

Sagh  (siikh),  Jos.,  b.  Pesth,  March  13, 
1852;  Hungarian  lexicographer;  1885, 
founder  and  editor  of  mus.  paper 
"  Zenclap." 

Sagitta  rius.     Vide  schutz. 

Sahla  (za'-la),  Richard,  b.  Graz,  Sept. 
17.  1S55  ;  violinist  ;  pupil  of  David, 
Leipzig  Cons.;  debut,  Gewandhaus, 
1873;  1888,  ct.-cond.  Biickeburg; 
founded  an  oratorio-soc.  there  ;  c.  a 
Roumanian  Rhapsody,  etc. 

Saint-Amans  (sah-ta-man),  L.  Jos.,, 
Marseilles,  1749 — Paris,  1820;  con- 
ductor at  Brussels  and  dram,  com 
poser. 

Saint  Aubin  (sah-t5-bah),  (i)  Jeanne: 
Charlotte  (nee  Schroeder),  Paris 
1764 — 1850;  notable  operatic  singer; 
Her  three  children  :  (2)  Jean  Denis; 
Lyons,  1783 — Paris,  1810  ;  violinisi 
and  composer.  (3)  C^cile,  b.  Lyons] 
1785  ;  retired,  1820;  singer.  (4; 
Alexandrine,  b.  Paris,  1793;  re! 
tired,  1812  ;  sister  of  above  ;  singej 
of  great  promise. 

Saint-Georges  (sah-zhorzh),  (i) 

Chev.  de,  Guadeloupe,  1745 — Paris 
1799  (oJ"  1801)  ;  mulatto  violinist  anv 
composer.  (2)  Jules  H.  Vernoy 
Marquis  de,  Paris,  1801 — 1875  ;  li 
brettist  of  many  works,  especially  i 
collaboration   with  Halevy. 

Saint-Huberty  (sah-tii-ber-te),  Antoi; 
nette  C6cile  Clavel  (called  St.-Ht 
berty,rightlyClavel),Toul,  ca.  I75( 
— London,  1812,  noted  soprano,  G: 
Optfra,   Paris,  1777-89;   1790,  m.  tb 


I 


DICTIONARY  OF  MUSICIANS    709 


Count  d'Entraigues  ;  they  were  assas- 
sinated at  their  country  seat,  near 
London,  1S12  (probably  from  political 
motives). 

Saint-Lambert  (san-lan-bar),  Michel 
de,  Parisian  harpsichord  -  teacher  ; 
wrote  methods  (1680- 1700). 

Saint-Lubin  (san-lu-ban),  L6on  de, 
Turin,  1805 — Berlin,  1S50  ;  violinist 
and  dram,  composer. 

Sainton  (sdn-ton),  (i)  Prosper  (Ph. 
Catherine),  Toulouse,  1813 — Lon- 
don, iSgo ;  violinist  and  composer. 
(2)  Sainton-Dolby,  Charlotte  He- 
len (nee  Dolby),  London,  1821 — 
1885  ;  contralto-singer. 

Saint-Saens  fsan-san),  Chas,  Ca- 
milla, b.  Paris,  Ott.  9,  1S35  ;  emi- 
nent French  composer.  Began  to 
study  the  piano  before  3  ;  at  5  played 
a  Gretry  opera  from  the  score  ;  at  7 
entered  the  Cons.,  pupil  of  Stamaty 
(pf.),  Maleden  and  Halevy  (comp.), 
and  Benoist  (org.);  ist  org.-prize, 
1851;  at  16,  prod,  a  symph.;  1853, 
organist  Saint-Mery;  1858,  the  Ma- 
deleine ;  also  till  1870  pf. -teacher 
Niedermeyer  Sch.;  made  frequent 
tours.  He  is  a  writer  of  unusual  gifts. 
1894,  Commander  of  the  Legion  of 
Honour.  C.  operas:  i-act  "Zrt  Prin- 
cessejaufie"  {Op. -Com.,  1872);  "Z^ 
Timbre  d' Argent,'^  4-acts  (Th.-Lyr., 
1877)  ;  the  very  succ.  "  Samson  et 
Dalila"  (Weimar,  1877,  often  sung 
as  an  oratorio)  ;  "  Proserpine  "  (Op.- 
Com.,  1S87)  ;  ''Ascanio"  (Opera, 
1890)  ;  comic  ''  Phryne"  (Op. -Com., 
1893) ;  "  Parisatis  "  (Beziers,  1902)  ; 
wrote  the  last  2  acts  of  Guiraud's  un- 
finished "Fre'd/gonde"  (Opera,  1895). 
C.  ballets,  music  to  ''Antigone"  (Com- 
edie-Fran9aise) ;  and  Gallet's  "  Dcja- 
nire"  (Beziers,  1898,  with  orch.  of 
250,  chorus  of  200,  and  ballet  of  60 
in  open  air).  C.  also  a  Christmas 
oratorio;  the  "  Biblical  opera"  "  Z(? 
Deluge";  2  masses  ;  ode  "  Za  Lyre 
et  la  Ha7-pe"  (Birmingham  Fest., 
1879);  "  Zfl  jota  aragonese"  for 
orch.;  5  pf. -concertos  ;  3  vln. -con- 
certos ;  'cello-concerto  ;  cantata  '  'Les 


Noces  de  Promethec''  (1867);  Psalm 
19,  with  orch.  (London,  1S85) ;  5 
symphs.,  4  symphonic  poems,  "  Z^ 
rouet  d'Omphale,'''  "  Phaeton" 
"■Danse  macabre"  "■'La  jeunesse 
d' Ilercule" ;  2  orch.  suites,  the  first 
"  Algerienne,'"  etc. 

Sala  (sii'-la),  Nicola,  near  Benevento, 
Italy,  1701 — Naples,  1800;  Maestro, 
theorist  and  dram,  composer. 

Sal'aman,  Chas.  Kensington,  Lon- 
don, March  3,  1S14 — July,  1901  ; 
pianist  ;  pupil  of  Rimbault  and  Chas. 
Neate  ;  debut  1828,  then  studied  with 
H.  Herz,  Paris;  1831,  teacher  in 
London  ;  1840,  founded  a  choral  soc; 
1858,  founded  the  Mus.  Soc.  of  Lon- 
don ;  also  the  Mus.  Assoc,  1874; 
critic  and  essayist ;  c.  orch.  pes.,  etc. 

Sal'blinger  (Salminger)  (zal'-mlng- 
er),  Sigismund,  monk,  at  Augsburg; 
composer,  1545. 

Saldoni  (sal-do'-ne),  Don  Baltasar, 
Barcelona,  1807 — 1890  ;  organist, 
singing-teacher,  writer  and  dram, 
composer. 

Sale  (sal),  (i)  Fran.,  Belgian  ct.- 
tenor  and  composer,  1589.  (2)  (sal), 
John,  London,  1758 — 1827;  bass, 
conductor  and  composer.  (3)  John 
B.,  Windsor,  1779 — 1856;  organist, 
bass,  teacher  and  composer  ;  son  of 
above.  (4)  Geo.  Chas.,  Windsor, 
1796 — 1S69  ;  organist  ;  son  of  (2). 

Saleza  (sal-a-za),  Albert,  b.  Bruges, 
Beam,  1867;  notable  tenor;  pupil 
Paris  Cons.;  ist  prize  in  singing,  2d. 
in  opera;  debut  Op. -Com.,  1888; 
1889-91,  at  Nice ;  from  1892,  en- 
gaged at  the  Opera,  Paris;  1898, 
Met.  Op.,  New  York. 

Salieri  (siil-I-a -re),  (i)  Ant.,  Legnago, 
Verona,  Aug.  19,  1750 — Vienna,  May 
7  (12?),  1825;  noted  operatic  com- 
poser and  organist  ;  pupil  of  his 
brother  (2)  Francesco  (violinist)  and 
of  vSimoni,  Pascetti  and  Pacini ; 
taken  to  Vienna  by  Gassman  ;  his  suc- 
cessor as  ct. -composer  and  cond.  of 
Italian  opera  ;  he  prod,  many  operas 
there,  then  one  at  Paris  under  Gluck's 
name,  G.  kindly  confessing  the  ruse 


710 


THE    MUSICAL    GUIDE 


when  the  operawasa  succ;  17S8,  ct.- 
cond.  Vienna  ;  was  a  rival  of  Mozart 
and  unjustly  accused  of  poisoning 
him  ;  c.  40  operas,  12  oratorios,  etc. 

Salimbeni  (sal-lm-ba'-ne),  Felice, 
Milan,  ca.  1712 — Laibach,  1751;  so- 
prano-musico. 

Salinas  (sa-le'-nis),  Fran.,  Burgos, 
Spain,  ca.  1512 — 1590;  professor. 

Sallantin  (sal-lari-tan).  A.,  Paris,  1754 
— after  1813;  oboe-virtuoso,  teacher 
and  composer. 

Salminger.     Vide  salbi.inger. 

Salmon  (sam'-un),  Eliza,  Oxford, 
1787 — Chelsea,  1849;  soprano. 

Sal 6,  Gasparo  da.     Vide  g.xsparo. 

Saloman  (za'-15-man),  Siegfried, 
Tondern,  Schleswig,  1818 — Stock- 
holm, 1S99 ;  violinist,  lecturer  and 
dram,  composer. 

Salome  (sai-6-ma),  Th.  Cesar,  Paris, 
1S34 — St. -Germain,  1896  ;  composer 
and  organist. 

Salomon  (za-l6-m6n),  (i)  Jn.  Peter, 
Bonn,  Jan.,  1745 — London,  Nov. 
28,  1815  ;  vln. -virtuoso  ;  from  1781, 
London ;  1786,  organised  famous 
Salomon  concerts  for  which  Haydn, 
whom  he  brought  over,  c.  special 
works.  (2)  Moritz,  mus.-dir.  at 
Wernigerode,  Harz  ;  pub.  a  treatise 
against  Natorp,  1820,  and  mus. 
novels.  (3)  M.,  Besanjon,  1786 — 
183 1 ;  guitar-player  ;  composer,  inv. 
the  "harpolyre."  (4)  Hector,  b. 
Strassburg,  May  29,  1838  ;  pupil  of 
Jonas  and  Marmontel  (pf.),  Bazin 
(harm.)  and  Halevy  (comp.);  in  1870, 
2d  chorusm.,  later  chef  de  chant,  Gr. 
Opera  ;  c.  operas,  etc. 

Salter  (sol'-ter),  Sumner,  b.  Burling- 
ton, Iowa,  June  24,  1856  ;  studied  at 
Amherst  Coll.  and  music  in  Boston  ; 
organist  and  mus.-dir.,  N.  Y.;  ed. 
"  The  Musician" ;  c.  church-mus. 

Salvayre  (sal-var)  (Gervais  Bd.), 
Gaston,  b.  Toulouse,  June  24,  1847; 
studied  at  the  cath.-maitrise,  then  at 
Toulouse  Cons.;  later  Paris  Cons., 
taking  the  Grand  prix  de  Rome, 
1872,  with  cantata  "  Calypso";  1877, 
chorusm.    at     the    Opera-Populaire ; 


1894  in  Servia  ;  later  critic  of  "  Gil 
Bias";  Chev.  of  the  Legion  of 
Honour;  c.  operas  '' Le  Bravo" 
{1S-J7),  ''Richard  III."  (Peters- 
burg, 1S83),  ''  Egmont"  (Op. -Com., 
1886),  "  Za  Dame  de  Montsoreau" 
(Opera,  1888),  etc.;  c.  also  Biblical 
symph.,  "Za  Resurrection"  113th 
Psalm  with  orch.,  etc. 

Samara  (sa-ma  -ra),  Spiro,  b.  Corfu, 
1S61;  pupil  of  Enrico  Stancampiano 
in  Athens  ;  later  of  Delibes,  Paris 
Cons.;  prod.  v.  succ.  opera,  ''Flora 
Mirabilis"  {ViWden,  1886);  "Hedge" 
(Rome,  1888);  "  Lionella"  (Milan, 
1891)  ;  "La  Martire"  (Naples, 
1S94;  Paris,  1898);  "  La  Furia  Do-  \ 
mata"  (Milan,  1895);  "  Histoire 
d'ainour  "  (Paris,  1902). 

Sammartini  (sam-miir-te'-ne),  (i) 
Pietro,  ct.-mus.  at  Florence,  etc. 
(1635-44).  (2)  Giov.  Bat.,  Milan, 
ca.  1705 — ca.  1775  ;  organist,  con- 
ductor and  composer.  (3)  Giu.,  d.  \ 
London,  1740  ;  oboist ;  bro.  of  above,     j 

Samuel  (sam-wel).  Ad.,  Liege,  1824 —     j 
Ghent,    1898  ;     theorist    and    dram, 
composer. 

Sanctis,  de.     Vide  de  Sanctis.  I 

Sandberger  (zant'-berkh-er).  Ad.,  b.  j 
\Viir7.burg,  Dec.  19,  1864 ;  studied  at  ■ 
the  R.  Sch.  of  Mus.  there,  and  at  ' 
Munich,  also  with  Spitta  ;  1887,  Dr.  ; 
Phil.;  mus.  libr.,  Munich  Library,  '. 
and  lecturer  at  the  Univ.;  1898  prof, 
of  mus.  at  Prague  Univ.;  ed.  Orlando  i 
di  Lasso's  complete  works  ;  wrote  .. 
biog. ,  hist.,  essays,  etc.;  c.  v.  succ.  ' 
opera  "  Ludwig  der  Springer"  (Co-  ( 
burg,  1895),  overture,  etc. 

Sanders,  C.     Vide  lkuckart. 

Sanderson,  (i)  Jas.,  Workington, 
Durham,  1769 — ca.  1841  ;  violinist, 
teacher  and  composer.  (2)  Lillian, 
b.  Sheboygan,  Wis.,  U.  S.  A.,  Oct. 
13,  1867  ;  concert  mezzo-soprano ; 
pupil  of  Stockhausen,  Frankfort-on-  ■ 
Main ;  debut  Berlin,  1890 ;  toured 
Europe ;  m.  Fz.  Rummel ;  lives  in 
Berhn.  (3)  Sibyl,  b.  Sacramento, 
Cal.,  1865;  soprano,  opera-singer; 
pupil  of  de  la  Grange  and  Massenet ; 


DICTIONARY   OF  MUSICIANS   71 


succ.  debut,  Op. -Com.,  1889;  sang 
there  for  years  ;  1898  in  New  York 
Met.  Op.,  and  variously  in  Europe. 

Sandoni.     Vide  cuzzoni. 

Sandow  (zan'-d6),  (i)  Eugen,  b.  Ber- 
lin, Sept.  II,  1856;  violinist;  pupil 
Rohne,  W.  Muller,  and  K.  Hoch- 
schule  ;  from  1879  court  chamber- 
mus.  His  wife  (2)  Adelina  (nee 
Herms),  b.  Friesack,  Oct.  14,  1862  ; 
singer  and  teacher. 

Sandt  (zant),  Max  van  de,  Rotter- 
dam, Oct.  18,  1863  ;  pianist  ;  pupil 
of  his  father  and  Liszt ;  toured 
Europe ;  1889,  pf.-teacher  Stern 
Cons.,  Berlin. 

Sandys  (sands),  Wm.,  1792 — 1874  ; 
English  writer  on  music. 

Sanger-Sethe  (zeng'-er-za-te),  Irma, 
b.  Brussels,  April  28,  1876  ;  notable 
violinist ;  daughter  of  Dutch  father 
and  German  mother  ;  began  violin  at 
5  ;  pupil  of  her  mother,  of  Joachim, 
Wilhelmj,  and  Ysaye,  took  ist  prize 
at  the  Cons.;  debut  London,  1895; 
toured  Europe  with  great  success  ;  m. 
Dr.  Sanger,  1897,  and  Hves  in  Berlin. 

Sangiovanni  (san-j6-van'-ne),  A., 
Bergamo,  1831 — Milan,  1892  ;  prof. 
of  singing. 

Santini  (san-te'-ne),  Abbate  Fortu- 
nate, Rome,  1778 — ?;  coll.  a  no- 
table mus. -library. 

Sant'ley,  (i)  Chas.,  b.  Liverpool, 
Feb.  28,  1834 ;  noted  operatic  and 
concert  barytone ;  pupil  Nava,  Mi- 
lan ;  Garcia,  London  ;  debut,  1857  ; 
won  pre-eminence  in  England  at 
festivals,  etc.  ;  operatic  debut,  Co- 
vent  Garden,  1859  '<  1875  with  Carl 
Rosa  Co.  ;  1871  and  1891,  America  ; 
retired  1900  ;  also  a  painter ;  c.  a 
mass  with  orch.;  a  berceuse  for  orch. 
(1890)  ;  songs  (pub.  under  the  pseud. 
"  Ralph  Betterton  "),  etc.  His  wife, 
(2)  Gertrude  Kemble  (Charles 
Kemble's  granddaughter)  (d.  1882). 
was  a  soprano  ;  their  daughter  (3) 
Edith  was  a  successful  soprano,  till 
her  marriage  in  1S84  with  the  Hon. 
R.  H.  Lyttleton. 

Santucci      (san-toot'-che),      Marco, 


Camajore,  1762 — Lucca,  1843;  con- 
ductor and  composer. 
Sapell'nikoff,  Wassily,  b.  Odessa, 
Oct.  21,  186S  ;  pianist ;  pupil  of  Fz. 
Kessler,  and  then  (with  a  stipend  from 
the  city  of  Odessa)  of  L.  Brassin  and 
Sophie    Menter,    Petersburg    Cons.; 

1858,  debut  Hamburg  ;  toured. 
Saran  (zii'-ran),  Aug,  (Fr.),  b.  Alten- 

plathow,  Province  of  Saxony,  Feb. 
28,  1836  ;  pupil  of  Fr.  Ehrlich  and 
of  R.  Franz ;  teacher,  army-chap- 
lain (1873)  ;  1885  cond.  of  a  church- 
choral  soc.  at  Bromberg  ;  writer  and 
composer. 
Sarasate  (sa-ra-sa'-te),  Pablo  (Mar- 
tin Meliton  Sarasate  y  Navas- 
cuez)  de,  b.  Pamplona,  Spain, 
March  10,  1844  ;  eminent  violinist ; 
at  10  played  before  the  Queen,  who 
presented  him  with  a  Stradivari ; 
after  succ.  concerts  in  Spain  he  stud- 
ied with  Alard  (vln.)  and  Reber 
(comp.),  Paris  Cons.,  taking  ist  vln.- 
prize   1857,    and  a  pi'emier  accessit, 

1859,  in  harm.;  he  has  made  very 
wide  and  very  succ.  tours  ;  1889, 
America.  For  him  Lalo  c.  his  ist 
vln. -concerto  and  the  "  Symph.  es- 
pagnole  "  ;  Bruch,  his  2nd  concerto 
and  the  Scotch  Fantasia  ;  A.  C. 
Mackenzie,  the  "Pibroch"  Suite.  S. 
has  pub.  ''  Zigeunerweisin"  for  vln. 
and  orch.;  ''  Spanische  Tdnze"  lor 
vln.  and  pf. ,  fantasias,  etc. 

Sarmiento  (sar-mi-en'-to),  Salvatore, 
Palermo,  18 17 — Naples,  1869  ;  con- 
ductor and  dram,  composer. 

Saro  (sa -ro),  J.  H.,  Jessem,  Saxony, 
1827 — Berlin,  1891  ;  bandmaster  and 
writer. 

Sarrette  (sar-ret),  Bd.,  Bordeaux, 
1765 — Paris,  1858  ;  founder  and  di- 
rector till  18x4  of  the  Paris  Cons, 
which  he  gradually  developed  from 
a  sch.  started  by  the  band  of  the 
Paris  National  Guard. 

Sarri  (sar'-re),  Dom.,  Trani,  Naples, 
167S — after  1741  ;  conductor  and 
dram,  composer. 

Sarti  (sar'-te),  Giuseppe  (called  II 
Domenichino)  (el  do-men-I-ke'-no), 


712 


THE    MUSICAL    GUIDE 


Faenza,  Dec.  i,  1729 — (of  gout)  Ber- 
lin, July  28,  1802  ;  pupil  of  eitherVal- 
lotti  or  Padre  Martini ;  1 748-50  organ- 
ist F"aenza  Cath.  ;  175 1  he  prod,  at 
Faenza,  succ.  opera '' Poinpeo in  Anne- 
««fl,"  followed  by"//  Re  Pas  tore" 
(Venice,  1753)  and  others  so  succ. 
that  at  24  he  was  called  to  Copen- 
hagen as  dir.  Italian  opera  and  court- 
cond.;  he  was  summarily  dismissed 
for  political  reasons;  1775-99,  dir. 
Cons,  deir  Ospedaletto,  Venice  ;  in 
competition  (with  Paisiello  and  others) 
he  won  the  position  of  cond.  at  Milan 
Cath.;  he  prod,  from  1776-84,  15 
operas  ;  he  also  prod,  grand  canta- 
tas and  several  masses,  etc.  Cathe- 
rine II.  invited  him  to  Petersburg. 
As  he  passed  Vienna,  he  was  received 
by  the  Emperor,  and  met  Mozart, 
complaining,  however,  of  the  "  bar- 
barisms" in  M.'s  quartets  and  find- 
ing 19  mortal  errors  in  36  bars.  Lived 
at  Petersburg  18  years,  excepting 
a  brief  period  of  disgrace,  due  to 
Todi,  during  which  exile  he  founded 
a  fine  sch.  at  Ukraine.  1793  he  was 
restored  to  the  Empress'  favour,  and 
placed  at  the  head  of  a  Cons.  He 
raised  the  Italian  opera  to  high  effi- 
ciency, inv.  a  very  accurate  machine 
for  counting  vibrations  and  was  en- 
nobled in  1795.  In  a  Te  Deum  (on 
the  taking  of  Otchakow  by  Potemkin) 
the  music  was  reinforced  by  fire- 
works and  cannon.  He  set  the  li- 
bretto "  Hega  "  by  the  Empress.  He 
c.  40  operas,  masses,  some  still  per- 
formed, etc. 

Sartorio  (sar-to'-rt-o).  A.,  Venice,  ca. 
1620 — ca.  1681;  conductor  and  dram, 
composer. 

Sass  (sas)  (at  first  sang  under  the  name 
Sax),  Marie  Constance,  b.  Ghent, 
Jan.  26,  1838  ;  a  chansonette-singer 
in  a  Paris  cafe,  found  and  taught  by 
Mme.  Ugalde ;  debut  Th.-Lyrique, 
1859,  as  soprano,  1860-71,  at  the 
Opera,  then  in  Italy ;  1864,  m. 
Castelmary,  divorced  1867. 

Satter  (zat'-ter),  Gustav,  b.  Vienna, 
Feb.   12,  1S32  ;  pianist  ;  studied    Vi- 


enna and  Paris  ;  1854-60  toured  the 
U.  S.  and  Brazil;  returned  to  Paris, 
where  Berlioz  warmly  praised  his 
compositions  ;  lived  in  various  cities  ; 
c.  opera  "  Olanthe"  overtures  "  Lore- 
lei"  ''Julius  Cesar"  ''An  die 
Freude"  2  symphs.,  a  symph.  tone- 
picture  "  JVasJiiitgton"  etc. 

Sattler  (zat'-ler),  H.,  Quedlinburg, 
r8ii — Brunswick,  1891 ;  writer  and 
composer. 

Sauer  (zow'-er),  (i)  Wm.,  b.  Fried- 
land,  Mecklenburg,  1831  ;  org.- 
builder  from  1857  at  Frankfort-on- 
Oder.  (2)  Vide  leidesdorf.  (3) 
femil,  b.  Hamburg,  Oct.  8,  1862 ; 
notable  pianist  ;  pupil  of  his  mother; 
of  N.  Rubinstein  at  Moscow,  1881, 
and  of  Liszt  at  Weimar  ;  from  1882 
toured  Europe  and  1898-99  U.S. with 
great  succ.  ;  1901,  head  of  pf.-dept.  , 
Vienna  Cons. ;  c.  suite  moderne,  "Aus 
lichten  Tagen"  2  piano  concertos,! 
concert-etude,  etc.  ; 

Saurel  (sa-oo-rel),  Emma,  b.  Paler-) 
mo,  1850;  opera  -  singer ;  debut,! 
Pisa  ;  has  toured  widely.  i 

Sauret  (s6-ra),  6mile,  b.  Dun-le-Roi,  i 
Cher,  France,  May  22,  1852;  notable 
violinist ;  pupil  of  Paris  Cons,  and  of 
de  Beriot,  Brussels  Cons.;  at  8  began, 
succ.  European  tours  ;  America  1872,: 
and  frequently  since ;  1880-81,  t.i 
Kullak's  Acad.,  Berlin  ;  lived  in^ 
Berlin  till  1890,  then  prof.  R.  A.  M.,! 
London  ;  wrote  "  Gradtts  ad  Parnas-' 
sum  du  violuniste"  (Leipzig,  1894)  ; 
c.  2  vln. -concertos,  etc. 

Sauter  (zow'-ter),  Severin  S.,  Ger- 
many, 1822 — St.  Louis,  Mo.,  March 
24,  1901;  cond.;  came  to  America  as 
refugee,  1848. 

Sauveur  (s6-vur),  Jos.,  La  Fleche  ! 
1653 — Paris,  1716  ;  a  deaf-mute,  whc  I 
learned  to  speak  at  7,  and  became  i  | 
notable  investigator  in  acoustic;,  j 
(which  word  in  fact  he  invented)  ;  h<  : 
was  the  first  to  calculate  absolute  vi  ; 
bration- numbers,  and  to  explain  over  \ 
tones;  pub.  many  treatises  (1700-13) 

Sauzay  (so-ze),  Chas.)  Eugene 
Paris,  July  14, 1809 — 1901 ;  violinist      ' 


DICTIONARY  OF  MUSICIANS   7^3 


pupil  of  Vidal;  later  of  Baillot  at  the 
Cons. ;  won  ist  and  2nd  vln.  -prize,  and 
prize  for  fugue  ;  2nd  vln.  and  after- 
wards via.  in  Baillot's  quartet,  and  m. 
B.  's  daughter  (a  pianist) ;  1840  solo  vio- 
linist to  Louis  Philippe  ;  later  leader 
of  2nd  vlns.  Napoleon  III.'s  orch.; 
1S60  vln. -prof,  at  the  Cons.;  pub.  a 
treatise;  c.  a  string-trio,  '' Etudis 
harinoniqnes"  etc. 

Savard  (sa-var),  M.  Gabriel  Aug., 
Paris,  1814 — 1881  ;  prof,  of  harm. 
and  thorough-bass  at  the  Cons.;  pub. 
treatises. 

Savart  (sa-var),  F.,  Mezieres,  1791— 
Paris,    1841  ;  acoustician. 

Savile  (sav'-Il),  Jeremy,  English  com- 
poser,  1653. 

Sax  (sax),  (i)  Chas.  Jos.,  Dinant-sur- 
Meuse,  Belgium,  1791 — Paris,  1865  ; 
studied  flute  and  clarinet,  Brussels 
Cons.;  from  1815  managed  an  instr.- 
factory  at  Brussels,  making  a  spe- 
cialty of  brass  instrs. ;  he  made  many 
improvements  ;  1853  he  joined  his 
son  Ad.  in  Paris.  (2)  (Ant.  Jos). 
Adolphe,  Dinant,  Nov.  6,  1814 — 
Paris,  Feb.  9,  1894  ;  son  of  above  ; 
eminent  maker  and  inv.  of  instrs. ;  he 
inv.  the  family  of  instrs.  called  the 
saxophone  (v.  d.  d.)  ;  in  Paris  he  con- 
tinued to  make  improvements  invent- 
ing the  saxhorns,  saxotromba,  etc.; 
1857  teacher  of  the  sa.xophone,  Paris 
Cons,  and  pub.  a  saxophone  method; 
he  had  much  litigation  over  the  prior- 
ity of  his  inventions,  but  always  won. 
(3)  Alphonse,  bro.  and  co-worker  of 
above.     (4)  Marie.     Vide  s.\ss. 

Sbolci  (s'bol'-che),  Jefte,  Florence, 
1833 — 1895  ;  'cellist  and  teacher. 

Scacchi  (skak'-ke),  Marco,  b.  Rome  ; 
ct.-conductor  1618-48 ;  writer  and 
composer. 

Scalchi  (skal'-ke),  Sofia,  b.  Turin, 
Nov.  29,  1850  ;  alto  or  mezzo-sopra- 
no of  unusual  range  f-b"  (v.  pitch 
D.  D.)  ;  pupil  of  Boccabadati  ;  debut 
Mantua  (1866);  she  has  sung  through- 
out Europe,  often  in  North  and  South 
America  with  much  succ;  1S75  m. 
Signor  LoUi. 


Scaletta   (ska-let'-ta),  Orazio,  Crema 

— Padua,  1630  ;  conductor  and  com- 
poser. 

Scandel'li,  Ant.,  Brescia,  1517 — Dres- 
den, 1580  ;  conductor  and  composer. 

Scaria  (ska'-rl-a),  Emil,  Graz,  1840 — 
Blasewitz,  1SS6  ;  bass  ;  created 
"Wotan"  at  Bayreuth,  1876  and 
"  Gurnemanz"  {Fai-sifal),  1882. 

Scarlatti  (skar-lat'-te),  (i)  Aiessan- 
dro,  Trapani,  Sicily,  1659 — Naples, 
1725  ;  founder  of  the  "  Neapolitan 
Sch.";  noted  teacher  and  an  impor- 
tant innovator  in  opera  (he  prod,  over 
115)  ;  in  1680  he  is  first  heard  of  as 
conducting  his  own  opera  ;  he  intro- 
duced the  innovation  of  the  orchestral 
ritornello,  and  a  partial  rccitativio 
obbligato  (v.  D.D.);  1684  court-cond.; 
1703,  2nd  cond.  S.  Maria  Maggiore, 
Rome;  1707-09,  ist.  cond.;  teach- 
er at  3  conservatories,  San  Onofrio  ; 
de'  Poveri  di  Gesu  Christi,  and  the 
Loreto.  (2)  Domenico  (Girolamo), 
Naples,  1683  (5  ?) — 1757  ;  son  and 
pupil  of  above  ;  studied  also  with 
Gasparini  ;  eminent  virtuoso  and 
composer  for  harpsichord  ;  founded 
modern  pf.-technic ;  devised  many 
now  familiar  feats  ;  the  first  to  com- 
pose in  free  style  without  contra- 
puntal elaboration  and  mass  ;  in  a 
competition  with  Handel  he  proved 
himself  equal  as  a  harpsichordist,  but 
confessed  himself  hopelessly  defeated 
as  an  organist  ;  he  was  thereafter  a 
good  friend,  almost  an  idolater,  cross- 
ing himself  when  he  mentioned  Han- 
del ;  1715-19  he  was  maestro  at  St. 
Peter's,  1720  at  London  ;  1720  court- 
cembalist  Lisbon  ;  his  gambling  left 
his  family  destitute;  from  17 10  he  prod, 
operas,  inch  the  first  setting  of  "  Am- 
Icto"  (1715).  (3)  Giuseppe,  Naples, 
1712 — Vienna,  1777;  grandson  of  (i); 
dram,  composer.  (4)  Fran.,  c.  a 
melodrama  in  MS.  at  Rome.  (5) 
Pietro,  c.  opera  "  Clitarro"  with 
intermezzi  by  Hasse. 

Schaab  (shap),  Robt,,  Rotha,  near 
Leipzig,  1817 — 1887  ;  organist  and 
composer. 


714 


THE  MUSICAL  GUIDE 


Schachner  (shakh'-ner),  Rudolf  Jos., 

Munich,  1821 — Reichenhall,  1896  ; 
pianist,  teacher  and  composer. 

Schacht  (shakht),  Matthias  H.,  Vi- 
borg,  Jutland,  1660 — Kierteminde, 
1700  ;  lexicographer. 

Schack  (Cziak)  (shak  or  chak),  Ben- 
edikt,  Mirowitz,  Bohemia,  1758 — 
Munich,  1826  ;  tenor  and  dram,  com- 
poser. 

Schad  (shat),  Jos.,  b.  Steinach,  Bava- 
ria, 1812 — Bordeaux,  1879;  pianist 
and  composer. 

Schade  (sha-de),  (i)  (Schadaus) 
Abraham,  pub.  a  valuable  coll.  of 
384  motets  (1611-16).  (2)  Carl, 
singing-teacher  and  writer  (1828-31). 

Schaffer  (shef'-fer),  (i)  Aug.,  Rhein- 
berg,  1814 — Berlin,  1879;  dram, 
composer.  (2)  Julius,  b.  Crevese, 
Altmark,  Sept.  28,  1823  ;  studied 
with  Dehn,  Berlin  ;  1855  mus.  dir.  to 
the  Grand  Duke  at  Schwerin  ;  found- 
ed and  conducted  the  "  Schlosskirch- 
enchor ;  "  i860  mus.-dir.  at  the 
Univ.  and  cond.  Singakademie,  Bres- 
lau;  1871,  "  R.  Mus.-Dir.";  1878 
prof.;  Dr.  Phil.  h.  c.  (Breslau),  1872  ; 
wrote  defence  of  his  friend  Franz' 
accompaniments  to  Bach  and  Han- 
del ;  composer. 

Schafhautl  (shaf'-hl-tl),  K.  Fz.  Emil 
von,  Ingolstadt,i8o3 — Munich,  1890; 
professor  and  theorist. 

Schalk  (shalk),  Josef,  b.  Vienna  and 
studied  at  the  Cons.  ;  notable  cond., 
first  at  Graz,  then  ist  cond.  at  the 
Prague  Opera  and  Philh.  concerts  ; 
since  1S99  ist  cond.  ct. -opera,  Ber- 
lin; 1898  at  Covent  Garden,  1899 
gave  the  complete  Wagner  Ring- 
cycle  in  New  York. 

Scharfe  (shar'-fe),  ,  Grimma,  Sax- 
ony, 1835 — Dresden,  1892;  barytone, 
teacher  and  composer. 

Scharfenberg  (shar'-fen-berkh),  Wm., 
Cassel,  Germany,  1819 — Quogue, 
N.  Y.,  1895;  pianist,  teacher  and 
editor. 

Scharnack  (shar'-nak),  Luise,  b. 
Oldenburg,  ca.  i860  ;  mezzo-soprano  ; 


pupil    of     von     Bernuth,     Hamburg    | 
Cons.;  debut,  Weimar.  .. 

Scharwenka   (shar-ven'-ka),    (i)    (L.)   J 
Philipp,  b.  Samter,  Posen,   Feb.  16,   ] 
1S47;    pupil   of  Wiirst   and    Kullak's  ;D 
Acad.,    Berlin,    also    of    H.    Dorn ;  ij 
1S70,  teacher  of  theory  and  comp.  at  \  \ 
the  Acad.;     1880  founded    (with  his  J 
bro.  Xaver)  the  "  Scharwenka  Cons.";  ,> 
1891,  accompanied  his  bro.  to  New  il 
York ;    returned,   1892,  as  co-dir.  of 
the  Cons.,  later,  1893,  merged  in  the 
Klindworth  Cons. ;  he  is  also  a  carica- 
turist and  illustrated  a  satire  by  Alex. 
Moskowski      (Berlin.     188 1)  ;     1902, 
R.  Professor;  c.   "Ilerbsifeie?-"  and 
"  Saktintala"    for    soli,    chorus  and 
orch.,  2  s.ym^'hs., ''Arkadische  Suite"} 
and    '" Serenade"    for   orch.,    festival} 
overture.  Trio  in  G,  op.  112,  etc.  (2)| 
(Fz.)    Xaver,    b.    Samter,    Jan.    6,{ 
1850  ;     bro.  of  above  ;    distinguished 
pianist  and   composer;  pupil  of  Kul- 
lak  and  Wiirst,  Kullak's  Acad.;  1868, 
teacher  there  ;  at  19  gave  public  con- 
cert at  the  Singakademie,  with  succ; 
for  10  years  he  gave  annually  3  cham- 
ber-concerts  there   (with   Sauret   and 
H.  Grlinfeld) ;  cond.  of   subscription 
concerts  ;    1874,   toured  Europe  and 
America  ;    1880,  co-founder  the  "  Ber- 
lin   Scharw.   Cons.,"    dir.   till    1891, 
then  founded  a  Cons,  in  New  York  .'. 
1898,     BerHn,     as    dir.    Klindworth- 
Scharwenka   Cons.;  ct. -pianist  to  the 
Emperor   of   Austria,    "  Prof."  fron 
the  King  of  Prussia  ;    c.  succ.  oper^. 
'•' Matasu'intha"     (Weimar,      1896); 
symph.,  3  pf. -concertos,  etc. 

Schauensee  (show'-en-za),  (Fz.  Jos 
Leonti)  Meyer  von.  Lucerne,  i72( 
— after  1790 ;  organist  and  dram 
composer. 

Schebek  (sha'-bek),  Edmund,  Peters; 
dorf,  Moravia,  18 19 — Prague,  1895  i 
amateur  authority  on  vln.-construcj 
tion,  etc.  j. 

Schebest  (sha'-best),  Agnes,  Viennaj 
1813 — Stuttgart,      1869;      mezzo-so    1 
prano. 

Schechner-Waagen  (shek'-ner-vii 
gen),  Nanette,  Munich,  1806— 1860 


DICTIONARY  OF  MUSICIANS    715 


noted  soprano;  1S32,  m.  Waagen,  a 
painter. 

Scheibe  (shl-be),  (i)  Jn.,  d.  Leipzig, 
1748  ;  celebrated  org. -builder.  (2) 
Jn.  Ad.,  Leipzig,  1708 — Copen- 
hagen, 1776  ;  son  of  above  ;  organ- 
ist, editor  and  composer. 

Scheibler  (shi-bler),  Jn.  H.,  Montjoie, 
near  Aix-Ia-Cliapelle,  1777 — Crefeld, 
1S38  ;  acoustician  and  inventor. 

Scheidemann  (shl'-de-man),  (i)  Hein- 
rich,  Hamburg,  ca.  1596 — 1663  ;  or- 
ganist ;  pupil  and  successor  of  his 
father  (2)  Hans  S.,  organist  Kathe- 
rinenkirche. 

Scheidemantel  (shi  -de-man-tel),  K., 
b.  Weimar,  Jan.  21,  1859;  pupil  of 
Bodo  Borchers ;  sang  at  the  ct.-th., 
1878-86 ;      pupil     of     Stockhausen ; 

1885,  "  Kammersanger "  ;       since 

1886,  Dresden  ct. -opera  ;  1886,  sang 
"  Amfortas"  in  '"Parsifal"  at  Bay- 
reuth. 

Scheidt  (shit),  Samuel,  Halle-on- 
Saale,  1587 — 1654  ;  famous  organist 
and  composer  ;  pupil  of  Sweelinck  ; 
organist  of  Moritzkirche  and  ct. -con- 
ductor ;  c.  notable  chorals,  etc. 

Schein  (shin),  Jn.  Hermann,  Griin- 
hain,  Saxony,  1586 — Leipzig,  1630; 
soprano ;  ct. -conductor  and  com- 
poser. 

Schelble  (shel'-ble),  Jn.  Nepomuk, 
Hufingen,  Black  Forest,  1789 — 
Frankfort-on-Main,  1837 ;  notable 
cond.  and  singing-teacher  ;  tenor  ;  c. 
operas,  etc. 

Schelle  (shel'-le),  (i)  Jn.,  Geisingen, 
Saxony,  1648 — Leipzig,  1701;  can- 
tor Thomaskirche.  (2)  K.  Ed., 
Biesenthal,  near  Berlin,  1816 — Vien- 
na, 1882  ;  critic,  lecturer  and  writer. 

Scheller  (shel-ler),  Jacob,  b.  Schettal, 
Bohemia,  1759  ;  vln. -virtuoso. 

iSchelper  (shel'-per).  Otto,  b.  Rostock, 
April  10,  1844  ;  an  actor,  later  bary- 
tone in  opera,  at  Bremen  ;  1872-76, 
Cologne,  then  sang  leading  roles, 
Leipzig  City  Theatre. 

Schenck  (shenk),  (i)  Jean  (Johann), 
gamba-player  and  dram,  composer, 
1688-93,       Amsterdam.        (2)     Jn., 


Wiener-Neustadt,  Lower  Austria, 
1761  (1753  ?) — Vienna,  1S36  ;  c.  op- 
erettas. (3)  Hugo,  1852  (?) — Vien- 
na, 1896  ;  conductor  and  composer. 

Scherer  (sha-rer),  Sebastian  Anton, 
organist  at  Ulm  Minster  and  com- 
poser, 1664. 

Scherzer  (sher'-tser),  Orto,  Ansbach, 
1S21 — Stuttgart,  1886;  violinist  and 
organist. 

Schetky  (shet'-ke),  Chp.,  Darmstadt, 
1740 — Edinburgh,  1773  ;  'cellist  and 
composer. 

Schicht  (shikht),  Jn.  Gf.,  Reichenau, 
Saxony,  1753 — Leipzig,  1823  ;  pupil 
of  an  uncle  (org.  and  pf.) ;  pianist, 
conductor  and  writer  ;  c.  4  oratorios, 
chorals,  etc. 

Schick  (shik)  (nee  Hamel),  Marga- 
rete  Luise,  Mayence,  1773 — -Berlin, 
1809  ;  soprano  ;  pupil  of  Steffani  and 
Righini ;  debut,  Mayence,  1791;  from 
1794,  Royal  Opera,  Berlin. 

Schiedermayer  (she'-der-ml-er),  Jos. 
Bd.,  d.  Linz-on-Danube,  Jan.  8, 
1S40  ;  cath. -organist  ;  wrote  a  text- 
book on  chorals  and  a  vln. -method  ; 
c.  symphs.,  sacred mus.,  org. -pes., etc. 

Schiedmayer  (shet'-mi-er)  &  Sohne, 
Stuttgart  firm  of  piano-makers, 
founded  in  Erlangen,  1781.  (i)  Jn. 
D.,  removed  to  Stuttgart  1806.  The 
present  head  is  (2)  Ad.  (b.  1847), 
a  great-grandson  of  (i). 

Schikaneder  (she'-ka-na-der),  Eman- 
uel Jn.,  Ratisbon,  1751 — Vienna, 
18 12,  the  librettist  of  Mozart's  "Zaw- 
berjidte"  in  which  he  created  "  Papa- 
geno";   a  manager,  actor  and  singer. 

Schildt  (shilt),  Melchior,  Hanover  (?), 
1592 — 1667  ;  organist. 

Schiller  (shll'-ler),  Madeline,  b.  Lon- 
don, Engl.;  pianist  and  teacher;  a 
pupil  of  Isaacs,  Benedict  and  Halle, 
but  mainly  self-taught ;  debut,  Ge- 
wandhaus,  with  great  succ,  repeated 
in  London  ;  toured  Australia  ;  m.  M. 
E.  Bennett  of  Boston,  Mass.,  where 
she  lived  several  years  making  many 
tours,  incl.  Australia  and  Europe ; 
later  lived  in  New  York. 

Schilling  (shll-ling),  Gv.,  Schwiegers- 


7i6 


THE    MUSICAL    GUIDE 


hausen,  near  Hanover,  1803 — Ne- 
braska, U.  S.  A.,  18S1;  wrote  text- 
books and  treatises,  etc. 

Schil'lings,  Max,  b.  Dliren,  April  19, 
1868  ;  notable  composer  ;  studied 
with  Brambach  and  von  Konigslow  ; 
1892,  stage-manager  at  Bayreuth ; 
1890  while  studying  law,  at  Munich, 
c.  the  opera  '"  Inguelde"  (prod,  by 
Mottl,  Carlsruhe,  1894)  ;  played  in 
many  other  cities ;  c.  also  opera 
"  Z)('r /yi'/f;7tf^"  (Schwerin,  1901);  2 
symph.  fantasias  "  yJ/^t';-_fr?<j- J-, "  1895, 
and    "  Seemorgen"  etc. 

Schitnon  (she'-mon).  Ad.,  Vienna, 
1820 — Leipzig,  1887  ;  singing-teach- 
er, accompanist  and  dram,  com- 
poser, etc.;  1872,  m.  the  soprano  (2) 
Anna  Regan,  Bohemia,  1842 — Mu- 
nich, 1902  ;  pupil  of  Manuel  Garcia 
and  Stockhausen  ;  sang  in  Italy  and 
Germany  ;  court-singer  in  Russia  ; 
1874,  teacher  of  singing  Leipzig 
Cons.  ;  1877-86,  R.  Sch.  of  Mus., 
Munich;  again  at  Leipzig  Cons.; 
also  after  death  of  her  husband, 
singing-teacher  at  Munich. 

Schindelmeisser  (shTn'-del-mls-ser), 
L.,  Konigsberg,  18 11 — Darmstadt, 
1864  ;  ct. -conductor  and  dram,  com- 
poser. 

Schindler  (shint'-ler),  Anton,  Medl, 
Moravia,  1796 — Bockenheim,  near 
Frankfort,  1864  ;  violinist  and  con- 
ductor ;  friend  and  biographer  of 
Beethoven. 

Shintlocker  (shTnt'-lek-er),  (i)  Phil- 
ipp,  Mons,  Hainault,  1753 — Vienna, 
1827  ;  'cellist.  (2)  Wolfgang,  b. 
Vienna,  1789;  'cellist  and  composer  ; 
nephew  and  pupil  of  above. 

Schira  (she'-ra),  Fran.,  Malta,  1809 
— London,  1S83;  professor,  conduct- 
or and  dram,  composer. 

Schirmacher  (sher'-makh-er),  Dora, 
b.  Liverpool,  Sept.  i,  1862  ;  pianist ; 
pupil  of  Wenzel  and  Reinecke,  Leip- 
zig Cons.,  winning  Mendelssohn 
prize  ;  debut  Gewandhaus,  1877  ;  c. 
a  suite,  sonata,  etc. 

Schirmer  (sher'-mer),  (i)  Gustav, 
Konigsee,   Saxony,    1829 — Einsbach, 


Thuringia,  1893  ;  son  and  grandson 
of  court  piano-makers  at  Sonders- 
hausen  ;  1837  came  to  New  York  ; 
founded  pub.  firm.  Beer  &  Schirmer, 
1866  S.  obtained  the  entire  business 
since  known  as  G.  .Schirmer ;  since 
1893  incorporated  under  management 
of  (2)  Rudolf  E.  and  (3)  Gustav, 
sons  of  above. 

Schladebach  (shla-de-bakh),  Julius, 
d.  Kiel,  1872  ;  wrote  treatise  on  the 
voice. 

Schlager  (shla'-ger),  Hans,  Fils- 
kirchen.  Upper  Austria,  1830 — Salz- 
burg, 1885 ;  conductor  and  dram, 
composer. 

Schlecht  (shlekht),  Raimund,  Eich^ 
stadt,  1811 — 1891  ;  priest  and  writer. 

Schleinitz  (shll'-nTts),  H.  Conrad, 
Zechanitz,  Saxony,  1807 — Leipzig, 
1881  ;  dir.  Leipzig  Cons,  (vice  Men- 
delssohn). 

Schlesinger  (shla'-zlng-Sr),  two  mus.- 
pub.  firms,  (a)  at  Berlin,  founded 
1810  by  (i)  Ad.  Martin,  from  1858 
managed  by  his  son  (2)  Heinrich 
(d.  1879)  ;  since  1864  under  R.  Lie- 
nau.  (b)  at  Paris,  founded  1834  by 
(3)  Moritz  Ad.,  son  of  (i) ;  under 
Louis  Brandus  in  1846.  (4)  Sebas- 
tian Benson,  b.  Hamburg,  Sept. 
24,  1837  ;  at  13  went  to  U.  S.;  stud- 
ied at  Boston  with  Otto  Dresel ;  for 
17  years  Imp.  German  Consul  at 
Boston  ;  now  lives  in  Paris ;  pub. 
many  pop.  songs  and  piano-pieces. 

Schletterer  (shlet'-ter-er),  Hans 
Michel,  Ansbach,  1824 — Augsburg, 
1S93;  mus. -dir.,  writer  and  composer. 

Schlick  (shllk),  (i)  Arnold,  ct. -organ- 
ist to  the  Elector  Palatine,  and  com- 
poser, 15 1 1.  (2)  Jn.  Konrad,  MUn- 
ster  (?),  Westphalia,  1759 — Gotha, 
1825  ;  'cellist  and  composer. 

Schlimbach  (shHm'-bakh),  G.  Chr. 
Fr.,  b.  Ohrdrof,  Thuringia,  1760 ; 
organist,  writer  on  org. -building,  etc. 

Schlosser  (shles'-ser),  (i)  Louis, 
Darmstadt,  1800 — 1886  ;  ct. -conduct- 
or and  dram,  composer.  (2)  (K. 
Wm.)  Ad.,  b.  Darmstadt,  Feb.  i, 
1830;  son  and  pupil  of  above;  pianist; 


I 


DICTIONARY  OF  MUSICIANS   717 


debut  Frankfort,  1847  ;  toured;  from 
1S54,  teacher  in  London  ;  c.  pf.- 
quartet  and  trio,  etc. 

Schlottmann  (shlot'-man),  Louis,  b. 
Berlin,  Nov.  12,  1826  ;  concert- 
pianist,  pupil  of  Taubert  and  Dehn  ; 
lived  in  Berlin  as  teacher  ;  1875,  R. 
Mus.-Dir. ;  c.  overture  to  ''^  Romeo 
and  Juliet"  "  Trauermarsch"  for 
orch.,  etc. 

Schmedes  (shma -des),  Erik,  b.  Co- 
penhagen, 1868  ;  pianist  ;  then  stud- 
ied singing  with  Rothmlihl  ;  sang  as 
barytone  in  various  theatres  ;  studied 
with  Iffert  and,  1898,  sang  tenor  roles 
at  Vienna  ;  1899  "  Siegfried  "  and 
"  Parsifal  "  at  Bayreuth. 

Schmeil    (shmil),    ,    teacher   at 

Magdeburg,  inv.  "notograph." 

Schmelzer(shnier-tser),Jn.H.,  Prague, 
1655 — d.  after  1695  at  Vienna  ;  ct.- 
cond.  and  composer. 

Schmid(t)  (shmTt),  (r)  Bd.,  organist  at 
Strassburg,  1560.  He  was  succeeded 
by  (2)  Bd.  Schmid,  the  younger. 
(3)  Anton,  Pihl,  Bohemia,  17S7 — 
1857  ;  mus.  libr.  Vienna  Library ; 
writer. 

Schmidt  (shmKt),  (i)  Jn.  Phil.  Samuel, 
Konigsberg,  1779 — Berlin,  1S53  ; 
Govt,  official,  critic,  writer  and  dram, 
composer.  (2)  Jos.,  Biickeburg,  1795 
— 1865  ;  violinist,  ct. -conductor  and 
composer.  (3)  Hermann,  Berlin, 
1810 — 1845  ;  ballet-conductor  and 
ct.-composer  ;  c.  operetta.  (4)  Gus- 
tav,  Weimar,  18 16  —  Darmstadt, 
1882  ;  ct. -conductor  and  dram,  com- 
poser. (5)  Arthur  P.,  b.  Altona, 
Gar.,  April  i,  1846;  est.  mus. -pub. 
business,  Boston  and  Leipzig,  1876. 

Schraitt  (shmit),  (i)  Jos.,  1764— 
Frankfort-on-Main,  1818  ;  writer, 
violinist  and  composer.  (2)  Niko- 
laus,  b.  Germany ;  bassoonist  and 
composer;  from  1779,  chef  de  iiiit- 
sique  of  the  French  Guards  at  Paris. 
(3)  Aloys,  Erlenbach,  Bavaria,  1788 
— Frankfort-on-Main,  1S66  ;  eminent 
teacher,  pianist,  writer  and  dram. 
composer.  (4)  Jacob  (Jacques), 
Obernburg,      Bavaria,     1803 — Ham- 


burg, 1853  ;  bro.  and  pupil  of  above  ;  1 

wrote    a    method    and    c.     (5)  (G.)  I 

Aloys,  Hanover,  Feb.  2,  1S27— Dres-  ' 

den,   Oct.,  1902  ;    pianist  and  cond.;  ! 

son    and    pupil  of   (3)  ;     pupil  Voll-  \ 

vveiler  (theory),  Heidelberg  ;  toured  ; 
then  th.-cond.  at  Aix-la-Chapelle, 
etc.;  1857-92,  ct.-cond.  at  Schwerin  ; 
from  1893^  dir.  "  Dreyssig'sche  Sing- 
akademie,"  Dresden.  He  c.  3  op- 
eras, incl.  ''Trilby''  (Frankfort, 
1845) ;    incid.   music  ;    overtures,  etc.  1 

He  arranged   the   fragments  of  Mo-  ■ 

zart's  C  minor  mass  into  a  complete 
work  ;    died  of  an  apoplectic   stroke  ' 

while  conducting  his  own   "  In  Mem-  \ 

oriam."  (6)  Hans,  b.  Koben,  Bo- 
hemia, Jan.  14,  1835  ;  piano-teach-  ; 
er  and  oboist ;  pf. -pupil  of  Dachs, 
Vienna  Cons.,  taking  the  silver  medal;  ■ 
later,  teacher  there  ;  wrote  a  vocal 
method ;  c.  important  instructive 
pes.,  etc. 

Schmolzer  (shmel'-tser),  Jakob  Ed., 
Graz,  1812 — 1886;  teacher  and  com- 
poser. 

Schnabel  (shna-bel),  (i)  Jos.  Ignaz, 
Naumburg,  Silesia,  1767 — Breslau, 
1S31  ;  conductor  and  composer.      (2)  J 

Michael,  Naumburg,  1775 — Breslau,  j 

1S42 ;    bro.    of   above ;    founded    at  \ 

Breslau  (18 14)  a  piano   factory,  car-  1 

ried  on  by  his  son  (3)  K.  (1809 — 
18S1)  ;   pianist  and  composer. 

Schnecker  (shnek'-er),   Peter   Aug., 

b.  in  Hessen- Darmstadt,  1850  ;  pupil  i 

of  Oscar  Paul,  Leipzig  ;  came  to 
America ;     lives    in    New    York    as  i 

teacher   and   organist  ;    pub.    collec-  \ 

tions ;    c.    pf.-pcs.    and    much    pop.  j 

church-mus.  j 

Schneegass  (shna'-gas)  (Snegas- 
sius),  Cyriak,  Buschleben,  near  Go- 
tha,  1546 — 1597  ;  theorist  and  com- 
poser. : 

Schneevoigt     (shna'-foikht),    Georg, 

b.  Wiborg,    Nov.    8,    1872  ;    Finnish  \ 

'cellist  ;      studied     with      Schroder,  \ 

Klengel    and    Jacobs ;  lives  in    Hel-  \ 

singfors  as  teacher  in  the  Cons.,  etc.  i 

Schneider  (shnl'-der),  (i)  Jn.,  Lauder,  j 

near    Coburg,     1702 — Leipzig,    ca.  j 


7i8 


THE    MUSICAL    GUIDE 


1775  '.  famous  improviser  and  organ- 
ist. (2)  G.  Abraham,  Darmstadt, 
1770 — Berlin,  1839  ;  horn-virtuoso  ; 
conductor,  composer  of  masses,  etc. 
(3)  Louis,  Berlin,  1805 — Potsdam, 
1878  ;  son  of  (2);  writer.  (4)  (Jn.  G.) 
Wm.,  Rathenow,  Prussia,  1781 — 
Berlin,  1811  ;  pianist,  teacher,  com- 
poser and  writer.  (5)  Wm.,  Neu- 
dorf,  Saxony,  1783  —  Merseburg, 
1843  ;  organist  and  writer.  (6)  Jn. 
Gottlob,  1753  —  Gernsdorf,  1840; 
organist.  (7)  (Jn.  Chr.)  Fr.,  Alt- 
Waltersdorf,  Saxony,  Jan.  3,  1786 — 
Dessau,  Nov.  23,  1853  ;  son  and  pu- 
pil of  (6) ;  at  10  c.  a  symphony  ;  1821 
ct. -conductor  at  Dessau  ;  wrote  text- 
books and  c.  15  oratorios,  incl.  fa- 
mous "Das  IVeltgfricJit" ;  biog.  by 
F.  Kempe.  (8)  Jn.  (Gottlob),  Alt- 
Gersdorf,  Oct.  28,  1789 — Dresden, 
April  13,  1864  ;  bro.  of  above  ;  emi- 
nent organist  and  teacher.  As  a  boy 
a  soprano  of  remarkable  range  (to  f  ' 
ace.  to  Riemann,  v.  pitch,  d.d.); 
later,  tenor  ;  1825  ct. -organist,  Dres- 
den, also  conductor  ;  made  tours  ;  c. 
fugues,  etc. ,  for  organ,  (g)  Jn.  Gott- 
lieb, Alt-Gersdorf,  1797  — Hirsch- 
berg,  1856  ;  bro.  of  above  ;  organ- 
ist. (10)  Theodor,  b.  Dessau,  May 
14,  1827  ;  son  and  pupil  of  (7)  ;  pupil 
of  Drechsler  ('cello)  ;  1S45,  'cellist, 
Dessau  ct.-orch.;  1854  cantor  and 
choir-dir.  court  and  city  churches ; 
1 860-96  cantor  and  mus.-dir.  Jakobi- 
kirche,  Chemnitz;  also  cond.  (11) 
(Jn.)  Julius,  Berlin,  1805— 1885 ; 
pianist,  organist  and  mus. -director  ; 
and  c.  operas  ;  son  of  (12)  Jn.  S., 
pf.-mfr.  at  Berlin.  (13)  K.,  Streh- 
len,  1822 — Cologne,  1882  ;  tenor. 
(14)  K.  Ernst,  Aschersleben,  18 19 — 
Dresden,  1S93  ;  writer. 

Schnitger  (shnlt'-ger),  (i)  Arp.,  Gods- 
warden,  Oldenburg,  1648 — Neuen- 
felde,  ca.  1720;  org. -builder.  His 
son,  (2)  Fz.  Caspar  (d.  1729),  and 
an  elder  bro. ,  worked  at  Zwolle,  Hol- 
land. 

Schnorr  von  Karolsfeld  (shnor  fon 
ka-rols-felt),  (i)  L.,  Munich,  1836— 


Dresden,  1865  ;  noted  tenor ;  created 
Wagner's  "Tristan";  c.  opera  at 
Munich  (1865),  his  wife,  (2)  Malwi- 
na  (nee  Garrigues),  creating  "  Isol- 
de"; she  took  a  fatal  chill  on  this 
occasion. 

Schnyder  von  Wartensee  (shne'-der 
fon  var'-ten-za),  X.,  Lucerne,  1786 — 
Frankfort-on-Main,  1868  ;  teacher, 
writer  and  composer. 

Schoberlechner  (sho'-ber-lekh-ner), 
Fz.,  Vienna,  1797 — Berlin,  1843  ; 
pianist,  conductor  and  dram,  com- 
poser. 

Schoberlein  (sha'-ber-lln),  L.,  Kolra- 
berg,  Bavaria,  1813 — G6ttingen,i88i; 
writer. 

Schobert.     Vide  schubart  (3). 

Schoenefeld  (sha-'ne-felt),  H.,  b.  Mil- 
waukee, Wis.,  Oct.  4,  1857;  son  and 
pupil  of  a  musician ;  later  studied 
Leipzig  Cons. ;  winning  a  prize  for  a 
chorus  with  orch.  performed  at  th^ 
Gewandhaus  ;  then  studied  with  "" 
Lassen  (comp.),  Weimar  ;  tou 
Germany  as  a  pianist  ;  from  1879; 
Chicago,  as  pianist  and  teacher,  also 
cond.  the  "  Germania  Mannerchor." 
C.  "  The  Three  Indians  "  ode  with 
orch.;  2  symphs.  ("  A'ural,"  "  Spri  _ 
time  ")  ,•  2  overtures,  "  In  the  Sunny 
South  "  (a  notable  work  based  on  [ 
Ethiopian  themes)  and  ''The  Amer-  \ 
ican  Flag";  vln. -sonata  (Henri  Mar- 1 
teau  prize,  1899),  pf.-pcs.,  etc. 

Schoffer  (shef'-fer),  Peter  (the  young- 
er), mus.-printer  at  Mayence  and 
Strassburg,  1530-39. 

Schoelcher  (shel-shar),  Victor,  Paris, 
1804 — 1893  ;  writer,  statesman  and 
biographer  of  Handel. 

Scholtz  (sholts),  Hn.,  b.  Breslau,)  ;.. 
June  9,  1845;  pianist  and  teacher  ji 
pupil  of  Brosig,  of  C  Riedel  and! 
Plaidy  at  Leipzig,  and  v.  Biilow,  and] 
Rheinberger,  R.  Sch.  of  Mus.,  Mu-' 
nich  ;  1870-75,  teacher  there  ;  then 
in  Dresden  ;  1880  "  R.  Saxon  cham 
ber-virtuoso  "  ;  ed.  Chopin's  works  ;] 
c.  pf. -concerto,  sonata,  etc. 

Scholz  (sholts),  (i)  F.,  important  com 
poser  of  Russian  music,  taught  comp. 


DICTIONARY  OF  MUSICIANS    7^9 


Moscow,  1830.    (2)  Bd.  E.,  b.  May- 

ence,  March  30,  1835  ;  pupil  of  Ernst 
Pauer,  Mayence,  and  of  Dehn,  Ber- 
lin ;  1856  teacher  R.  Sch.  of  Mus., 
Munich;  1859-65,  ct. -conductor  Han- 
over Th. ;  1871-78,  cond.  Breslau 
Orch.  Soc;  1883,  dir.  of  the  Hoch 
Cons.,  Frankfort  (vice  RafI)  ;  Dr. 
Phil.  h.  c.  (Breslau  Univ.),  "  Royal 
Prussian  Professor,"  etc.;  pub.  es- 
says "  IVokin  treiben  wir?"  (Frank- 
fort, 1S97) ;  prod.  5  operas  incl.  succ. 
''  Jitgo"  (Frankfort,  1898).  C.  ''Das 
Sieges f est"  and  ''Das  Lied  von  de}- 
Glocke"  ior  soli,  chorus  and  orch.; 
symph.  poem  "Malinconia  " ;  symph. 
overtures  "  Iphigenia"  and  "  Im 
Freioi"  etc. 
Schon  (shan),  Moritz,  Kronau,  Mo- 
ravia, 1808 — Breslau,  18S5  ;  violin- 
ist, conductor  and  writer. 
Schonberger  (shan'-berkh-er),  Benno, 
b.  Vienna,  Sept.  12,  1863  ;  pianist  ; 
pupil  of  Vienna  Cons.,  studied  also 
with  Liszt  ;  toured  ;  1885  teacher, 
Vienna  ;  later  in  Sweden  (1886),  then 
London  ;  1894  toured  America;  c.  3 
pf. -sonatas,  3  rhapsodies,  etc. 
Schondorf  (shon'-dorf),  Jns.,  b.  Re- 
bel, Mecklenburg,  1833  ;  pupil  of 
Stern-KuUak  Cons.,  BerHn  ;  since 
1S64  organist  Pfarrkirche,  Gtistrow  ; 
singing-teacher  Cath.  Sch.,  and  con- 
ductor ;  c.  "  Vaterldndische  Ge- 
siinge"  " Kaiser hymne"  etc. 
Schonfeld  (shan'-felt),  Hermann,  b. 
Breslau,  Jan.  31,  1829;  cantor  and 
R.  Mus. -Dir.  there;  c.  cantatas,  a 
symph. ;  3  overtures,  etc. 
Schorg  (sherkh),  Fz.,  b.  Munich,  Nov. 
15,  1S71  ;  violinist;  pupil  of  Ysaye  ; 
toured  ;  lives  in  Brussels. 
Schott  (shot),  (i)  Bd.,  d.  1817;  found- 
ed (Mayence,  1773)  the  mus. -pub. 
I  firm  of  B.  Schott,  carried  on  by  his 
sons  (2)  Andreas  (1781 — 1840)  and 
(3)  Jn.  Jos.  (1782 — 1855),  under  the 
firm-name  of  "  B.  Schott's  Sohne ; 
the  present  manager  at  Mayence  and 
the  London  branch  are  Fz.  von  Land- 
wehr  and  Dr.  L.  Strecker.  (4)  An- 
ton, b.  Schloss  Staufeneck,  Swabian 


Alp,  June  25,  1846;  tenor;  1865-71 
an  artillery  officer  in  the  French  cam- 
paign ;  then  studied  with  Frau  Sche- 
best-Strauss  ;  1871,  Munich  opera  ; 
1872-75  Berlin  opera  ;  leading  tenor 
at  Schwerin  and  Hanover,  made 
concert-tours ;  1882  in  Italy  with 
Neumann's  Wagner  troupe. 

Schradi(e)ck  (shra-dek),  Henry,  b. 
Hamburg,  April  29,  1846  ;  noted 
vioHnist  ;  pupil  of  his  father  and  of 
Leonard,  Brussels  Cons.,  David, 
Leipzig;  1864-68  teacher  Moscow 
Cons.,  then  leader  Philh.  Concerts, 
Hamburg  ;  1874-82,  co-leader,  Ge- 
wandhaus  Orch.  and  theatre-orch., 
Leipzig,  also  teacher  for  a  time  at  the 
Cons.  1883-89,  prof,  oif  vln.,  Cin- 
cinnati Cons.,  U.  S.  A.;  returned  to 
Germany  as  leader  of  the  Hamburg 
Philh.  Soc;  afterward  head  vln.- 
prof.  Nat.  Cons.,  N.  Y.,  and  later 
Broad  St.  Cons.,  Philadelphia;  pub. 
excellent  technical  studies  for  vln. 

Schramm  (shram),  Melchior,  German 
organist  and  contrapuntist,  1595- 

Schreck  (shrek),  Gustav,  b.  Zeulen- 
roda,  Sept.  8,  1849  ;  pupil  of  Leipzig 
Cons.;  1885  teacher  of  theory  and 
comp.,  Leipzig  Cons.;  1892,  mus.- 
dir.  and  cantor,  and  cond.  of  the 
"  Thomanerchor "  ;  prod,  concert- 
cantatas,  oratorio,  "  Chris tus  der 
Atcferstandene  "  (Gewandhaus,i892), 
church-music,  etc. 

Schrems  (shrems),  Jos.,  Warmen- 
steinach.  Upper  Palatinate,  1815 — 
Ratisbon,  1872 ;  conductor,  editor 
and  teacher. 

Schroder  (shra -der),  (i)  Hermann,  b. 
Quedlinburg,  July  28,  1843  ;  violin- 
ist, writer  and  composer  ;  pupil  of  A. 
Ritter,  Magdeburg;  from  1885, 
teacher  R.  Inst,  for  Church-mus., 
Berlin,  and  at  a  mus. -sch.  of  his 
own.  (2)  Karl,  b.  Quedlinburg. 
Dec.  18,  1848  ;  bro.  of  above  ;  'cel- 
list and  composer  ;  pupil  of  Drechs- 
ler,  Dessau  and  Kiel,  Berlin  ;  at  14, 
1st  'cello  ct.-orch.  at  Sondershausen, 
and  teacher  in  the  Cons.;  1873,  'cel- 
lo,  Brunswick  ct.-orch.;    1874,   solo 


720 


THE    MUSICAL    GUIDE 


'cellist  Gewandhaus  Orch.,  and  th.- 
orch.,  Leipzig,  also  teacher  at  the 
Cons.,  and  made  tours  ;  1881,  ct.- 
cond.,  Sondershausen  ;  cond.  German 
Opera  at  Amsterdam ;  until  1888, 
Berlin  ct. -opera  ;  till  1890,  the  Ham- 
burg Opera ;  returned  to  Sonders- 
hausen as  ct.-cond.  and  dir.  "  Fiirst- 
liches  Conservatorium  ;  "  wrote  'cello- 
method,  catechism  on  conducting  and 
the 'cello.  C.  succ.  opera  ''Aspasia" 
(Sondershausen,  1892)  ;  a  succ.  i-act 
opera  ''  Der  Asket"  (Leipzig,  1893) ; 
succ.  operetta  ''  Malajo"  {V>\i\'\z\hm, 
1887)  ;  1871,  founded  the  "Schroder 
Quartett,"  with  his  brothers  (i) 
Hermann  (3)  Fz.  and  (4)  Alwin, 
b.  Neuhaldensleben  (Magdeburg), 
June  15,  1S55;  pupil  of  his  fa- 
ther and  brother  Hermann,  also  of 
Andre  (pf.),  and  De  Ahna  (vln.),  W. 
Tappert  (theory) ;  self-taught  as  a 
'cellist,  as  which  he  has  won  his 
fame;  1875,  ist  'cello  in  Liebig's 
"  Concert-Orchester,"  later  under 
Fliege  and  Laube  (Hamburg) ;  1880, 
Leipzig,  as  asst.  of  (i),  whom  he  suc- 
ceeded, 1881,  in  the  Gewandhaus, 
theatre  and  Cons.;  1886,  Boston,  as 
first  'cellist  Symph.  Orch. ;  member 
of  the  "  Kneisel  Quartet."  (5)  Kon- 
rad  (Gv.  Fd.),  b.  Marienwerder,  W. 
Prussia,  July  7,  1850;  pupil  of  Kul- 
lak's  Acad.,  Berlin,  also  of  O.  Kolbe 
(comp.);  teacher  in  the  Acad.; 
pf.  -  teacher,  Berlin.  C.  the  first 
"Low  German"  opera  (after  Fritz 
Renter),  the  v.  succ.  i-act  comic  op- 
era "  Z?«  droggst  de  Pajin  7t'e°" 
(Schirenn,  1897);  pub.  50  songs.  (6) 
Fr.,  d.  18 18;  barytone,  the  first  to 
sing  Mozart's  "'Don  Giovanni'''  in 
German. 
Schroder  -  Devrient  (shra  -  der  -  da'- 
frl-ent),  Wilhelmine,  Hamburg,  1S04 
— Coburg,  1S60  ;  eminent  soprano  ; 
daughter  of  (6)  above,  and  of  a  cele- 
brated actress,  Antoinette  Sophie 
Burger  Devrient  (divorced  1828,  af- 
ter bearing  him  4  children;  married 
twice  afterward)  ;  pypil  of  Mazatti ; 
debut,  Vienna,   1821 ;   m.  the  actor 


Karl  D. ;  she  created  the  role  of  "Adri- 
ano   Colonna"    in   the   '■'■Rienzi"  of 
Wagner,  whose  style  she  deeply  af- 
fected. 
Schroder-Hanfstangl.      Vide  hanf- 

STANGL. 

Schroter  (shra -ter),  (i)  Leonhard, 
Torgau,  ca.  1540 — Magdeburg,  after 
1580 ;  eminent  contrapuntist.  (2) 
Chp.  Gl.,  Hohenstein,  Saxony,  1699 — 
Nordhausen,  1782  ;  noted  organist ; 
claimed  in  a  pamphlet  (1763)  to  have 
invented,  1717,  the  pianoforte,  but 
was  forestalled  by  Cristofori  ;  com- 
poser. (3)  Corona  (Elisabeth  Wil- 
helmine), Guben,  1751 — Ilmenau, 
1S02  ;  celebrated  soprano  ;  pupil  of 
her  father,  (4)  Joh.  Fr.  S.,  cham- 
ber-singer. (5)  Joh.  Samuel,  War- 
saw, 1750  —  London,  1788,  son  of 
(4) ;  pianist.  (6)  Joh,  H.  (b.  War- 
saw,  1762),  son  of  (4)  ;  violinist, 

Schubart  (shoo'-bart),  (i)  (Chr.  Fr.) 
Daniel,  Sontheim,  Swabia,  1739 — 
Stuttgart,  1791  ;  poet ;  organist  and 
composer.  (2)  L,,  son  of  above ; 
editor  of  his  father's  "  Ideen  zu  einer 
ALsthetik  der  Tonktmst"  (1806), 
(3)  (also  Schobert,  or  Chobe: 
(sho'-bert)  ( ),  first  name  un- 
known), Strassburg,  1720 — Paris, 
1768;  a  relative  of  above;  organist 
at  Versailles  ;  1760,  chamber-mus.  to 
Prince  de  Conti ;  very  pop.  pianist 
and  composer. 

Schubert  (shoo'-bert),  (i)  Jos,,  Warns- 
dorf,  Bohemia,  1757 — Dresden,  1812  ; 
violinist,    and   dram,    composer.     (2) 
Jn.  Fr,,  Rudolstadt,  1770— Cologne, 
1811;  violinist,   writer  and  composer. 
(3)  Fd.,    Lichtenthal,    near  Vienna, 
1794 — Vienna,    1859;    elder   bro.   1 
the  great  composer  (4)  and  passioi 
ately  devoted    to   him  ;    dir.  Norm: 
Sch. ,  Vienna;  c.   church-mus.,  a  re- 
quiem for  his  brother,  etc. 

(4)  Franz  (Peter),  Lichtenthal, 
near  Vienna,  Jan.  31,  1797 — of  ty- 
phus, Vienna,  Nov.  19,  1828  ;  one  of 
the  most  eminent  of  the  world's  com- 
posers. One  of  the  14  children  of  a 
schoolmaster    at     Lichtenthal,    who 


i 

n-  I    ~ 


DICTIONARY  OF  MUSICIANS    72 


taught  him  the  vln. ;  also  studied  with 
Holzer  there  ;  at  lo,  first  soprano  in 
the  church-choir,  and  c.  songs  and 
little  instrumental  pes.  1808,  a  sing- 
er in  the  Vienna  court  choir,  and  also 
in  the  "  Convict  "  (the  training-sch. 
for  the  court  singers).  He  played  in 
the  sch. -orchestra,  finally  as  first 
vln.,  and  studied  theory  with  Rucziz- 
ka  and  Salieri.  His  earliest  extant 
composition  is  a  4-hand  fantasia  of 
12  movements  written  when  he  was 
13.  He  had  a  frenzy  for  writing,  and 
a  fellow-pupil,  Spaun,  generously  fur- 
nished him  with  mus. -paper,  a  lu.Kury 
beyond  the  means  of  Schubert.  At 
15  he  had  written  much,  incl.  an 
overture  ;  at  16  he  c.  his  first  symph. ; 
1813,  his  voice  broke  and  he  left  the 
"Convict,"  where  the  unrestrained 
license  allowed  him  in  his  composi- 
tions accounts  for  the  crudeness  of 
some  of  his  early  works  and  the  faults 
of  form  that  always  characterised 
him,  as  well  as  for  his  immediate  and 
profound  individuality  ;  at  17  he  c. 
his  first  mass.  In  order  to  escape 
military  conscription  he  studied  a  few 
months  at  the  Normal  Sch.  and  took 
the  post  of  elementary  teacher  in  his 
father's  sch.  He  taught  there  until 
1816,  spending  his  leisure  in  studying 
with  Salieri,  and  in  comp.  particularly 
of  songs,  of  which  he  wrote  as  many 
as  8  in  one  day — 144  in  his  i8th  year 
(1815),  including  "' Der  Erlkonig''; 
1814-16,  he  also  c.  2  operettas,  3 
Singspiele  and  3  incomplete  stage- 
pieces,  4  masses.  18 16,  he  applied, 
without  succ. ,  for  the  directorship  of 
the  new  State  mus. -sch.  at  Laybach 
(salary  $100  (^20)  a  year).  From 
1817  he  lived  in  Vienna,  except  two 
summers  (1818  and  1824),  spent  at 
Zelesz,  Hungary,  as  teacher  in  Count 
Esterhazy's  family.  How  S.  existed 
is  a  matter  of  mystery,  except  for  the 
help  of  such  friends  as  Fz.  von  Scho- 
ber,  who  aided  him  with  the  utmost 
generosity.  The  famous  tenor  Mi- 
chael Vogl,  popularised  his  songs. 
By  his  2 1st  year  (18 18)  S.  had  c.  six 
46 


of  his  symphs.  and  a  great  mass  of 
work.  His  mus.  farce  ''Die  Zwil- 
lingsbrilder  "  was  prod.  (Karnthner- 
thor  Th.,  1820,  but  ran  only  six 
nights).  182 1,  after  he  had  written 
over  600  compositions,  \wi''  Erlko- 
nig"  was  sung  at  a  public  concert  of 
the  "  Musikverein  "  and  elsewhere, 
with  a  wide  sale  that  attended  most 
of  his  subsequent  publication  of  songs 
and  pf.-pcs.;  though  he  was  sadly 
underpaid  by  his  publishers,  some- 
times receiving  only  a  gulden  (20 
cents,  less  than  a  shilling)  for  them. 
In  1S22  he  declined  the  post  of  organ- 
ist at  the  court  chapel ;  but  could 
never  obtain  a  salaried  position, 
though  many  efforts  were  made.  At 
31  he  gave  his  first  concert  of  his  own 
works,  with  good  succ.  (1828).  In 
1822,  he  had  finished  a  grand  opera 
"'Alfonso  unci  Estrella"  the  libretto 
bad,  the  scoring  too  difficult  for  the 
musicians  at  Graz,  where  it  was  put 
in  rehearsal ;  it  was  withdrawn,  not 
to  be  prod,  till  1854  under  Liszt  and 
in  18S1  when  Jn.  Fuchs  rewrote  the 
libretto  and  prod,  it  at  Carlsruhe 
with  great  succ.  In  1825  a  work, 
"  Rosainunde"  was  prod,  at  the  Th. 
an-der-Wien,  with  applause  for  the 
music,  but  it  was  withdrawn  after  a 
second  performance.  Other  works  of 
his  had  not  even  productions,  his 
stubborn  refusal  to  alter  a  note  pre- 
venting the  profitable  performance  of 
dram,  scenes,  etc.  His  health  finally 
broke  under  the  strain  of  composi- 
tion all  day  on  a  little  food  and  rev- 
elry till  late  at  night.  He  died  of 
typhus  and  was  buried,  at  his  own 
request,  in  the  "  Ostfriedhof "  at 
Wahring,  near  Beethoven. 

A  complete  critical  edition  of  his 
works  is  pub.  by  Breitkopf  &  Hartel. 
These  inch,  besides  those  mentioned, 
an  opera  "  ^^/raj/ "  (unfinished),  3- 
act  operettas  '' Der  Teufels  Lust- 
schloss"  and  '' Der  Spiegelritter"; 
Singspiele:  '' Der  Vierjdhrige 
Fasten"  ''Fernando";  "  Claudine 
von  Villabella"    (unfinished);    "Die 


722 


THE    MUSICAL    GUIDE 


Freunde  von  Salamaiica  "  and  "  Der 
Minnesdngt'r";  all  written  1814 — 
1816;  none  performed;  3-act  melo- 
drama, "/?/>  Zauberharfe"  (Aug. 
19,  1820);  3-act  opera,  '  Sakontala" 
(not  finished  or  performed)  ;  i-act  op- 
eretta, "Z>/V  Versch7V07-eneu,  oder 
der  hdnsliche  Krieg''  (Vienna,  1861); 
3-act  opera,  ''  Fierabras"  (Vienna, 
1861) ;  ''  Die  Burgsc haft  "  ysict  op- 
era (c.  1816;  prod,  by  Fz.  Lachner, 
Pesth,  1827);  unprod.  operas  ''Der 
Graf  von  Glcichen  "(1827)  and  ''Die 
Salzbergwerke'" ;  6  masses;  "Deutsche 
Messe" ;  unfinished  oratorio  '•'"Laza- 
rus" 2  "  Tan  turn  ergo"  (withorch.); 
2  "  Stabat  Mater"  etc.  Choral 
Works  with  Orch.,  or  Instrs.  : 
"Miriams  Siegesgesang" ;  prayer, 
"  Vor  der  Schlacht" ;  hymn,  "  Fferr 
unser  Gott"  "  Hymne  an  den  Heili- 
gen  Geist"  "  Morgengesang  im 
Walde"  "  Nachtgesang  im  Walde" 
and  "  Nachthelle"  "  Schlachtlied" 
"Glanbe,  Hoffming  und  Liebe"  sev- 
eral cantatas  and  part-songs.  Orch. 
AND  Chamber-Mus.  :  10  symphs., 
No.  8  the  "  unfinished"  in  B  min.,  7 
overtures  (Nos.  2  and  5  "  in  the  Ital- 
ian style  ") ;  vln. -concerto  ;  rondo  for 
vln.  with  orch.;  octet;  pf. -quintet 
C'^orif//^;/^?^/;//'^/, "with  double-bass); 
string-quintet  with  2  'celli ;  20  string- 
quartets  ;    2  pf. -trios  ;    2  string-trios  ; 


rondo  brilliant,  phantasie  in  C,  sona- 
ta,  3  sonatinas,  nocturne  for  'cello 
and  pf. ;  introd.  and  vars.  for  flute 
and  pf. ;  17  pf. -sonatas  (incl.  op.  78, 
fantasia),  3  grand  sonatas,  posthu- 
mous ;  8  impromptus,  6  moments 
musicals ;  many  variations,  many 
waltzes,  incl.  "  Valses  sentimentales," 
"Homage  aiix  belles  Viennoises" 
"  Valses  nobles"  \l"GrdtzerWdlzer" 
"  Wanderer-Fantasie" ;  For  pf.,  4 
hands  :  2  sonatas,  "  Divertissement  h 
V  hongroise"  "  Grand  rondo  "  "Notre 
amitie'"  rondo  in  D,  "  Lebensstiirme" 
fugue,  polonaises,  variations,  waltzes, 
4  Landler  ;  marches,  incl.  "  Trauer- 
marsch  "  and  "heroique." 

Songs  with  piano  :  "  Frlkonig," 
op.  I  ;  "  Gretchen  am  Spinnrade" 
op.  2;  "  Heidenroslein,"  op.  3; 
"Der  Wanderer  "  and  "Der  du  von 
dem  Himmel  hist"  op.  4  ;  Suleika 
songs,  Mignon's  songs,  2  song  cycles 
by  Wilhelm  Miiller,  "Die  Schone 
Miillcrin"  and  "  Die  IVinterreise,'" 
containing  20  and  24  numbers ;  7 
songs  from  "  Frdulein  vom  See" 
(Scott's  "Lady  of  the  Lake"),  9  songs 
from  "Ossian";  6  songs  by  Heine  in 
the  "  Schwanengesang"  etc. 

Biog.  by  von  Hellborn  (Vienna, 
1861,  1865);  Reissman  (Berlin,  1873); 
A.  Niggli  (1880) ;  Barbedette  (Paris, 
1866)  ;    Max  Friedlander. 


fctK 


Mtof 


loCCB 


fJStrn 

la 


Schubert. 

By  H.  a.  Scott. 

FRANZ  SCHUBERT  was  very  nearly  the  greatest  of  all  composers. 
If  he  had  lived  longer,  been  more  carefully  trained  when  young, 
and  received  greater  appreciation  in  his  lifetime — three  very  reason- 
able "might-have-beens" — who  shall  set  hmits  to  the  heights  which  h 
might  have  won  '>.  He  died  at  thirty-one.  If  others  of  the  masters  had  b 
cut  off  at  this  age  what  treasures  the  world  would  have  lost  ! — in  the  case," 
say  of  Handel,  every  one  of  his  oratorios  ;  in  that  of  Beethoven,  his  seven 
greatest  symphonies  ;  in  that  of  Wagner,  all  his  operas  after  **  Tatinhduser^'' 
and  "  Lohengrin  ^^  ;    in   that  of  Brahms,  the  "  German  Requiem  ^^  and  all 


DICTIONARY  OF  MUSICIANS    7^3 

his  symphonies.  ^1  It  does  not  follow  that  Schubert  would  necessarily  have 
developed  in  any  like  manner.  But,  at  least,  there  are  reasons  for  thinking 
that  he  might  have  done  so.  We  know  that  in  the  last  year  of  his  life  he 
contemplated  taking  lessons  in  counterpoint,  that  on  his  death-bed  he  spoke 
of  "  entirely  new  harmonies  and  rhythms"  running  through  his  head,  and 
that  he  had  the  loftiest  of  ambitions.  As  it  was,  and  taking  his  works  as 
they  stand,  certain  weaknesses  distinguish  them  which  there  is  no  overlooking. 
That  fabulous  fertility  which  could  beget  six  of  the  '*  Wint  err  else  "  songs  at 
a  single  sitting,  three  of  the  pianoforte  sonatas  in  as  many  weeks,  and  eight 
operas  in  a  year,  was  not  counterbalanced  by  a  like  faculty  in  the  matter  of 
self-criticism  and  concentration.  Too  many  of  his  bigger  works  lack  form 
and  proportion.  He  did  not  trouble  sufficiently  to  work  out  and  make  the 
;  most  of  the  inspired  thoughts  which  came  to  him  in  such  unparalleled  abun- 
;  dance.  He  was  a  stupendous  genius,  it  might  almost  be  said,  with  an  infi- 
nite capacity  for  not  taking  pains — whose  *'proflise  strains  of  unpremeditated 
art  "  were  at  once  too  profuse  and  too  unpremeditated.  \  But  even  so  only 
one  or  two  of  the  very  greatest  names  can  stand  before  his  in  music' s  history. 
He  occupies  a  position  only  one  degree  short  of  the  very  highest.  In  the 
actual  quality  of  his  inspiration  indeed  perhaps  there  is  not  one  who  could  be 
ranked  before  him.  No  composer  in  the  whole  history  of  music  was  more 
wondrously  endowed  by  nature,  whether  one  considers  either  the  surpassing 
beauty  of  his  ideas  or  the  profusion  of  their  supply.  ^  In  Schubert's  music 
at  its  best  there  is  a  haunting  and  unutterable  loveliness,  an  exquisite  blending 
of  tenderness,  sweetness,  and  purity,  with  strength,  nobility,  and  grandeur, 
to  which,  for  the  true  Schubertian,  there  is  perhaps  no  equivalent  in  the  works 
of  all  the  other  masters  put  together.  And  this  applies,  it  should  be  said, 
not  less  to  his  instrumental  pieces  than  to  his  songs.  •[[  The  notion  that 
Schubert  is  great  only  in  his  songs  is  one  of  those  stock  judgments  which,  once 
accepted,  it  seems  almost  impossible  to  eradicate.  In  point  of  fact  nothing  could 
be  wider  of  the  mark  than  this  belief.  Schubert  left  imperishable  works  in 
nearly  every  branch  of  music.  His  songs  comprise  no  doubt  his  most  char- 
acteristic and  distinctive  achievements,  inasmuch  as  nothing  like  them  had 
ever  been  so  much  as  attempted  before.  But,  so  far  as  concerns  the  specific 
quality  of  their  music,  they  were  equalled,  if  not  surpassed,  by  such  works 
as  the  symphonies,  his  chamber  compositions,  and  those  exquisite  one-move- 
ment pieces  for  the  pianoforte,  the  ''Impromptus''^  and  "  Moments  Musicals,^* 
which  in  their  way,  be  it  said,  were  only  a  degree  less  epoch-making  than 
the  songs.  ^  What  then  is  the  distinctive  place  in  music  of  this  divinely- 
. ,  gifted  tone-poet  ?  His  distinction  is  twofold  :  he  created  the  song  as  we 
know  it,  and  more  than  any  other  composer  he  influenced  the  development 
of  the  romantic  movement.      As  the  greatest  of  all  song- writers,  Schubert's 


724         THE    MUSICAL    GUIDE 

position  is  assured.  It  seems  safe  to  say  that  his  noblest  achievements  under 
this  head  will  never  be  surpassed.  The  Schubert  song,  of  which  the  text 
throughout  is  mirrored  in  the  accompaniment,  in  which  every  bar  of  the 
music  is  conditioned  by  the  words,  thoughts,  and  dramatic  or  emotional 
content  of  the  poem  illustrated,  was  a  distinctive  creation  in  its  way  not  one 
whit  less  wonderful  than,  say,  the  Beethoven  symphony  or  the  Wagnerian 
music-drama.  Such  songs  as  ''  Dcr  Erlkotiig,^^  "Die  ju?ige  Nonne,''* 
"  Der  To  J  und  das  M'adchen,^^  "  Der  Atlas,'"''  "  Der  Doppelgiinger,'^  or 
*•  Gruppe  aus  dem  Tartarus,''''  to  name  but  half-a-dozen  almost  at  random  from 
his  more  descriptive  examples,  were  a  totally  new  thing  in  music,  the  influ- 
ence of  which  upon  all  succeeding  composers,  not  only  of  songs  but  of  every 
kind  of  dramatic  or  illustrative  music,  not  excluding  opera,  it  would  be 
hard  to  over-esteem.  ^  And  more  remarkable  still  perhaps  is  the  fact  that 
this  superb  emotional  and  dramatic  expressiveness  was  attained  without  the 
smallest  sacrifice  of  qualities  specifically  musical — nay,  took  shape  in  music 
of  the  greatest  beauty,  richness,  variety  and  charm,  as  music  alone  and  with- 
out reference  to  the  text.  Schubert's  creation  of  the  song  in  truth  partakes 
almost  of  the  miraculous,  for  he  not  only  invented  an  absolutely  new  kind  of 
song,  but  developed  its  utmost  possibilities,  one  might  almost  say,  at  a  blow 
— in  a  word  did  this  new  thing  at  the  first  time  of  asking  and  did  it  supremely 
well.  ^  Schubert's  influence  as  song-writer  it  would  be  hardly  possible  to 
exaggerate.  It  was  truly  not  a  reform  which  he  introduced  but  a  revolution. 
As  to  his  influence  on  the  composers  of  the  romantic  school  one  has  only  to 
consider  in  general  the  whole  character  of  his  music  with  its  all-pervading 
poetry,  and  emotional  expressiveness,  and  in  particular  such  works  as  those 
already  named,  his  '^Impromptus''''  and  "  Moments  Music aW''  to  wit,  to 
realise  the  character  of  the  connection.  Here  also,  in  these  last-named 
works,  he  did  that  which  no  one  before  him  had  attempted,  inventing  new 
forms  for  the  expression  of  moods  too  delicate,  too  intimate,  and  too  personal 
for  treatment  in  the  larger  movements  of  established  type,  and  once  again  left: 
behind  him  creations  of  an  entirely  novel  kind,  which  later  composers  have 
striven  in  vain  to  improve  upon.  ^Perhaps  in  the  whole  range  of  pianoforte  ■ 
music  there  are  no  passages  more  ravishingly  beautiful  — more  enchanting  to  j 
the  ear,  regarded  from  the  purely  sensuous  standpoint — than  some  co  be  found  , 
in  these  inspired  works.  Had  Schubert  left  nothing  furtner  than  this  slender 
volume  oi  ''Impromptus^''  and  "  Moments  Musicals*''  for  the  pianoforte  his  : 
name  would  live  forever  in  the  records  of  the  art.  .^  If  Schubert's  essays  in  \ 
the  larger  forms — the  symphony  and  the  sonata — are  to  a  certain  extent  i 
impaired  by  the  qualities  alluded  to,  this  is  by  no  means  to  deny  their  enor- 
mous significance  and  importance.  Schubert  in  these  larger  works  may  have 
been  diffuse  at  times,  may  not  aiwavs  liave  developed   to  the  full  the  won- 


DICTIONARY  OF  MUSICIANS  725 

drous  ideas  which  came  to  him  in  such  abundance,  his  works  may  sometimes 
lack  proportion  ;  but  what  qualities  are  theirs  by  way  of  comparison  ! — what 
wealth  of  melody  !  what  intoxicating  harmonies  !  what  irresistible  rhythms  ! 
what  magical  modulations  !  Recall  such  creations  as  the  C  major  and  the 
B  minor  symphonies,  the  quintet  in  C  major,  the  D  minor,  A  minor,  and  G 
major  quartets,  and  the  sonatas  in  A  minor,  B  flat,  and  G  among  his  larger 
piano  works,  and  of  what  account  seem  the  dry-as-dusts'  and  analysts'  strict- 
ures in  the  face  of  such  imperishable  compositions  as  these  ?  Nor  should  it 
be  overlooked  that  in  these  larger  works  also,  Schubert's  methods,  if  he  kept 
within  the  recognised  forms,  were  all  his  own,  and  as  such  were  full  of 
influence  upon  his  successors.  Apart  from  such  technical  matters  as  his 
harmonies,  modulations,  instrumentation,  and  the  like,  under  all  of  which 
heads  he  made  striking  advances,  he  breathed  into  these  established  forms  also 
a  spirit  of  romance,  a  yearning,  wistful,  personal  note  of  lyric  tenderness 
and  fervour,  whereby  they  are  distinguished  from  all  earlier  compositions 
of  their  kind.  ^Well  might  it  be  said  by  Grove  of  Schubert  that  "there 
never  has  been  one  like  him  and  there  never  will  be  another"  ;  by  Liszt 
that  he  was  "  le  musicien  le  plus  poete  que  jamais  "  ;  and  by  the  inscription 
on  his  tomb  that  *'  Die  Tonkunst  begrub  hier  einen  reichen  Besitz  aber  noch 
viel  schonere  HofFnungen." 


(5)  Fz.  Anton,  1768 — 1824  ;  vio- 
Knist ;  R.  Konzertmeister.  (6)  Fz., 
Dresden,  1808 — 187S  ;  son  and  pupil 
of  (5) ;  violinist,  Konzertmeister  R. 
orch.  and  composer.  (7)  Maschin- 
ka,  wife  of  (6)  and  daughter  of  G. 
A.  Schneider,  1815— Dresden,  1882; 
soprano.  (8)  Georgine,  Dresden, 
1840 — Potsdam,  1878  ;  daughter  and 
pupil  of  (7) ;  pupil  also  of  Jenny  Lind 
and  Garcia  ;  sang  in  many  European 
cities.  (9)  Louis,  Dessau,  182S — 
Dresden,  1884 ;  violinist  ;  singing- 
teacher  and  composer.  (10)  Oskar, 
b.  Berlin,  Oct.  11,  1849;  clarinettist; 
in  America  2  years  ;  since  at  Berlin. 
(11)  Camille,  pen-name  of  Camille 
Prilipp. 
Schuberth  (shoo'-bert),  (i)  Gottlob, 
Karsdorf,  1778 — Hamburg,  1846  ; 
oboist  and  clarinettist.  (2)  Julius 
(Fd.  G.),  Magdeburg,  1804 — Leip- 
zig, 1875  ;  son  of  above;  founded  firm 
of  "  J.  Schuberth  &  Co.,"  Hamburg, 
1826 ;    Leipzig   branch,   1832 ;    New 


York,  1850.  His  brother  (3)  Fr. 
Wm.  (b.  1817),  took  the  Hamburg 
house,  1853  (under  firm-name  "  Fritz 
Schuberth");  1872,  at  Weimar 
founded  the  mus.-library  "  Liszt - 
Schuberth  Stiftung"  ;  1891  succeeded 
by  Felix  Siegel  ;  New  York  branch 
now  owned  by  J.  H.  F.  Meyer.  (4) 
L., Magdeburg,  1806 — St.  Petersburg, 
1850;  son  and  pupil  of  (i)  and  von 
Weber  ;  at  16  dir.  Stadt  Th.  at  Mag- 
deburg;  conductor  Oldenburg,  1845; 
cond.  German  opera,  St.  Petersburg; 
c.  operas,  symphs. ,  etc.  (5)  K., 
Magdeburg,  1811  — Zurich,  1863; 
bro.  of  above  ;  noted  'cellist  ;  pupil 
of  Hesse  and  Dotzauer ;  toured 
widely  ;  soloist  to  the  Czar;  ct.-cond., 
dir.  at  the  U.;  c.  2  'cello-concertos. 

Schubiger  (shoo'-blkh-er),  Anselm, 
Uznach,  Canton  of  St.  Gallen,  1815 
— 1888  ;  important  writer. 

Schuch  (shookh),  (i)  Ernst  von,  b. 
Graz,  Styria,  Nov.  23,  1847  ;  pupil  of 
E.  Stoltz  and  O.  Dessoff ;   1872,  cond.. 


726 


THE    MUSICAL    GUIDE 


Pollini's  It.  Op.;  from  1S73  ct.-cond. 
Dresdeiij  then  R.  Ct. -Councillor  and 
Gen.  -  Mus.  -  Dir.  (2)  Clementine 
Proska,  b.  Vienna,.  Feb.  12,1853; 
wife  of  above  ;  1873,  colorature-sopr., 
Dresden  ct  -theatre. 

Schucht  (shookht),  Jean  F.,  Holz- 
thalleben,  Thuringia,  1832 — Leipzig, 
1894  ;  critic  and  composer. 

Schiicker  (shik'-er),  Edmund,  b.  Vi- 
enna, ca.  1S56  ;  harpist ;  pupil  of 
Zamara,  Vienna  Cons.;  1884,  teacher 
Leipzig  Cons.,  and  harpist  Gewand- 
haus  Orch.;  1890,  ct. -harpist  to  Duke 
of  Saxe-Altenburg ;  1891,  Chicago 
Orchestra. 

Schulhoff  (shool'-hof),  Julius,  Prague, 
1825 — Berlin,  1S9S  ;  notable  pianist  ; 
pupil  of  Kisch,  Tedesco  and  Toma- 
schek  ;  debut,  Dresden,  1842  ;  lived  in 
Paris  as  teacher,  then  Dresden  and 
Berlin  ;  c.  pf.-pcs.,  etc. 

Schultesius  (shool-ta-zt-oos),  Jn. 
Paul,  Fechheim,  Saxe-Coburg,  1748 
— Leghorn,  1S16  ;  theorist  and  com- 
poser. 

Schultheiss  (shoolt'-hls),  Benedict, 
d.  1693  ;  organist  and  composer, 
Nurnberg. 

Schultz  (shoolts),  Edwin,  b.  Danzig, 
April  30,  1827  ;  barytone  ;  pupil  of 
Brandstatter,  Berlin  ;  singing-teacher 
there  ;  also  cond.  the  "  Monstre  Con- 
certe"  given  1864 — 71,  for  the  ben- 
efit of  wounded  soldiers ;  in  iSSo 
the  Prussian  Ministr)'  of  War  com- 
missioned him  to  compile  songs  ;  c. 
7  prize  male  choruses,  etc. 

Schultze  (shoolt'-tse),  (i)  Jn.,  organ- 
ist and  composer,  Dannenberg, 
Brunswick,  1612.  (2)  Chp.,  cantor, 
etc.,  Delitzsch,  Saxony  (1647 — 1668). 
(3)  Dr.  Wm.  H.,  Celle,  Hanover, 
1827 — Syracuse,  N.  Y.,  1888  ;  violin- 
ist and  professor.  (4)  Ad.,  b.  Schwe- 
rin,  Nov.  3,  1S53  ;  pianist ;  pupil  of 
Kullak's  Acad.,  Berlin;  teacher 
there;  1886-90  ct.-cond.,  Sonders- 
hausen  and  dir.  of  the  Cons. ;  later  in 
Berlin  ;  c.  a  pf. -concerto,  etc. 

Schulz  (shoolts),  (i).  Vide  pratori- 
us.     (2)  Jn.  Abraham  Peter,  Lune- 


burg,  March  30(31  ?),I747 — Schwedt, 
June  10,  iSoo ;  important  predeces- 
sor of  Schubert  as  a  song-writer ; 
pupil  of  Kirnberger,  Berlin  ;  teacher 
there.  1780,  ct.-cond.  at  Rheinsberg ; 
17S7-94,  ct.-cond.  Copenhagen  ;  and 
theorist  ;  c.  operas,  oratorios,  etc. 
(3)  Jn.  Ph.  Chr.,  Langensalza,  Thu- 
ringia, 1773 — Leipzig,  1827  ;  cond. 
and  composer.  (4)  K.,  Subrector  at 
Fiirstenwalde ;  wrote  pop.  text- 
books, 1812  and  1816.  (5)  Otto  K. 
Fr.  Wm.,  b.  Gortz,  Brandenburg, 
March  25,  1S05  ;  pupil  of  Klein  and 
Zelter,  BerUn  ;  organist  at  Prenz- 
lau ;  R.  Mus.-Dir. ;  pub.  methods 
and  c.  sacred  music,  etc.  (6)  Ad., 
Berlin,  1817 — 1884;  violinist  and 
composer.  (7)  Fd. ,  Kossar,  1821 — 
Berlin,  1897  ;  1856  conductor,  mus.- 
dir. ,  singing-teacher  and  composer. 
(8)  August,  b.  Brunswick,  June  15, 
1S37  ;  violinist ;  pupil  of  Zinkeisen, 
Leibrock,  and  Joachim ;  leader  of 
the  Ducal  Orch.  there  ;  c.  pop.  male 
quartets. 
Schulz-Beuthen  (shoolts-boi'-ten),  H,,  ' 

b.  Beuthen,  Upper  Silesia,  June 
19,  1838 ;  pupil  of  Leipzig  Cons., 
and  of  Riedel ;  since  18S1,  pf. -teach- 
er, Dresden  Cons. ;  c.  3  operas,  6 
symphonies,  "  Haydn"  "  Friihli^igs- 
feier"  £^,  "  Schon  Elizabeth" 
"■  Reformation- S."  (with  organ); 
''  Konig  Lea)-,"  and  a  ''  Kitider-Sin- 
fonie" ;  symph.  poem,  "  Die  Todten- 
insel";  3  overtures,  incl.  ''  hidian- 
ischer  Kriegstanz  " ;  cantatas  with 
orch.,  '' Befreiungsgesang  der  Ver- 
hannten  Israels"  and  "  Harald"  re- 
quiem and  Psalms  42,  43,  and  125 
with  orch.  Psalm  13  a  cappella  male 
choruses,  etc. 

Schulz-Schwerin    (shoolts-shva'-ren), 
K.,  Schwerin,  Jan.  3,  1845  ;  pianist ; 
pupil    of   Stern    Cons.,    Berlin  ;    ct.-' 
pianist  to  Grand   Duke  of  Mecklen 
burg ;    since    18S5  lived    in    Berlin 

c.  a  symph.,  overtures  "  Torquato 
Tasso"  "  Die  Braut  von  Alessina," 
and  "  Triotnphale" ;  Sanctus,  Bene- 
dictus,  etc.,  with  orch.,  etc. 


i-M 


DICTIONARY  OF  MUSICIANS   727 


Schulze  (shoolts'-e),  (i)  Jn.  Fr.,  Mil- 
bitz,  Thuringia,  1793  —  Paulinzelle, 
1858  ;  org.-builder  with  his  sons  at 
Muhlhausen.  (2)  Ad.,  b.  Mannhagen, 
near  Molln,  April  13,  1835  ;  concert- 
bass  ;  pupil  of  Carl  Voigt,  Hamburg, 
and  Garcia,  London  ;  head-prof,  of 
singing  R.  Hochschule,  Berlin. 

Schumacher  (shoo'-makh-er),  (Peter) 
Paul  (H.),  Mayence,  1848— 1891  ; 
conductor,  critic,  teacher  and  com- 
poser. 

jchumann  (shoo'-man),  (i)  Robert 
(Alex.),  Zwickau,  Saxony,  June  8, 
1810 — insane,  Endenich,  near  Bonn, 
July  29,  1856  ;  one  of  the  most  in- 
dividual and  eminent  of  composers. 
Youngest  son  of  a  book-seller  (of  lit- 
erary taste  and  author  of  a  biog. 
gallery  to  which  R.  contributed  at  14). 
Pupil  of  a  local  organist,  Kuntzsch 
(pf.),  who  prophesied  immortality  for 
him  ;  at  6  he  began  to  compose,  at 
II,  untaught,  he  c.  for  chorus  and 
orch.  At  17  he  set  poems  of  his  own 
to  mus.  1820-28,  attended  Zwickau 
Gymnasium ;  then  matriculated  at 
Leipzig  Univ.  to  study  law  and  phi- 
losophy. 1829  Heidelberg,  where  he 
also  studied  mus.,  practising  the  piano 
7  hours  a  day  ;  played  once  in  public 
with  great  succ.  1830,  Leipzig, 
where  he  lived  with  Friedrich  Wieck, 
with  whom  he  studied  the  piano ;  he 
also  studied  comp.  with  H.  Dorn. 
In  trying  to  acquire  independence  of 
the  fingers  by  suspending  the  fourth 
finger  of  the  right  hand  in  a  sling 
while  practising  with  the  others  he 
crippled  this  finger  and  foiled  his  am- 
bition to  be  the  chief  virtuoso  of  his 
time.  He  now  made  comp.  his  first 
ambition.  In  1833,  his  first  symph. 
was  performed  with  little  succ,  the 
first  movement  having  been  played  in 
public  by  Wieck's  13-year  old  daugh- 
ter, Clara,  with  whom  S.  fell  in  love. 
The  father  liked  S.  as  a  son,  but  not 
as  a  son-in-law,  and  put  every  ob- 
stacle in  his  way,  until  in  1840,  after  a 
year's  law-suit, 'the  father  was  forced 
"      to  consent  and  the  two  lovers,  both 


now  distinguished,  were  united  in  one 
of  the  happiest  marriages  known  in 
art ;  she  giving  his  work  publicity  in 
her  very  popular  concerts  ;  he  de- 
voted to  her  and  dedicating  much  of 
his  best  work  to  her.  1834  he  found- 
ed the  "  Neue  Zeitschrift  fiir  Musik," 
and  was  its  editor  till  1844.  His 
essays  and  criticisms  (signed  Flores- 

TAN,    EUSEBIUS,     MeISTER    RaRO,    2, 

12,  22,  ETC.,  Jeanquirit,  etc.)  are 
among  the  noblest  works  in  the  his- 
tory of  criticism,  particularly  in  the 
matter  of  recognising  new  genius  and 
heralding  it  fearlessly  and  fervently. 
(Chopin,  Berlioz,  and  Brahms,  profit- 
ed by  this  quality.  Of  Wagner  he 
did  not  altogether  approve.)  In  his 
writings  he  constructed  an  imaginary 
band  of  ardent  young  Davids  attack- 
ing the  Goliath  of  Philistinism.  He 
called  this  group  the  "  Davidsbiind- 
ler."  His  pen-name  "  Eusebius," 
represents  the  vehement  side  of  his 
nature,  "  Florestan,"  the  gentle 
and  poetic  side.  His  paper  had 
some  succ,  which  was  not  bettered 
by  a  removal  to  Vienna,  1838-39,  and 
a  return  to  Leipzig.  1840,  Dr.  Phil., 
Jena.  1840  was  mainly  devoted  to 
his  important  song-composition;  1841 
to  symph.  work  ;  1842  to  chamber- 
mus.,  incl.  his  pf.-quintet  (op.  44) 
which  gave  him  European  fame. 
1843  was  choral,  "  Das  Paradies  und 
Peri  "  (from  Moore's  "  Lalla  Rookh"), 
ha\ing  a  great  succ. ;  he  also  began 
his  choric  mus.  for  "  Faust."  The 
same  year,  on  the  invitation  of  his 
warm  personal  friend  Mendelssohn, 
he  became  teacher  of  pf.  and  comp., 
and  of  playing  from  score  at  the 
newly  founded  Leipzig  Cons.;  1844, 
after  going  with  his  wife  on  a  con- 
cert-tour to  Russia,  he  removed  to 
Dresden  and  resigned  the  editorship 
of  the  ''Neue  Zeitschrift" ;  lived  at 
Dresden  until  1850  teaching  and  com- 
posing such  works  as  the  great  C- 
major  symph,  1846,  and  the  opera 
''  Geiioveva"  (1848;  prod.  1850 
without  succ;  its  exclusion  of  recita- 


728 


THE  MUSICAL  GUIDE 


tive  displeasing  the  public).  1847 
cond.  of  the  "  Liedertafel" ;  1848 
organised  the  "  Chorgesangverein." 
1850,  Diisseldorf  as  town  mus.-dir. 
(vice  Fd.  Hiller).  1S53,  signs  of  in- 
sanity, first  noted  in  1833  and  more 
in  1845,  compelled  him  to  retire.  1854 
he  threw  himself  into  the  Rhine, 
whence  he  was  rescued  by  some 
boatmen  ;  he  was  then  taken  to  an 
asylum  at  Endenich  near  Bonn, where 
he  remained  in  acute  melancholia, 
varied  by  intervals  of  complete  lucid- 
ity, when  he  composed  as  before.  A 
complete  ed.  of  his  comps.  is  edited 
by  Clara  Schumann  and  publ.  by 
Breitkopf  &  Hartel.  It  includes,  be- 
sides the  works  mentioned,  mus.  to 
Byron's  "■' Alanfred"  Goethe's 
"Faust,"  cantatas,  '  Der  Rose  Pil- 
gerfahrt''  withorch. ;  "■  Adveiitlied" 
for  sopr.,  chorus  and  orch.;  "  Ab- 
schiedslied,'"  chorus  with  wood-wind 
or  pf.;  requiem  for  "  A/ig/to/i"; 
" Nachtlied"  for  chorus  and  orch.; 
ballades  "' Det  Konigssohn"  '' Des 
Sanger's  Finch"  (op.  139),  "  Vo>n 
Pagen  taid  der  Konigstochter"  "Das 
Gluck  vpit  Fdenhall,"  and  "  Neu- 
jahrslied" ;  Missa  sacra,  and  requiem 
mass,  with  orch.;  4  symphs.  (No.  3, 
op.  97,  in  Eb  the  "  Rheiniscke,'"  ov 
"  Cologne"  symph.)  ;  "  Onvcriiire, 
Scherzo  und  Finale"  op.  52  ;  4  con- 
cert overtures  "  Die  Braut  von  Mes- 
sina,"  "  Festouvertiire"  "Julius 
Ccesar  "  and  ' '  Hermann  und  Doro- 
thea";  pf. -concerto  ;  Concertstiick, 
and  concert-allegro,  'cello-concerto ; 
fantasia  for  vin.  with  orch.,  etc. 

Much  remarkable  chamber  music  : 
incl.  pf. -quintet  in  Efe  op.  44  ;  3  pf.- 
trios,  etc.  ;  6  org. -studies  in  canon- 
form,'  ' Skizzenfiir  den  Pedal-Jliigel"; 
6  org. -fugues  on  B-A-C-H,  op.  60. 

For    pf.  :    Op.    i,  Variations  on 


S' 


A-B-E-G-G  (the  name  of  a  young 
woman) ;  op.  2  "  Papillons"  ;  op.  3, 
"  Studies  after  Paganini's  Caprices"; 
op.  5,  "Impromptus  on  theme  by  CI. 
Wieck" ;  op.  6,  "  Davidshiindler- 
tcinze";  op.  9,  "  Carnaiml" ;  op.  ID, 
"  Studies  on  Paganini's  Caprices"; 
op.  15.  thirteen  "  Kinderscenen" ;  op. 
16,  "Kreisleriana" ;  op.  21,  "A'ovel- 
letten "  (4  books),  3  sonatas  (No. 
3  "Concert  sans  orchestre "),  and 
3  sonatas  for  the  young  ;  op.  23 
"  Nachtstikke" ;  op.  26  "  Faschings- 
schwank  aus  Wien" ;  op.  68,  "Al- 
bum far  die  Jugcnd"  a  canon  on 
"  An  Alexis"  FOR  PF.  4  HANDS:  Op. 
66,  "  Bilder  aus  Osten^"  after  Rtick- 
ert,  12  "  Clavierstiicke  fiir  kleine  und 
grosse  Kinder";  op.  109,  "  Ball- 
scenen."  Many  choruses  a  cappella  ; 
many  songs  and  duets,  incl.  ten  Spa- . 
nische  Liebeslieder,  with  4-hand  ac- 
comp.,  op.  138  ;  Liederkreis  (Heine), 
song-cycle,  op.  24,  and  Liederkreis 
(12  poems  by  Eichendorff),  op.  39 ; 
"  Alyrthcn,"  op.  25  ;  Lieder  und  Ge- 
sange,  5  sets;  12  poems  (Korner) 
op-  35  ;  6  poems  (Riickert),  in  collab 
oration  with  his  wife,  op.  37 ; 
"  Frauenliebe  und  Leben,"  op.  42  ;< 
"  Dichterliebe"  op.  48;  "  LiederaU 
bum  fur  die  Jugend,"  op.  79  ;  6 
songs  from  Byron's"  Hebre^v  Melo- 
dies" op.  95  (with  pf.  or  harp)  ;  nine  t,  i;: 
Lieder  und  Gesange  from  "  Wilhelm-. 
Meister"  op.  98a,  etc. 

His  writings  are  pub.  in  4  vols.,| 
1854 ;  4  vols,  in  English,  London,'; 
1875  ;  and  his  letters  ed.  by  his  wifcl 
(1885)  and  (^iSSo)  by  Jansen. 

Biogr.  by  von  Wasielewski  (1858) 
Reissmann  (1865),  Ambros  (i860) 
L.  Mesnard  (Paris,  1876),  H.  Reii 
mann  (1887),  H.  Erler  (1887),  S 
Bagge  (1879),  Waldersee  (1880),  am 
by  Ph.  Spitta  (1882). 


Jsi 


I 


1^, 


DICTIONARY  OF  MUSICIANS    729 


Schumann. 

By  Richard  Aldrich. 

SCHUMANN'S  music  falls  into  three  groups  or  periods  as  easily  as 
Beethoven's.  There  is  first,  the  product  of  his  early,  exuberant 
style,  those  wonderful  series  of  short  piano  pieces,  slight  in  form,  but 
soaring  into  imaginative  power;  saying  little,  but  vaguely  hinting  at  much.  The 
second  period  is  one  of  more  self-centred  activity,  of  greater  poise,  of  more 
conservative  methods  ;  his  ideal  had  expanded,  and  was  leading  him  to  com- 
pose in  a  larger  mould,  with  a  broader  sweep  of  imagination,  and  with  a 
greater  regard  for  form  as  itself  an  element  of  beauty.  And,  in  his  last  period, 
we  must  group  those  of  his  works  that  show  the  failing  powers,  the  exhausted 
imagination  of  an  intellect  already  overshadowed  by  its  approaching  doom. 
^  Schumann's  beginnings  in  music  were  as  nearly  the  spontaneous  outpour- 
ings of  himself  as  can  well  be  thought  of.  It  is  difiicult  to  derive  the  sources 
of  even  his  first  attempts  from  the  music  of  his  predecessors.  He  studied 
some  of  Hummel's  works,  and  greatly  admired  Moscheles,  and,  the  critics 
say,  that  the  "  Abegg^^  variations.  Opus  i,  are  in  the  Hummel- Moscheles 
style.  He  was  devoted  to  Schubert  from  his  early  years,  and  played  his  Httle 
piano  pieces,  especially  the  dances,  with  great  love ;  perhaps  the  traces  of  this 
may  be  found  in  the  Papillons,  Opus  2.  But  even  here,  the  influence,  if  there 
be  any,  related  more  to  the  concise  and  sententious  form,  the  poetic  content, 
than  to  the  fibre  of  the  music  itself  It  is  not  the  kind  of  resemblance  that 
you  will  find  to  Mozart  and  Haydn  all  through  the  earliest  works  of  Beetho- 
ven. Bach,  too,  formed  a  part  of  young  Schumann's  musical  daily  bread; 
we  may  perhaps  discern  that  influence  in  the  instinctive  feeling  for  contra- 
puntal movement — though  of  a  very  free,  and,  as  it  were,  untechnical  sort — 
in  those  earliest  piano  pieces  ;  but  here  again  comparison  of  the  specifically 
musical  style  reveals  nothing.  ^There  is  one  influence,  however,  that  cannot  be 
overlooked  in  computing  the  forces  bearing  on  Schumann's  formative  period  ; 
that  is  Jean  Paul  Richter.  All  readers  of  Schumann's  letters  know  how  steeped 
he  was  in  the  spirit  of  this  singular  German  fantastic,  this  overwrought  romantic 
symbolist,  a  story-teller,  philosopher,  and  poet  in  one.  He  was  all  in  all  to 
Schumann  ;  not  only  the  young  man's  literary  style — he  was  already  a  copi- 
ous writer — but  his  very  ideals  in  music,  were  moulded  on  Jean  Paul's,  and 
thickly  overlaid  with  his  mannerisms.  For,  in  these  early  years  of  Schumann's 
life_,  music  and  poetry  seem  to  meet  on  common  ground,  and  to  take  their 
infpuise  from  one  and  the  same  starting-point.  In  Jean  Paul,  all  that  charm- 
ing crew  of  •'  Davidites,''^  with  "Florestan'"  and  "Eusebius  "  as  their  fore- 


[ 


^,1 
Itvoiii: 

isif!!!l 


730  THE    MUSICAL    GUIDE 

front,  have  their  prototypes  ;  and  their  appearance  in  the  early  Zeitschrift 
articles  is  no  more  characteristic  of  this  influence  than  their  appearance  in  the 
"CarnevaT'  and  the  "D^2vidsbutidlert'anze.'"  ^  With  his  attainment  of 
his  heart's  desire  in  his  marriage  with  Clara  Wieck,  in  1840,  there  seems  to 
have  come  a  mellowing,  a  ripening  force  in  Schumann's  musical  inspiration — 
if  you  will,  a  conservative  force  that  led  him  to  see  the  significance  and  value 
of  those  musical  forms  to  which  he  had  at  first  been  indifferent.  Some  of  his 
ardent  companions  in  the  revolutionary  parties  of  the  earlier  years  saw  in  this 
a  backsliding  from  his  professions.  But  the  fact  that  he  parted  company  with 
**  Florestati  "  and  "  Eusebius,'^  and  erased  their  names  from  the  reissues  ol 
musical  works  once  signed  by  them,  can  be  for  us  naught  but  an  indication  ol 
intellectual  growth.  We  enjoy  those  romantic  and  engaging  figures,  but  we 
see  greater  things  than  they  were  concerned  with  in  the  symphonies,  the 
piano-quintette,  the  string-quartettes,  the  piano-concerto,  the  third  part  ol 
**  Faust,''''  and  '*  Paradise  and  the  Peri.^^  ^[  The  contributions  of  Schu- 
mann to  the  development  of  the  art  are  important  and  permanent.  What  he 
did  to  develop  the  expressive  power  of  the  pianoforte  is  all  his  own.  He 
wrote  for  the  instrument  in  a  new  way,  calling  for  new  and  elaborate  advances 
in  technique — not  the  brilliant  finger-dexterity  of  Chopin  and  Liszt,  but  a 
deeper  underlying  potency  of  expression  through  interlacing  parts,  skilfully 
disposed  harmonies,  the  inner  voices  of  chords,  and  through  new  demands  as 
to  variety  of  tone  quality,  contrasts  of  colour  and  the  enrichment  of  the  whole 
through  pedal  effects.  It  has  been  called  a  crabbed  style,  but  it  is  no  less 
idiomatic  of  the  piano  than  the  more  open  and  brilliant  manner  that  was 
developed  at  the  same  period  by  the  virtuoso-school  of  pianoforte-playing  and 
composition.  ^[Schumann's  use  of  short  pieces,  in  connected  series,  as  an  ex- 
position of  what  is  really  a  single  poetic  idea  running  through  them  all,  is  his 
own  creation,  and  one  that  succeeding  composers  have  made  the  most  of. 
So  is  his  idealised  form  of  programme-music — music,  that  is,  expressing  some 
definite,  concrete,  external  idea.  But  his  wise  judgment  on  music  of  this 
kind  must  always  be  kept  in  mind,  that  it  must  always  be  beautiful  and  intel- 
ligible as  music  without  the  need  of  explanation  through  titles,  in  which  he  saw 
only  an  aid  or  stimulus  to  the  hearer's  imagination.  Space  is  lacking  to  dis- 
cuss his  later  experiments  in  modifying  or  developing  the  classical  or  sonata 
form  to  increase  its  unity  and  its  emotional  potency,  such  as  are  to  be  found 
in  the  D-minor  and  C-major  symphonies,  and  the  piano-quintette.  Schu- 
mann added  something  peculiarly  his  own  to  the  Lied,  in  his  enhancement  of 
the  accompaniment's  significance,  increasing  its  power  of  expression  in  co- 
operation, sometimes  almost  on  equal  terms  with  the  voice,  and,  in  many 
instances,  giving  its  ritournelles  or  instrumental  postludes  an  independent  elab-  ■  li 
oration  and   meaning   of  their   own.      ^  Schumann  came  of  a  well-to-do  [jj« «. 


DICTIONARY  OF  MUSICIANS    731 

family,  and  his  early  genera,  education  and  sociai  surroundings  had  been  far 
beyond  those  of  most  musicians.  The  tact  that  he  was  not  only  well  read, 
but  a  writer  himself  of  peculiar  charm  and  individuality,  a  critic  of  quickening 
insight  and  generous  discernment,  reacted,  as  it  needs  must,  on  his  music. 
Though  he  was,  early  in  his  youth,  of  a  lively  character,  he  was  always  dis- 
posed toward  moodiness ;  and  by  the  time  he  reached  manhood  he  had  fallen 
into  a  state  of  remarkable  taciturnity  and  introspection.  Wrapped  in  his  own 
thoughts,  he  would,  when  in  the  company  of  friends  or  fellow-musicians,  sit 
silent  hour  after  hour,  with  his  head  leaning  on  his  hand,  often  with  an  incip- 
ient smile  upon  his  face,  and  with  his  lips  pursed,  as  though  to  whistle. 
His  letters  show  him  to  have  been  of  a  sweet  and  affectionate  nature  toward 
his  family  and  intimates  ;  kindly  and  generous  in  his  estimate  and  treatment 
of  others,  yet  roused  to  anger  by  a  wrong,  and  capable  of  deep  and  glowing 
resentment.  ^  Schumann's  place  in  modern  music  was  slowly  won,  both 
in  his  native  land  and  elsewhere,  but  there  is  little  sign  yet,  of  its  being  shaken. 
His  symphonies  suffer  unduly,  through  their  unskilful  orchestration,  in  the 
estimation  of  a  generation  to  whom  fine  feeling  for  orchestral  colour  is  essential, 
but  the  magnificent  elegance  of  the  two  great  overtures  (to  *'  Manfred''''  and 
"  Ge?ioz'eva'" )  is  little  discounted  in  this  way  ;  the  string-quartettes  and  the 
piano-quintette  and  quartette  seem  to  lose  none  of  their  beauty  as  they  recede  in 
historical  perspective  ;  the  piano  concertos,  and  a  great  number  of  the  songs  are 
heard  repeatedly,  every  year,  with  unremitted  joy.  His  solo  piano-pieces 
appeal  less  and  less  to  the  taste  of  the  latter-day  piano-virtuoso  who  cannot  utilise 
music  calling  so  little  for  nimbleness  of  finger  and  brilliancy  of  effect  ;  but  it 
is  impossible  to  deny  that  these  pieces  are  still  competent,  as  few  others  are, 
to  serve  deep  and  sincere  music  lovers  **for  the  enjoyment  of  god  at  home." 
Schumann  will  always  have  a  commanding  hold,  a  commanding  place  in  the 
nineteenth  century,  the  century  of  evolution,  the  century  that  struck  off  the 
academic  bonds  from  art.  In  the  noble  band  of  romantic  adventurers  into 
new  and  unexplored  realms  of  music,  Schumann  was  a  leader,  but  he  never 
failed  in  his  bold  and  chivalrous  championship  of  the  rectitude  of  his  art. 


(2)  Clara  (Josephine),  nee  Wieck, 

Leipzig-,  Sept.  13,  18 ig — Frankfort- 
on-Main,  May  20,  1896 ;  eminent 
pianist ;  wife  of  above  (q.  v.).  She 
played  in  public  at  9  ;  at  1 1  at  the 
Gevvandhaus  ;  toured  from  1832  ; 
Vienna  (1836)  received  the  title  of 
Imp.  Chamber-virtuoso.  On  Sept.  12, 
1840,  m.  Schumann  (q.  v.).  After  he 
died  she  went  with  her  children  to 
Berlin  ;   1863    to    Wiesbaden,  resum- 


ing her  public  career  as  a  concert- 
pianist  ;  1878-92  pf.-teacher  Hoch 
Cons.,  Frankfort.  Besides  editing 
Schumann's  works,  his  early  letters 
and  finger-exercises  from  Czerny, 
she  c.  pf. -concerto,  preludes  and 
fugues,  pf.-trio,  Vars.  on  a  theme 
by  Schumann,  many  songs,  incl.  3 
in  Schumann's  op.  37  (Nos.  2,  4, 
and  11).  Biog.  by  Litzmann,  1902. 
(3)  Georg  (Alfred),   b.   Konigstein, 


732 


THE    MUSICAL    GUIDE 


Saxony,  Oct.  25,  1866  ;  pianist  ,  son 
and  pupil  of  the  city  mus.-dir.,  pupil 
of  his  grandfather,  a  cantor,  and  of 
K.  A.  Pischer,  B.  RoUfuss,  and  Fr. 
Baumfelder,  Dresden,  then  of  Leip- 
zig Cons.,  where  he  c.  2  symphs.,  a 
serenade  for  orch.,  a  pf. -quintet,  a 
vln. -sonata,  etc.,  taking  the  Bee- 
thoven prize,  18S7  ;  lived  2  years  in 
Berlin;  1892-96,  cond.  at  Danzig,  since 
then  Bremen  Philh.  Orch.  and  cho- 
rus; c.  also  choral  work,  "  Amor  uiid 
Psyche"  (Leipzig,  1888),  orch. -suite 
"  Zur  Kanu'Z'alszeit"  etc. 

Schumann-Heink  (shoo'-man  -  hink), 
Ernestine  (nee  Rossler),  b.  Lieben, 
near  Prague,  June  15,  1S61  ;  contral- 
to ;  pupil  of  Marietta  von  Leclair, 
Graz  ;  debut  Dresden,  1878,  in  " // 
Trovatore  "  sang  there  4  years  ;  1883 
Hamburg  City  Th.;  1896,  sang 
"  Erda,"  "  Waltraute,"  and  the  First 
Norn  at  Bayreuth ;  m.  Herr  Heink, 
1883;  m.  Paul  Schumann,  1893  ;  from 
1898,  in  America  with  Met.  Op. 
troupe. 

Schund  (shoont),  Joachim,  org. -build- 
er, Leipzig,  1356. 

Schunke  (shoonk'-e),  (i)  K.,  Magde- 
burg, 1801 — suicide,  Paris,  1839  ; 
pianist  ;  son  and  pupil  of  a  horn-virt- 
uoso. (2)  Michael  S.,  composer.  (3) 
L.,  Cassel.  1810 — Leipzig,  1834  ; 
pianist  and  composer ;  pupil  of  his 
father,  the  horn-virtuoso.  (4)  Gott- 
fried S. 

Schuppanzich  (shoop'-pan-tstkh),  Ig- 
naz,  Vienna,  1776 — 1830  ;  violinist, 
conductor  and  teacher. 

Schiirer  (shu'-rer),  Jn.  G.,  Raudnitz, 
Bohemia,  ca.  1732 — Dresden,  1786; 
dram,  composer. 

Schurig  (shoo'-rlkh),  (Volkmar)  Ju- 
lius (Wm.),  Aue,  Saxony,  1802 — 
Dresden,  1899  ;  composer  and  teach- 
er. 

Schuster  (shoo'-shter),  Jos.,  Dresden, 
1748 — 1812  ;  ct. -conductor  ;  c.  pop. 
operas,  symphs.,  etc. 

Schutt  (shut),  Eduard,  b.  Peters- 
burg, Oct.  22,  1856  ;  pianist  ;  pupil 
of  Petersen  and  Stein,  Petersb.  Cons. ; 


studied  at  Leipzig  Cons.;  now  cond. 
Akademischer  Wagnerverein, Vienna; 
c.  fairly  succ.  comic  opera  "  Signor 
Formica "  (Vienna,  1892)  ;  c.  pf.- 
concerto,  etc.  ; 

Schiitz  (shuts),  (Sagittarius)  H., 
"  The  father  of  German  music," 
Kostritz,  Saxony,  Oct.  8,  1585 — Dres- 
den, Nov.  6,  1672  ;  in  1607  entered 
Marburg  Univ.  to  study  law,  but, 
1609,  was  sent  to  Venice  by  Land 
grave  Moritz  of  Hesse-Cassel  to  study 
with  Giov.  Gabrieli;  1612  returned  to 
Cassel  as  ct. -organist ;  1615  cond.  to, 
the  Elector  of  Saxony  at  Dresden;! 
he  frequently  revisited  Italy,  whence; 
he  brought  much  to  modify  and 
large  German  mus.  ;  also  made  long 
visits  to  Copenhagen  as  ct.-cond, 
1627,  on  royal  invitation  for  the  wed- 
ding of  Princess  Sophie  of  Saxony.he 
c.  the  first  German  opera,  the  libretto 
being  a  transl.  from  the  ''  Dafne' 
of  Peri  (q.  v.)  ;  this  work  is  lost,  as  i; 
also  the  ballet,  "  Orpheus  unci  Eury 
dice,'"  1638,  for  the  wedding  of  Jn 
Georg  IL  of  Saxony.  Carl  Riede 
revived  interest  in  S.  by  pub.  anc 
producing  "  Die  7  Worte  Christi  an 
JiTreus,"  and  a.  '■'Passion."  A  com 
plete  ed.  of  S's  works  is  pub. 
Breitkopf  and  Hartel  in  16  vols.;  t 
include  sacred  and  secular  mus. 
great  historical  importance  as 
predecessor  whom  Handel  and  Bad; 
rather  developed  than  discarded  ;  h' 
was  born  just  a  hundred  years  be' 
fore  them  and  shows  great  dramati 
force  and  truth  in  his  choral  work 
combining  with  the  old  polyphoni 
structure  a  modern  fire  that  make 
many  of  his  works  still  beautiful 
Biog.  by  Ph.  Spitta,  and  Fr.  Spitt 
(1886). 

Schwab  (shvap),  Fran.  M.  L.,  Stras; 
burg,  1S29 — 1882  ;  conductor  an' 
dram,  composer. 

Schwalm  (shvalm),  (i)  Robt.,  b.  E- 
furt,  Dec.  6,  1S45  ;  pupil  of  Pflu{ 
haupt  and  Leipzig  Cons.;  cond.  ; 
Konigsberg  ;  c.  opera,  male  chorust 
with  orch. ,  oratorio,  etc.     (2)  Osca: 


ICHf  I 


I 


DICTIONARY   OF  MUSICIANS   733 


Erfurt,  Sept.  ii,  1S56;  pupil  of  Leip- 
zig Cons.;  1886-SS,  proprietor  of 
Kahn's  pub. -house  in  Leipzig  ;  also 
critic  for  the  "  Tageblatt"  etc.;  c.  an 
overture;  pf.-pcs.,  etc. 

Schuyler,  Wm.,  b.  St.  Louis,  U.  S. 
A.,  May  4,  1855  ;  lives  there  as  ama- 
teur composer,  largely  self-taught ;  c. 
excellent  songs,  notably  to  Stephen 
Crane's  ''Black  Riders." 

Schwanberg  (shvan'-berkh),  Jn.  Gf., 
Wolfenblittel,  1740  —  Brunswick, 
1804 ;  ct. -conductor  and  dram,  com- 
poser. 

Schwantzer  (shvan'-tser),  Hugo, 
Oberlogau,  1829 — Berlin,  1886  ;  or- 
ganist, teacher  and  composer. 

Schwarbrook  (shvar'-brook),  Thos., 
Ger.  org. -builder  in  England,  1733- 
1752. 

Schwarz  (shvarts),  (i)  Ands.  Gl., 
Leipzig,  1743 — Berlin,  1S04;  bassoon- 
ist in  London.  (2)  Chp.  Gl.,  b. 
1768  ;  son  of  above  ;  bassoonist.  (3) 
Wm.,  Stuttgart,  1825— Berlin,  1878; 
singer  and  teacher.  (4)  Max,  b. 
Hanover,  Dec.  i,  1856;  son  of  above; 
pupil  of  Bendel,  Billow,  and  Liszt  ; 
pianist  ;  1880-83,  teacher  Hoch 
Cons.,  Frankfort  ;  then  co-founder, 
after  Raff's  death,  of  the  Raff 
Cons.;  since  1885  its  dir.  (5)  Bi- 
anca.  Vide  bianchi.  (6)  Wenzel, 
b.  Brunnersdorf,  Feb.  3,  1830  ;  pu- 
pil Prague  Cons.  ;  from  1864  lived  in 
Vienna,  proprietor  of  a  mus.-insti- 
tute  ;  writer. 

Schwedler  (shvat'-ler),  (Otto)  Maxi- 
milian, b.  Hirschberg,  Silesia,  March 
31,  1853  ;  flutist;  pupil  of  Fr.  Meinel, 
Dresden  ;  in  Leipzig  municipal  and 
Gewandhaus  Orch.;  since  1895,  1st 
flute;  inv.  the  "Schwedler  flute"; 
wrote  a  pamphlet  on  it  and  c.  tran- 
scriptions, etc. 

Schweitzer  (shvit'-tser), ,  Coburg, 

1737 — Gotha,  1787  ;  conductor  and 
composer. 

Schweizer  (shvlt'-tser).  Otto,  b.  Zu- 
rich, May  26,  1846  ;  pianist  ;  pupil 
of  Moscheles  and  Wenzel,  Leipzig 
Cons.  ;    since   1870   Edinburgh,   also 


pf. -teacher  at  Athenaeum  Sch.,  Glas- 
gow ;  c.  2  pf.-suites,  etc. 

Schwencke  (shvenk'-e),  (i)  Jn.  Gl., 
1744 — 1823  ;  bassoonist.  (2)  Chr. 
Fr.  Gl.,  Wachenhausen,  Harz,  1767 
— Hamburg,  1S22  ;  son  of  above  ; 
cantor  and  mus.-dir.  (3)  Jn.  Fr., 
Hamburg,  1792— 1852  ;  son  and  pu- 
pil of  (2)  ;  composer.  (4)  K.,  Ham- 
burg, 1797 — ?;  pianist;  son  of  (2). 
(5)  Fr.  Gl.,  Hamburg,  1823— 1896  ; 
virtuoso  on  the  pf .  and  organ  ;  com- 
poser. 

Schytte  (shet'-te),  L.  (Th.),  b.  Aar- 
hus,  Jutland,  April  28,  1850  ;  drug- 
gist, then  studied  with  Ree,  Neupert, 
Gebauer,  Gade,  Taubert,  and  Liszt 
(comp.)  ;  1887-S8  teacher  Horak's 
Institute,  Vienna  ;  lived  in  Vienna  as 
concert-pianist  and  teacher  ;  c.  2 
comic  operas  ;  pf. -concerto  ;  panto- 
mimes for  4  hands,  sonata,  etc. 

Scontrino  (sk6n-tre'-n6).  A.,  b.  Tra- 
pani,  185 1  ;  pupil  of  Plantania,  Pa- 
lermo ;  lived  in  Milan  as  teacher  ; 
since  1S97  prof,  of  cpt.  at  Florence 
Cons.;  c.  5  operas,  incl.  succ.  i-act 
''  Gringoire"  (1890),  and  "  Za  Cor- 
iigiana"  (Milan,  1896);  c.  '' Sinfonia 
marinaresca  "  (Naples,  1S97). 

Scot'son  Clark,  the  Rev.,  London, 
Nov.  16,  1840 — 18S3  ;  pupil  of  his 
mother  (a  pupil  of  Chopin)  ;  then 
at  Paris  ;  at  14  organist  ;  studied 
with  J.  Hopkins  and  at  R.  A.  M.;  after 
serving  as  organist  various  places,  he 
studied  at  Leipzig  and  Stuttgart  ; 
1873,  returned  to  London  as  teacher, 
organist  and  composer  of  many  pop. 
works. 

Scott,  John,  England,  ca.  1776 — 
Jamaica,  1815. 

Scotto  (skot'-to),  (i)  Ottaviano,  and 
his  son  (2)  Girolamo,  mus.-printers 
at  Venice,  1536-39,  and  1539-73,  re- 
spectively ;  the  latter  was  also  a  com- 
poser. 

Scriabine  (skre'-a-be-ne),  Alex,  b. 
Moscow,  Jan.  6  (new  style),  1872  ; 
brilliant  pianist  ;  pupil  of  Safonoff 
(pf.)  and  Tanejev  (comp.)  at  the 
Cons. ;  toured  Europe  from  1895  ;  c. 


734 


THE    MUSICAL    GUIDE 


sonata,  prelude  and  nocturne  for  left 
hand  alone  ;  pf. -impromptus,  pre- 
ludes, etc. 

Scribe  (skreb),  Eugene,  Paris,  1791— 
1S61  ;  most  prolific  of  French  drama- 
tists, and  wrote  over  100  librettos, 
incl.  "  Fra  Diavolo,"  "  Profhete,'" 
''  L'Africaine." 

Scuderi  (skoo-da'-re),  Salvatore,  b. 
Terranova,  Italy,  Jan.  3,  1845  ;  c. 
pop.  songs. 

Scudo  (skoo'-do),  Paolo,  Venice,  1806 
— insane,  Blois,   1864  ;  writer. 

Sebald  (za-balt),  (i)  Frau  von  (nee 
Schwadke) ;  contralto,  Berlin, 
1791  ;  her  daughters  (2)  Amalie, 
soprano  ;  for  some  time  the  object  of 
Beethoven's  affections;  (3)  Auguste, 
sister  of  above  ;  also  soprano. 

Sebastian!  (sa-bas-tt-a'-ne),  Jn.,  b. 
Weimar,  1622  ;  conductor  and  com- 

V  poser. 

Sebor  (sha'-bor),  K.  (Karel),  b.  Bran- 
deis,  Bohemia,  July  18  (Aug.  13?), 
[843 ;  pupil  PraguS  Cons,  and  of 
Kittl;  1864-67,  cond.  Nat.  Opera  ; 
from  1871  military  bandm.,  Vienna; 
prod,  at  Prague  5  Czech  operas ;  c. 
symphs. ,  overtures,  etc. 

Sechter  (zekh'-ter),  Simon,  Friedberg, 
Bohemia,  Oct.  11,  1788 — Vienna, 
Sept.  10,  1867  ;  eminent  contrapunt- 
ist and  teacher,  ct. -organist,  prof,  of 
harm.;  wrote  valuable  treatises;  c. 
burlesque  opera  "  AH  Hitch-Hasch." 

Sedlmair  (zat'l-mlr),  Sofia  Offeney, 
b.  Hanover,  Jan.  25,  1863  ;  soprano 
in  various  cities.  ^ 

Seeling  (za'-ling),  Hans  (Hanus), 
Prague  1828 — 1862  ;  piano-virtuoso 
and  composer.  v 

Seger(t)  (za'-gert),  Jos.,  Repin,  Bo- 
hemia, 1716 — Prague,  1782  ;  organist 
and  composer. 

Seghers  (sii-gars'),  Fran.  J.  Bap., 
Brussels,  1801  —  Margency,  near 
Paris,  1881  ;  violinist  and  conductor. 

Segond  (sCi-goh),  L.  A.,  a  physician 
at  Paris  ;  studied  singing  with  Man- 
uel Garcia,  and  wrote  '"Hygiene  du 
chanteur"  (1846),  etc. 

Segouro'la,  Andres  Perello  de,  b. 


Spain  ;  studied  law  Madrid  Univ.; 
practised  a  year  at  Barcelona  ;  then 
took  up  singing  with  success. 

Seguin  (seg'-win),  (i)  Albert  Edw. 
S.,  London,  1809 — New  York,  1852; 
bass.  (2)  Elizabeth,  his  sister,  '• 
mother  of  Parepa  Rosa.  (3)  Ann 
Childe,  wife  of  (i) ;  operatic  sing- 
er ;  debut,  1828  ;  retired  and  lived 
New  York,  1880.  (4)  Wm.  H.,  1814 
— 1850  ;  bro.  of  (i) ;   bass. 

Seibert  (z!'-bert),  Louis,  b.  Cleeberg, 
near  Wiesbaden,  May  22,  1S33  ;  pf.- 
teacher  Wiesbaden  Cons.;  c.  cham- 
ber-mus.,  etc. 

Seidel  (zl'-del),  (i)  Fr.  L.,  Treuen- 
brietzen,  Brandenburg,  1765 — Char- 
lottenburg,  1831  ;  organist  and  dram, 
composer.  (2)  Jn.  Julius,  Breslau, 
1810 — 1856  ;  organist  and  writer. 

Seidl  (z!t'-'l),  (i)  Anton,  Pesth,  May 
7,  1850 — New  York,  March  28,  1898 
eminent  cond.,  particularly  of  Wag 
nerian  mus.;  pupil  Leipzig  Cons. 
1870  chorusm.  Vienna  opera  :  1872- 
79,  assisted  Wagner  in  score  of  "  Ni- 
behingen  Ring" ;  1879-83  cond.  for 
Neumann's  Wagner-troupe  ;  1883-85 
cond.  Bremen  opera  (m.  there  the  f 
soprano  (2)  Frl.  Krauss) ;  1885-91 
Met.  Op.,  N.  Y.,  also  from  1895-97 
cond.  N.  Y.  Philh.  Orch.;  18S6  and 
1897  cond.  at  Bayreuth  ;  1897  cond.  \ 
Covent  Garden,  London.  (3)  Ar- 
thur, b.  Munich,  June  8,  1863;  pupil 
R.  Sch.  of  Mus.  at  Ratisbon  and  of 
Paul,  Stade,  Spitta,  and  Bellermann; 
Dr.  Phil.,  Leipzig,  1887;  lives  in  :■ 
Dresden  ;  writer. 

Seifert  (zl'-fert),  Uso,  b.  Romhild 
Thuringia,  Feb.  9,  1852  ;  pupil  o\ 
Dresden  Cons.;  teacher  there  and  01 
ganist ;  wrote  pf. -method,  pf.-pcs, 
etc. 

Seifriz     (zi'-frTts),    Max,     Rottwe 
Wiirtemberg,  1827— Stuttgart,  1885  ^ 
violinist,  ct.-cond.  and  composer. 

Seiler  (zl'-ler),  Jos.,  Lugde,  near  Pyr-  ; 
mont,  1823— 1877  ;  organist,  writer  i 
and  composer.  j 

Seiss  (zTs),  Isidor  (Wm.),  b.  Dresden,  I 
Dec.    23,    1840 ;    pianist ;     pupil    of  ' 


I 


DICTIONARY  OF  MUSICIANS   735 


Leipzig  Cons.;  since  1871  pf. -teacher 
Cologne  Cons.;  1878  Prof.;  con- 
ductor Musikalische  Gesellschaft  ;  c. 
studies  in  bravura,  etc. 

Seitz  (zits),  (i)  Robt,,  Leipzig,  1837— 
1889  ;  mus. -publisher  and  editor.  (2) 
Fr.  (Fritz),  b.  Giinthersleben,  Go- 
tha,  June  12,  1848;  violinist;  pupil 
of  Uhlrich  ;  since  1884  leader  Dessau 
ct.-orch. 

S^jan  (sa-zhafi),  Nicolas,  Paris,  1745 
— 1819;  famous  organist;  1772, 
Notre  Dame;  1783,  St.  Sulpice  ;  1783, 
royal  chapel ;  teacher  and  composer. 

Sekels  (za'-kels),  Bd.,  pupil,  now  t.  of 
comp.  Hoch  Cons.,  Frankfort;  c. 
songs. 

Sel'by,  Bertram  Luard,  b.  Kent, 
Engl.,  Feb.  12,  1853  ;  organist, 
Salisbury  Cath.;  then  of  St.  Barna- 
bas, London ;  c.  2  operas ;  a  i-act 
operetta  ("duologue"),  successful 
"  Weather  or  No"  (London,  1896), 
Berlin  as  *'  Das  Wetierhduschen" 
1896;  org-sonatas,  etc. 

Seligmann  (za-llkh-man),  Hippolyte 
Prosper,  Paris,  1817 — Monte  Carlo, 
1882  ;  'cellist  and  composer. 

Selle  (zel'-le),  Thos.,  Zorbig,  Saxony, 
1599 — Hamburg,  1663  ;  cantor  and 
composer. 

Sellner  (zel'-ner),  Jos.,  Landau,  Ba- 
varia, 1787 — Vienna,  1S43  ;  oboe- 
virtuoso,  teacher,  writer  and  compos- 
er. 

Sembrich  (zem'-brtkh),  Marcella 
(rightly  Praxede  Marcelline  Ko- 
chanska,  Sembrich  being  her  moth- 
er's maiden  name),  b.  Wisnewszyk, 
Galicia,  Feb.  15,  1858  ;  eminent  col- 
orature  soprano ;  pupil  (later  the 
wife)  of  Wm.  Stengel  (piano),  Lem- 
berg  Cons.;  studied  with  Epstein  at 
Vienna,  and  singing  with  Victor  Ro- 
kitansky.  and  with  G.  B.  Lamperti, 
Jr.,  at  Milan;  debut,  May,  1877,  at 
Athens ;  studied  German  opera  at 
Berlin  with  Lewy;  sang  for  iS  months 
Dresden  ct.-th.;  from  June,  1880, 
London,  and,  1883-84,  toured  Eu- 
rope and  America  ;  1884,  studied 
with  Francesco  Lamperti,  Sr.;   from 


1S9S  has  sung  at  Met.  Op.  and  in 
concert  in  America  with  greatest 
succ;  1900,  managed  her  own  opera 
CO.  in  Germany. 

Semet  (sii-ma),  Th^ophile  (Aim6 
femile),  Lille,  1824 — Corbeil,  near 
Paris,  1S88  ;  drummer  and  dram, 
composer. 

Semler(zem'-Ier),  Fz.  X.,  1772—1859; 
via. -soloist  in  Berlin. 

Senesino  (san-e-se'-n6),  Bernardi 
Francesco  (called  the  Sienese),  Siena, 
1680 — ca.  1750;  male  contralto  or 
mezzo-sopr. ;  sang  in  Handel's  operas 
till  1729,  where  he  quarrelled  with 
H.  and  went  over  to  Bononcini;  made 
a  fortune  and  returned  to  Siena. 

Senff(zenf),  Bartholf,  Friedrichshall, 
near  Coburg,  18 18 — Leipzig,  1895  ; 
founder  Leipzig  mus. -pub.  house 
(1S50),  also  editor. 

Sen(f)fl  (zenf'l)  (or  Senfel),  L.,  Basel- 
Augst,  1492  — Munich,  ca.  1555". 
eminent  contrapuntist,  ct.-cond.  and 
composer. 

Senkrah(zan'-kra)(rightlyHark'ness), 
Arma  Leorette,  New  York,  1864 
— suicide,  Weimar,  Aug.  4,  1900;  vio- 
linist ;  pupil  of  Arno  Hilf,  Leipzig; 
Wieniawski,  and  Massart,  Paris 
Cons. ;   toured  with  succ. 

Serafino  (sa-ra-fe'-no),  (i )  Santo,  vln.- 
maker  at  Venice,  1730-45  ;  his  label 
is  "  Sanctus  Seraphin  Utinensis  fecit 
Venetiis,  Anno,  17 — ".  (2)  Grego- 
rio,  his  nephew,  also  was  a  vln.- 
maker,  label  "  Georgius  Seraphin 
Sancti  nepos  fecit  Venetiis,  17 — ." 

Serassi  (sa-ras'-se),  Italian  family  of 
org. -builders  at  Bergamo.  The  foun- 
der (i)  Giuseppe  (//  vecckio),  Gor- 
dano,  1694 — Crema,  1760.  His  son 
(2)  Andrea  Luigi,  1725— 1799.  (3) 
Giuseppe  (il  giovane),  Bergamo, 
1750 — 1817;  succeeded  by  his  sons  (4) 
Carlo  and  (5)  Giuseppe. 

Sering  (za'-rTng),  Fr.  Wm.,  Fursten- 
walde,  near  Frankfort-on-Oder,  Nov. 
26,  1822 — 1901;  from  1871  teacherat 
Strassburg,  where  he  organised  a  Ge- 
sangverein ;  pub.  treatises,  also  an 
oratorio,  male  choruses,  etc. 


73^ 


THE    MUSICAL    GUIDE 


Sermisy  (ser-me-se),  Claude  de 
(called  Claudin,  not  Claudin  Le- 
jeune),  ca.  1530-60;  French  ct.-cond. 
and  composer. 

Serov  (or  Sjeroff,  Syeroff  (s'ya-rof)); 
Alex.  Nikolajevitch,  Petersburg, 
May  II,  1820 — Feb.  i  (new  style), 
187 1  ;  important  Russian  composer 
and  critic  ;  a  lawyer,  studied  'cello 
with  Karl  Schuberth  ;  1863  prod, 
grand  opera  (text  and  mus.)  ''Ju- 
dith" and  the  Czar  granted  him  a 
pension  ;  he  was  a  lecturer  on  mus. 
at  Moscow  and  Petersb.  Universities 
and  wrote  his  own  librettos ;  1865 
prod.  ''  JiogneJa"  with  succ. ;  laid 
aside  2  unfinished  operas  to  finish 
"  Wrazyiasiela"  but  died  before  it 
was  done.  Soloviev  finished  it  and 
it  was  prod,  with  succ. 

Serpette  (ser-pet),  (H.  Chas.  A.) 
Gaston,  b.  Nantes,  Nov.  4.  1846  ; 
pupil  of  Thomas,  Paris  Cons.;  1871, 
taking  ist  Grand  prix  de  Rome, 
wrote  cantata  '' Jeanne  d'Arc";  1874, 
prod,  opera-boufle  "  Za  Branche 
Cassee"  (Bouffes-Parisiens),  followed 
by  30  other  light  works. 

Serrao  (ser-ra-o),  Paolo,  b.  Filadelfia, 
Catanzaro,  in  1S30  ;  pupil  of  Naples 
Cons.;  political  troubles  prevented 
the  prod,  of  his  opera  *' L' Iinpos- 
tore"  in  1852,  and  another  in  1857, 
but  he  prod.  '"  Fergolesi"  and  "  Za 
Duchessa  di  Guisa"  (1865),  and  "Z/ 
Figlinol  prodigo"  (1868)  ;  c.  also  an 
oratorio,  a  requiem,  a  funeral  symph. 
(for  Mercadante),  etc. 

Servais  (ser-ve),  (i)  Adrien  Fran., 
Hal,  near  Brussels,  1807 — 1866;  emi- 
nent 'cellist  and  teacher  ;  pupil  of  his 
father  and  of  Platel ;  debut  Paris, 
1834;  1848,  Prof.  Brussels  Cons,  and 
soloist  to  the  King  ;  toured  widely ; 
c.  3  concertos  for  'cello,  etc.  (2) 
Jos.,  Hal,  1850 — 1885  ;  son  and  pu- 
pil of  above  ;  'cellist  and  prof.  Brus- 
sels Cons. 

Sestini  (ses-te'-ne),  Giovanna,  prima 
bufTa  in  London,  1783. 

Sevcik  (sev'-tsTk),  Pan;  notable  Bo- 
hemian violin  teacher. 


Sev'ern,  Thos.  H.,  London,  1801 — 
Wandsworth,  1881;  conductor,  pub- 
lisher and  dram,  composer. 

Seward,  Theodore  Frelinghuysen, 
d.  New  York,  Oct.  30,  1902  ;  teach- 
er, ed.  and  composer  of  slave  songs 
and  "  spirituals." 

Seydelmann  (zl'-del-man),  Fz.,  Dres- 
den, 1748 — 1806  ;  cembalist,  con- 
ductor and  dram,  composer. 

Seyffarth  (zif'-fart),  Ernst  Hn.,  b. 
Crefeld,  1859 ;  pupil  of  Cologne 
Cons,  and  of  Kiel  ;  from  1S92,  con- 
ductor Neuer  Singverein,  Stuttgart ; 
c.  dram,  scene  "  Thusnelda"  "  7'rau- 
erfeier  bcim  Tode  einer  Jungfrau" 
symph.,  sonatas,  MS.  opera  "  The 
Bells  of  Plurs"  etc. 

Seyfried  (zi'-fret),  Ignaz  X.  Ritter 
von,  Vienna,  1776 — 1841;  conductor, 
writer  and  dram,  composer. 

Seygard  (sa'-gard),  Camille,  b.  Eng- 
land ;  went  early  to  Russia  ;  pupil  of 
her  father  and  of  Marchesi  ;  debut, 
1888,  Covent  Garden  as  "Zerlina"; 
sang  at  Opera  Comique,  later  in  Am- 
sterdam ;  has  sung  in  concert  and 
opera  in  Europe,  and  since  1896  in 
America. 

Sgambati  (sgam-ba'-te),  Giovanni,  b. 
Rome,  May  18,  1843  ;  important  pi- 
anist and  conductor ;  pupil  of  Alde- 
ga,  Barbieri  and  Natalucci,  later  of 
Liszt ;  at  6  played  in  public,  sang  in 
Church  and  cond.  small  orchestras; 
later  he  toured  Italy  and  Germany ; 
1877,  head-teacher  Accad.  di  S.  Ce- 
cilia, Rome;  1896,  founded  "  Nuova 
Societa  Musicale  Romana  "  ;  admirer' 
and  friend  of  Wagner ;  c.  requiem 
with  orch.  (1896),  3  symphs.,  over- 
tures, pf. -concerto,  an  octet,  2  pf.-i 
quintets,  a  string-quartet  (op.  17)  and] 
piano  pes.,  etc.  i 

Shakespeare,  Wm.,  b.  Croydon, 
Engl.,  June  16,  1849;  choir-boy;  at 
13  organist ;  pupil  of  Molique  (comp.)," 
1866,  won  King's  scholarship  R.  A. 
M.,  and  studied  there  with  Bennett; 
187 1,  took  Mendelssohn  Scholarship 
for  pf. -playing  and  comp. ;  studied 
withReinecke,  Leipzig  ;  1872,  singing 


DICTIONARY  OF  MUSICIANS   737 


at  Milan;  from  1875,  concert  and  ora- 
torio-singer ;  1878,  prof,  of  singing, 
R.  A.  M.;  in  1880,  1886,  cond.  of 
the  concerts  there  ;  resigned  ;  has 
won  high  reputation  as  a  singing- 
teaclier  ;  c.  overtures,  a  symph.,  pf.- 
.  concerto,  etc. 

Sharpe,  Herbert  Francis,  b.  Hali- 
fax, Yorkshire,  March  i,  1861  ; 
Queen's  Scholar,  Nat.  Training  Sch., 
London  ;  gave  pf. -concerts ;  1884, 
prof.  R.  C.  M.;  i8go,  examiner; 
wrote  ''Pianoforte  Sch."  (with  Stan- 
ley Lucas)  ;  c.  comic  opera,  etc. 

Shaw,  (i)  Oliver,  b.  Middleboro', 
Mass.,  d.  1848;  a  Wind  singing- 
teacher  and  public  singer.  (2) 
Mary,  London,  1814 — Suffolk,  1876, 
contralto  and  teacher. 

Shed'lock,  John  South,  b.  Reading, 
Engl.,  1843;  graduate,  London, 
Univ.,  1864;  pupil  of  E.  Llibeck 
(pf.)  and  Lalo  (comp.),  Paris  ;  teach- 
er and  concert-pianist,  London,  1879; 
critic  for  the  "'At/wna-uin" ;  also  lect- 
ured at  the  R.  A.  M.;  pub.  articles, 
"The  Pianoforte  Sonata,  Its  Origin 
and  Development"  (London,  1895); 
editor  and  translator  ;  c.  string-quar- 
tet, etc. 

Shelley,  Harry  Rowe,  b.  New 
Haven,  Conn.,  June  8,  1858;  pupil 
of  Stoeckel  at  Yale,  Dudley  Buck, 
Vogrich  and  Dvorak  (New  York) ; 
organist  various  churches,  also  teach- 
er of  theory  and  comp.  Metropolitan 
College,  N.Y.;  c.  "  The  Inheritance 
Divine,"  sacred  cantata,  2  symphs. 
(the  first  E[7,  performed,  N.  Y.,  1897), 
vln. -concerto  (1891),  cantata  "  Vexil- 
la  Regis"  (N.  Y.,  1894),  and  suite 
"■^  Baden-Baden"  etc.,  for  orch.; 
church-mus.,  pf.  and  org.-pcs.  and 
songs,  many  very  pop. 

Shep'ard,  (i)  Thos.  Griffin,  b.  Madi- 
son, Conn.,  April  23,  1848  ;  pupil  of 
G.  W.  and  J.  P.  Morgan;  organist 
various  churches  in  New  Haven ;  in- 
structor, Yale  Glee  Club  and  cond. 
Oratorio  Soc,  also  dir.  Apollo  Club 
(male  voices)  ;  teacher  and  critic  ;  c. 
comic  opera,  Christmas  cantata,  etc. 
47 


(2)  Frank  Hartson,  b.  Bethel. 
Conn.,  Sept.  20,  1863;  pupil  of 
Thayer,  Boston ;  organist  various 
towns;  1886-90,  studied  Leipzig, 
i883,  organist  English  Chapel  there  ; 
1891,  est.  a  sch.  at  Orange,  N.  J.; 
organist  there  ;  writer  of  text-books 
and  treatises. 

Sherrington,  Jose.,  b.  Rotterdam, 
Oct.  27,  1850;  sister  of  Mme.  Lem- 
mens  -  Sherrington  ;  concert  -  soprano 
with  remarkable  range  (a-e'"). 

Sherwood,  (i)  Edgar  Harmon,  b, 
Lyons,  N.Y.,  Jan.  29,  1845  ;  pianist ; 
served  in  the  Union  Army  1S62-65, 
and  then  took  up  mus. ;  lives  in  Roch- 
ester, N.  Y.,  as  pianist,  teacher  and 
composer.  (2)  Wm.  Hall,  b.  Lyons, 
N.  Y.,  Jan.  31,  1854;  noteworthy 
pianist  and  teacher,  bro.  of  (i) ;  son 
and  pupil  of  Rev.  L.  H.  Sherwood, 
founder  of  Lyons  Mus.  Acad.;  pupil 
also  of  Heimberger,  Pychowski  and 
Wm.  Mason ;  studied  5  years  un- 
der Th.  Kullak,  Weitzmann,  Wuerst 
and  Deppe  (BerUn),  Richter  (Leip- 
zig), K.  Doppler  and  Scotson  Clark 
(Stuttgart)  and  Liszt  (Weimar);  de- 
but with  succ,  Berlin  ;  returned  1876 
to  the  U.S.,  and  has  toured  with  great 
succ;  teacher  N.  E.  Cons.,  Boston, 
later,  New  York  ;  1889,  Chicago,  as 
head  of  the  pf. -section  of  the  Cons.; 
1897,  founded  "Sherwood  Piano 
Sch.";  1887  he  m.  his  pupil,  Es- 
tella  F.  Adams,  also  pianist ;  pub. 
pf.-pcs.  (3)  Percy,  b.  of  English 
parents,  Dresden,  May  23,  1866  ;  pu- 
pil of  Hermann  Scholtz  (pf.)  ;  later 
of  Dresden  Cons. ;  concert-pianist  and 
teacher,  Dresden  Cons.;  c.  pf.-pcs. 

Shield,  Wm.,  Whickham,  Durham, 
1748 — London,  1829;  violinist,  writer 
and  composer. 

Shin'ner,  Emily,  Cheltenham,  July  7, 
1862 — Aug.,  1901;  concert  violinist, 
England.  1889,  m.  Capt.  Liddell ; 
founded  S.  Quartet  (female). 

Shore,  (i)  Matthias,  d.  1700,  Eng- 
lish ct. -trumpeter  ;  reputed  inventor 
of  the  tuning-fork.  (2)  Wm,,  d. 
1707,  son  and  successor  of  above. 


738 


THE    MUSICAL    GUIDE 


(3)  Catherine,  ca.  1668 — ca.  1730; 
sister  of  above  ;  stage-singer,  1693, 
m.  Colley  Gibber.  (4)  John,  1660 — 
1 750  ;  bro.  and  successor  of  (2). 

Shudi.     Vide  broadwood. 

Shut  tleworth,  Obadiah,  d.  ca.  1735; 
Englisli  organist  and  violinist. 

Sibelius  (se-ba'-ll-oos),  Jean,  b.  Ta- 
vastehus,  Finland,  Dec.  8,  1865  ; 
studied  Mus.  Inst.  Helsingfors  ;  and 
with  Becker  and  Goldmark ;  since 
1893,  teacher  theory,  Mus.  Inst,  and 
the  Orch.  Sch.,  Helsingfors;  c.  The 
first  Finnish  opera  "  Tornissa  Olija 
Impi  "  (Helsingfors,  1896)  ;  also  for 
orch.  "  The  Swan  of  Tuenela  "  and 
"  Lemmin  Kainen." 

Siboni  (se-bo'-ne),  (i)  Giu.,  Forli, 
17S0 — Copenhagen,  1839;  tenor.  (2) 
Erik  (Anton  Waldemar),  Copen- 
hagen, 1S28 — 1S92  ;  pianist,  organ- 
ist, teacher  and  dram,  composer.  (3) 
Johanna  Frederika  (nee  Crull),  b. 
Rostock,  Jan.  30,  1839  ;  pianist  ; 
pupil  of  Moscheles  ;   1S66  ni.  above. 

Sicard  (se-kar),  Michel  de,  b.  of 
French  parents,  Odessa,  1868  ;  vio- 
linist, pupil  of  Cons,  at  Kiev  ;  debut 
at  9;  1884,  pupil  Paris  Cons.;  18S6, 
1st.  vln-prize,  then  pupil  of  Joachim 
(vln.),  and  Bargiel  (comp.)  ;  has 
toured  Europe. 

Sieber  (ze'-ber),  Fd.,  Vienna,  1S22 — 
Berlin,  1895;  famous  singing-teacher. 

Siegel  (ze-gel),  (i)  E.  F.  W.,  d. 
1869  ;  founded,  1846,  mus. -pub.  firm 
at  Leipzig,  now  owned  by  R.  Linne- 
mann.     (2)  F.    Vide  schuberth,  j. 

Siehr  (zer),  Gv.,  1847— Munich,  1896; 
bass  ;  created  "  Hagen,"  Bayreuth, 
1876. 

Sieveking  (ze'-ve-kYng),  Martinus,  b. 
Amsterdam,  March  24,  1867;  notable 
pianist  ;  pupil  of  his  father,  of  J. 
Rontgen,  Leipzig  Cons.,  and  Coenen 
(harm.) ;  1S90  played  in  London  ; 
made  v.  succ.  tours  ;  1895  Boston  ; 
1896-97  American  tour ;  c.  a  suite 
(played  by  Lamoureux,  Paris),  etc. 

Siface  (se'-fa'-che)  (rightly  Grossi), 
Giov.  Fran.,  robbed  and  mur- 
dered in  Northern  Italy,  ca.  1699 ; 


soprano-musico ;    ca.    1675    member 
Papal  Chapel. 

Sighicelli  (se-g!-chel'-le),  family  of 
violinists,  (i)  Filippo,  San  Cesario, 
Modena,  1686  —  Modena,  1773  ; 
violinist.  (2)  Giu.,  Modena,  1737 — 
1S26  ;  son  of  above  ;  violinist.  (3) 
Carlo,  Modena,  1772 — 1806  ;  son  of 
(2),  also  attached  to  court.  (4)  A., 
Modena,  1802 — 1883  ;  son  of  (3)  ; 
eminent  violinist  and  conductor.  (5) 
v.,  b.  Cento,  July  30,  1830  ;  son  and 
pupil  of  (4);  pupil  of  Hellmesberger, 
Mayseder,  and  1849  solo-violinist  and 
2nd  ct.-cond.  Modena  ;  since  1855, 
teacher  Paris  ;  c.  vln. -fantasias,  etc. 

Sigismondi  (se-jis-mon'-de),  Giu., 
Naples,  1739 — 1826;  singing-teachei 
and  dram,  composer. 

Silas  (se'-las),  Eduard,  b.  Amsterdam, 
Aug.   22,  1827  ;    pianist ;  debut  Am. 
sterdam,  1837;  pupil  of  Neher,  Kalk- 
brenner,    etc.;  later   of    Benoist   and 
Halevy,     Paris    Cons.;    winning    ist^ 
prize   for  org.  playing,  1849,  in  com- 
petition with  Saint-Saens  and  Cohen; 
since   1890  lives  in    England  as   or- 
ganist ;   1866  Assemblee  generale  des 
Catholiques  en  Belgique  awarded  him 
1st    prize    (gold    medal    and    1,000 
francs)   for   a    mass ;     later   prof,  of    ) 
harm.  Guildhall  Sch.  and  the  London    , 
Acad,  of  Mus.;  c.  oratorio  '^'Joash"    i 
(Norwich  Fest.,  1S63),  Kyrie  Eleison,     i 
with   orch.,  3    symphs.,  3    overtures,     , 

etc.  ; 

Silbermann  (zel'-ber-man),  (i)  Andre-    i 
as,   Klein-Bobritzsch,    Saxony,   1678    J 
— Strassburg,    1734;    org.-builder  at    i 
Strassburg.       (2)      Gf.,      Klein-Bo-    ; 
britzsch,  16S3 — Dresden,  1753;  bro.  of    1 
above  and  his  apprentice;  the  first  Ger-    , 
man  to  manufacture  pianofortes,  but    ' 
preceded   by   Cristofori  ;    inv.   cenibal 
d' amour  (v.  D.  D.).     (3)  Jn,  Andre-    . 
as,  Strassburg,   1712 — 1783  ;  son   of    i 
(i) ;   org.-builder.     (4)   Jn.    Daniel, 
1717 — Leipzig,  1766;  son  of  (i),  suc- 
cessor of  (2).   (5)  Jn.  H.,  Strassburg, 
1727 — 1799  ;  son  of    (i)  ;  pf. -maker. 
(6)  jn.  Fr.,  1762 — 1817  ;  son  of  (5), 
org.-builder,  organist  and  composer. 


DICTIONARY  OF  MUSICIANS    739 


Silcher  (zU'-kher),  Fr.,  Schnaith, 
Wlirtemberg,  1789 — Tubingen,  i860; 
noted  song-composer ;  pupil  of  his 
father  and  of  Auberlen  ;  teacher  at 
Stuttgart,  1817;  mus.-dir.  at  Tubin- 
gen Univ.  ;  pub.  a  text-book  and 
collected  and  c.  chorals,  etc. 

3iloa  (se'-l6-a),  Giulio,  pupil  of  Acad, 
of  St.  Cecilia,  Rome  ;  c.  "  Carmen 
Seculare  "  for  soli,  chorus  and  orch. 
(1902). 

Siloti  (se'-l6-te),  Alex.,  b.  Charkov, 
Russia,  Oct.  10,  1863  ;  pianist ;  pupil 
of  Zwereff  and  of  N.  Rubinstein  and 

I  Tchaikovsky,  Moscow  Cons.  ;  win- 
ning a  gold  medal  ;  debut,  Moscow, 
1880  ;  studied    with    Liszt    3    years  ; 

I    1887-90,  prof.  Moscow    Cons.;  since 

I    in    Paris ;    has   made  v.    succ.    tours 

i    1898-90,  America  ;  c.  pf. -pieces. 

Silva  (zel'-va),  (i)  Andreas  de,  r6th 
cent,  contrapuntist ;  c.  motets,  etc. 
(2)  David  Poll  de,  St.  Esprit,  near 
Bayonne,  1834  —  Clermont,  Oise, 
1875  ;  blind  ;  pupil  of  his  mother 
who  c.  operas,  oratorios,  etc.  ;  wrote 
out  his  comp.  by  dictation. 

Silver  (sel-var),  Chas.,  Paris,  April  16, 
1868  ;  pupil  of  Dubois  and  Massenet 
at  the  Cons.;  won  Grand  prix  de 
Rome  with  cantata  "  L Interdit" ;  c. 
operetta,  elegiac  poem  ''Hat's"  ;  4- 
act  fairy  opera  "  Zrt  Belle  au  Bois 
Dormant"  (Paris,  1895),  oratorio 
"  Tobie"  etc. 

iimandl  (ze'-mant'l),  Fz.,  ist  double- 
bass  Vienna  court  orch.;  since  1869 
teacher  at  the  Cons.;  pub.  method 
for  contra-bass. 

Simao.     Vide  Portugal. 

Jimon  (ze'-mon).  (i)  Jn.  Kaspar,  Can- 
tor and  organist  at  Nordlingen,  1750- 
54 ;  composer.  (2)  Chr.,  Schern- 
berg,  1809  —  Sondershausen,  1872  ; 
double-bass. 

)imon  (se'-moh),  (i)  Jean  Henri,  Ant- 
werp, 1783  —  1861  ;  violinist.  (2) 
Simon  -  Girard,  Julie  Josephine 
Caroline  (nee  Girard),  b.  Paris, 
1859;  pupil  of  Cons.;  debut  1877, 
creating     Offenbach's     "Colinette," 

'  1878,    "  Mme,    Favart,'    and    many 


other  roles  ;  m.  Simon ;  later  m. 
Hugenette. 

Simons-Candeille.     Vide  candeille. 

Simpson  (or  Sympson),  (i)  Chp., 
d.  London,  ca.  1677  ;  player  on  the 
viola  da  gamba  ;  pub.  text-books. 
(2)  Thos.,  b.  England  ;  from  ca. 
161 5,  violinist  in  Germany;  composer. 

Sim'rock,  (i)  Nicolaus,  b.  Bonn, 
1755  ;  founded  there  1790  mus.-pub. 
house;  1805  Berlin  branch  founded 
by  his  son  (2)  Peter  Jos.;  since  1870 
in  Berlin  under  (3),  Fritz,  1841 — 
Lausanne,  Sept.,  igoi. 

Sina  (se-na),  Louis,  1778 — Boulogne, 
1859  ;  violinist. 

Sin'clair  (sink'-ler),  J.,  near  Edin- 
burgh, 1790 — Margate,  1857  ;    tenor. 

Sinding  (zlnt'-^ng),  Chr.,  b.  Kong- 
bery,  Norway,  Jan.  11,  1856;  notable 
composer  ;  pupil  of  Reinecke,  Leip- 
zig Cons.,  later  with  Royal  Scholar- 
ship, studied  at  Dresden,  Munich, 
and  Berlin  ;  1.  Christiania  as  organist 
and  teacher;  c.  symph.,  2  vln. -sona- 
tas, chamber-mus.,  a  pf. -concerto, pf.- 
pcs.,  and  songs. 

Singel^e  (sanzh-la),  J.  Bap.,  Biussels, 
1812 — Ostend,  1875  ;  violinist  and 
composer. 

Singer  (zTng'-er),  (i)  Peter,  Hafelgehr 
(Lechthal),  1810  —  Salzburg,  1882; 
monk;  inv.  (1839)  the  "  Pansym- 
phonikon  "  (v.  D.  D.)  ;  composer.  (2) 
Edmund,  b.  Totis,  Hungary,  Oct. 
14,  1831  ;  violinist;  pupil  of  Ellinger, 
at  Pesth,  then  of  Kohne;  toured,  then 
studied  with  Jos.  Bohm,  Vienna,  and 
at  Paris  Cons.;  1853-61  leader  at 
Weimar;  then  leader  at  Stuttgart, 
and  prof,  at  the  Cons.  (3)  Otto, 
Sora,  Saxony,  1833 — New  York,i894; 
pianist,  conductor,  teacher  and  com- 
poser. (4)  Otto,  Jr.,  b.  Dresden, 
Sept.  14,  1863  ;  violinist  ;  studied  in 
Paris,  in  Berlin  under  Kiel,  and  in 
Munich  under  Rheinberger ;  1890 
teacher  in  Cologne  Cons.,  and  con- 
ductor ;  since  1892  lives  in  Leipzig; 
c.  vln.-  Concertstuck,  etc. 

Sinn  (zin),  Chp.  Albert,  wrote  trea- 
tise on  ''Temperament  "  1717. 


740 


THE    MUSICAL    GUIDE 


Sir'men  (Syrmen),  (i)  Luigi,  violin- 
ist and  cond.  at  Bergamo;  his  wife, 
(2)  Maddalena  Lombardini  de,  b. 
Venice,  1735 — d.  towards  end  of 
cent.;  prominent  violinist;  pupil  of 
Tartini ;  later  singer  and  composer. 

Sistermanns  (zlst'-er-mans),  Anton, 
b.  Herzogenbusch,  Holland,  Aug.  5, 
1867;  bass  ;  pupil  of  Stockhausen  ; 
1899,  sang  "  Pogner  "  at  Bayreuth  ; 
lives  in  Frankfort. 

Sitt  (zlt),  Hans,  b.  Prague,  Sept.  21, 
1850;  violinist ;  studied  Prague  Cons. ; 
1867,  leader  theatre-orch.,  Breslau  ; 
1869,  cond.  there,  later  in  Prague, 
etc.;  1883,  teacher  of  vln.  Leipzig 
Cons,  and  via. -playerBrodsky  Quartet; 
cond.  of  various  societies  ;  c.  3  vln.- 
concertos,  a  via. -concerto,  a  'cello- 
concerto,  etc. 

Sittard  (slt-tar),  Josef,  b.  Aix-la-Cha- 
pelle,  June  4,  1846  ;  pupil,  Stuttgart 
Cons.,  later  teacher  of  singing  and 
pf .  there  ;  lecturer  on  mus. ;  since 
1885,  critic  ;  1891,  prof. ;  writer  and 
composer. 

Sivori  (se-vo'-re),  Ernesto  Camillo, 
b.  Genoa,  1815 — 1894;  famous  vio- 
linist and  composer  ;  debut  at  6  ;  pu- 
pil of  Costa  and  Paganini  ;  toured 
widely. 

Sjogren  (shakh'-ren),  (Jn.  Gv.)  Emil, 
b.  Stockholm,  1853  ;  pupil  of  the 
Cons,  there  ;  later  of  Kiel  (cpt.)  and 
Haupt  (org.  at  Berlin)  ;  since  1890, 
organist  Johankirke,  Stockholm ;  c. 
sonatas,  etc. 

Skroup  (or  Skraup)  (shkroop  or 
shkra-oop),  (i)  Fz.  (Frantigek), 
Vosic,  Bohemia,  1801 — Rotterdam, 
1862  ;  conductor  and  dram,  compos- 
er. (2)  Jan  Nepomuk,  Vosic,  181 1 
— Prague,  1892  ;  bro.  of  above  ;  con- 
ductor, singing-teacher,  writer  and 
dram,  composer. 

Skuhersk^  (skoo'-her-shke),  Fz. 
(FrantiSek)  Sdenko,  Opocno,  Bo- 
hemia, 1830 — Budweis,  1892  ;  or- 
ganist, conductor,  theorist  and  com- 
poser. 

Slatinn  (sla-ttn),  Ilja  Hitch,  b.  Bel- 
gorod,   Russia,  July   7,    1845  ;   pupil 


St.  Petersburg  Cons,  and  of  Th.  Kul- 
lak  and  Wuerst,  Berlin  ;  dir.  Char- 
kow  section,  Imp.  Russian  Mus. 
Soc. 

Slaughter  (sl6t'-er),  A.  Walter,  cho- 
rister at  St.  Andrew's,  Wells  St., 
London ;  pupil  of  A.  Cellier  and 
Jacobi ;  cond.  Drury  Lane  and  St. 
James's  Th.;  prod,  comic  operas 
(i8go),  and  a  succ.  mus. -comedy 
"  The  French  Maid"  (1897),  etc. 

Slavik  (sla'-vek),  Jos.,  Jince,  Bohe- 
mia, 1806 — Pesth,  1833  ;  violinist. 

Slivinski  (sll-ven'-shkl),  Jos.  von,  b. 
Warsaw,  Dec.  15,  1865;  pianist; 
pupil  of  Strobl,  Leschetizky  and  An- 
ton Rubinstein  ;  debut,  1890;  Amer- 
ica, 1893  ;  toured  with  Leipzig  Philh. 
orch.  ;  lives  Paris. 

SIoper(Edw.  Hugh),  Lindsay,  Lon- 
don, 1826 — 1887  ;  pianist,  teacher, 
writer  and  composer. 

Smallwood,  Wm.,  b.  Kendal,  Engl., 
1831 — 1897;  organist;  writer  and 
composer. 

Smareglia  (sma-ral'-ya),  A.,  b.  Pola, ; 
Istria,  May  5,  1854;  studied  Vienna; 
and  at  the  Milan  Cons.,  graduating; 
with  a  symph.  work  '' Eleanora" ; 
prod.  6  operas,  incl.  "■  Freziosa" 
(Milan,  1879),  ''  Bia^tca  da  Cervia" . 
(Milan,  La  Scala,  1882),  " //  Vassal- 
lodi  Szigeth"  (Vienna,  1889,  as  '"Der 
Vasall  von  Ssigeih,"  New  York,,' 
1890),  and  "Za  Faletia"  (Venice, 
1897. 

Smart,  (i)  Sir  G.  (Thos.),  London, 
1776 — 1867;  noted  conductor;  pupil 
of  Dupuis  and  Arnold  ;  knighted, ^ 
1811  ;  cond.  Phil.  Soc,  1813-44.^ 
(2)  Henry,  Dubhn,  1778— 1823  : 
bro.  of  above  ;  violinist  ;  leader  Dru-i 
ry  Lane,  1812-21  ;  piano-manufac- 
turer. (3)  Henry,  London,  Oct.  26 
1813— (blind)  July  6,  1879  ;  son  anc 
pupil  of  (2) ;  studied  with  Kearns 
organist  in  London  from  1836  ;  c.  ar 
opera  ''Bertha"  (1855);  many  canta 
tas,  etc. 

Smetana  (sma'-ta-na),  Fr.  (Bedrich) 
Leitomischl,  Bohemia,  1824 — insane 
Prague,  1884  ,    noted  composer  an< 


DICTIONARY  OF  MUSICIANS    741 


pianist ;  pupil  of  Proksch  and  Liszt ; 
1848,  organised  a  sch.  at  Prague ; 
1866-74,  cond.  Nat.  Theatre  Prague. 
Deafness  caused  his  resignation  and 
the  eternal  ringing  of  one  note  in  his 
head  brought  on  insanity.  He  made 
this  note  the  motif  of  a  prophetic 
composition.  C.  a  string-quartet,  7 
operas,  incl.  ''Prodand  nevesta" 
(''The  Bartered  Bride"),  1866;  9 
symph.  poems,  incl.  a  cycle  of  6 
"J/(/  Vlast"  d' My  Country"), 
symph.  of  "  Triumph,"  etc. 

Smeth'ergell,  Wm.,  pianist,,  organist, 
writer  and  composer,  London,  1794. 

Smith,  .(i)  Bd.  (Bd.  Schmidt)  (called 
"Father  Smith"),  Germany,  ca. 
1630 — London,  1708  ;  ct.  org. -build- 
er. (2)  Robt.,  Cambridge,  16S9 — 
1768  ;  acoustician.  (3)  J.  Chris- 
topher (Johann  Chr.  Schmidt), 
Ansbach,  1712 — Bath,  1795  ;  dram, 
composer.  (4)  Johann  Stafford, 
Gloucester,  Engl.,  ca.  1750 — Lon- 
don, 1836;  organist  and  composer. 
(5)  Edw.  Woodley,  1775 — 1849, 
lay-vicar  at  Windsor.  (6)  Geo. 
Townshend,  Windsor,  1813 — Here- 
ford, 1877;  son  of  above  ;  composer. 

(7)  Montern,  bro.  of  above  ;  singer. 

(8)  Samuel,  b.  Eton,  1821;  bro.  of 
above ;  organist.  (9)  John,  Cam- 
bridge, 1795 — 1861;  composer  and 
prof.  (10)  Robt.  Archibald,  Read- 
ing, 1780 — 1829;  composer  and  vio- 
linist. (11)  Alice  Mary  (Mrs.  Mead- 
ows White),  London,  1839 — 1884  ; 
composer.  (12)  Sydney,  Dorchest- 
er, Engl.,  1839 — London,  1889  ;  pi- 
anist, teacher,  writer,  etc.  (13)  Wil- 
son G.,  b.  Elyria,  Ohio,  Aug.  19, 
1855;  notable  composer;  pupil  of 
Otto  Singer,  at  Cincinnati  ;  at  Ber- 
lin, 1880-82,  of  Kiel,  the  Scharwen- 
kas,  Neumann,  Moszkowski  and 
Raif  ;  since  1882,  lives  in  Cleveland 
as  teacher  of  pf.,  voice  and  comp. ; 
pub.  numerous  graceful  pf.-pcs.  and 
songs,  also  "  Octave  Studies"  and 
other  valuable  technical  works.  (14) 
Gerrit,  b.  Hagerstown,  Maryland 
Dec.  II,  1859;  graduate  (M.  A.  and 


Mus.  Doc.)  Hobart  College,  Geneva, 
N.  Y.;  pupil  of  Stuttgart  Cons.;  then 
of  S.  P.  Warren,  New  York  ;  organ- 
ist, Buffalo  ;  also  studied  with  Eu- 
gene Thayer  (org.),  and  W.  H. 
Sherwood  (pf.),  and  one  year  in  Ber- 
lin with  Haupt  and  Rohde ;  then 
organist,  Albany  ;  since  1885,  at  the 
South  Ch.,  N.  Y. ;  music-prof.;  prof. 
Union  Theol.  Seminary  ;  c.  cantata 
'' A'i)ig  David"  choruses,  graceful 
pf.-pcs.  and  songs. 

Smolian  (shmo'-ll-an),  Arthur,  b. 
Riga,  Dec.  3,  1856;  pupil  of  Munich 
Cons. ;  cond.  at  various  theatres ; 
teacher,  Wiesbaden ;  1890,  teacher 
Carlsruhe  Cons. ;  and  critic  ;  compos- 
er. 

Smyth,  Ethel,  b.  England  ;  c.  text 
and  music  of  opera  "  The  Forest" 
[Der  IVald),  prod.  Berlin,  1902,  and 
London,  1902. 

Snel  (snel),  Jos.  Fran.,  Brussels,  1793 
— Koekelberg,  near  Brussels,  1861; 
violinist,  conductor  and  dram,  com- 
poser. 

Snetzler  (shnets'-ler),  John,  Passau, 
1710 — London,  end  of  i8th  cent.; 
org. -builder,  England. 

Snow,  (i)  Moses,  d.  1702  ;  member 
of  the  Chapel  Royal.  (2)  Valen- 
tine, d.  1772  ;  English  trumpeter  in 
Handel's  works. 

Scares,  Joao.     Vide  rebello. 

So'binof,   — 


favourite     Russian 


tenor  at  I'etersburg. 

Sobolevsky  (so-bo-lef'-shkl),    . 

prof,  at  St.  Petersburg ;  ed.  Russian 
folk-songs  (1895). 

Sodermann  (sa -der-man),  August 
Johan,  Stockholm,  1832 — 1876; 
theatre-conductor  there  ;  pupil  of 
Hauptmann  and  Richter  ;  c.  Swedish 
operetta,  a  notable  mass  with  orch., 
etc. 

Soffredini  (s6f-fre-de'-ne),  Alfredo, 
from  1896,  ed. -in-chief,  Milan  "Caz- 
zetta  Musicale" ;  prod,  (text  and 
mus.)  2-act  children's  opera  '^'^  II  Pic- 
colo Haydn  "  (Pavia,  1893),  etc. 

Sokolov  (s6'-k6-16f),  Nicholas,  b. 
Petersburg,  1858  ;  pupil  at  the  Cons.; 


742 


THE    MUSICAL    GUIDE 


taught  harm,  in  the  Imp.  Chapel ;  c. 
an  elegy  (op.  4),  and  intermezzo  for 
orch.,  etc. 

Soldat  (zol'-dat),  Marie  (Frau  Soldat- 
Roger),  (b.  Graz,  March  25,  1S64; 
violinist  ;  pupil  of  Pleiner  and  Pott, 
and  of  Joachim,  1889  ;  m.  Herr 
Roger  (Vienna). 

Soli6  (s6l-ya)  (rightly  Soulier),  (i)  J. 
P.,  Nime's,  1755 — Paris,  1S12  ;  bary- 
tone ;  c.  comic  operas,  many  pop. 
(2)  Chas.,  son  of  above  ;  conductor  ; 
prod,  a  comic  opera  (Nice,  1S77). 

Solle  (zol'-le),  Fr.,  Zeulenroda,  Thu- 
ringia,  1806  —  1884  ;  cantor  and 
writer. 

Soloviev  (or  Solowiew)  (so'-16-vef), 
Nicolai  Feopometovitch,  b.  Petro- 
savodsk,  Russia,  April  27  (May  9), 
1S46  ;  pupil  of  N.  J.  Zaremba  (theo- 
ry), Imp.  Cons,  at  Petersburg ; 
since  1S74  prof,  there  ;  also  critic, 
editor  and  Councillor  of  State  ;  c. 
comic  opera  "  Vakula,  The  Smith" 
(Petersb.,  1875),  and  grand  opera 
"  Conic- It  a"  (Petersb.,  1S83,  in  Ger- 
man, Prague,  1890)  ;  finished  Seroff's 
opera  "  YVie  Demon's  Power";  c. 
symph.  picture,  "  Russia  and  the 
Aloni^ols"  (Moscow,  1882);  prize 
chorus  "  Prayer  for  Russia  "  (Imp. 
Russ.  Mus.  Soc,  1S76),  cantata 
"  The  Death  of  Samson  "  (1870). 

Som  erset,  Lord  H.  (Richard  Chas.), 
b.  Dec.  7,  1849;  amateur  composer. 

Som  ervell,  Arthur,  b.  Windermere, 
Engl. ;  pupil  Berlin  Hochschule  and 
of  Stanford  and  Parr}',  R.C.M.;  c. 
mass,  with  orch.  (Bach  Choir,  1891), 
''A  Song  of  Praise"  (iSgi),  "  The 
Forsaken  Merman"  (Leeds  Fest., 
1895),  "  The  Power  of  Sound" 
(1895),  elegv'  for  alto  with  orch,, 
suite  for  small  orch.  " /;;  Arcady" 
song  cycle  on  Tennyson's  ''Maude" 
etc. 

Somis  (so'-mes),  Giov.  Bat.,  Pied- 
mont, 1676 — Turin,  1763  ;  violinist, 
teacher  and  conductor. 

Sommer  (z6m'-mer),  (i)  Dr.  Hans 
(rightly  Hans  Fr.  Aug.  Zincke) 
(tsmk'-e),  b.  Brunswick,  July  20,  1837; 


pupil  of  Meves  and  J.  O.  Grimm  ; 
graduate,  later  prof,  at  Gottingen 
Univ.;  from  1888  lived  in  Weimar; 
c.  succ.  opera  ''Lorelei"  (Brunswick, 
1891),  i-act  "  Biihnenspiel"  "  Saiftt 
Foix"  (Munich,  1S94),  i -act  "  Z)^r 
Meerman"  (Weimar,  1896),  "  Rube- 
zahl"  (1902).  (2)  Karl,  singer  at 
ct. -opera,  Vienna. 

Sonnleitner  (z6n'-lTt-ngr),  (i)  Chp.  S., 
Szegedin,  1734 — Vienna,  1786;  dean 
of  jurisprudence,  Vienna  ;  composer. 
(2)  Jos.,  Vienna,  1765 — 1835  ;  son  of 
above  ;  1S27,  discovered  the  famous 
9th  cent.  Antiphonary  of  St.  Gallen 
in  neume-notation.  (3)  Ld,  von, 
Vienna,  1797  — 1873;  nephew  of 
above  ;  devoted  friend  of  Schubert. 

Sontag  (zon  -tiikh),  Henriette  (Ger- 
trude Walpurgis),  Coblenz,  Jan. 
3,  1804 — of  cholera,  Mexico,  June 
17,  1854  ;  famous  colorature-sopra- 
no,  her  voice  taking  e  "  easily;  daugh- 
ter of  two  actors  ;  operatic  singer  ; 
1823  created  von  Weber's  "  ^wrj- 
anthe." 

Sontheim  (zon'-tim),  H.,  b.  Beben- 
hausen,  Feb.  3,  1820  ;  notable  tenor; 
debut  Carlsruhe,  1839  I  18/2.  pen- 
sioned. 

Sor  (rightly  Sors)  (sor),  Fdo.,  Barce- 
lona, 1778 — Paris,  1839;  guitar-virt- 
uoso and  dram,  composer. 

Sorge  (z6r'-ge),  G.  Ands.,  Mellen- 
bach,  Schwarzburg,  1703  —  Loben- 
stein,  1778  ;  famous  organist  and 
theorist  ;  ct. -organist  and  composer. 

Soriano,  (i)Fran.  Vide  sl'ri.a.no.  (2) 
Soriano  -  Fuertes  (s6-rI-a'-no-foo- 
er'-tes),  Don  Mariano,  Murcia,  1817 
— Madrid,  1880  ;  son  and  pupil  of  the 
dir.  royal  chamber-mus.  (1841) ;  prod, 
several  zarzuelas,  aiming  to  estab. 
national  opera  ;  conductor  and  writer 
of  historical  works. 

Sormann  (z6r'-man),  Alfred  (Richard 
Gotthilf),  b.  Danzig,  May  16,  1861; 
pianist  ;  pupil  of  R.  Hochschule, 
Berlin,  and  of  Liszt  ;  debut  1886 ; 
1S89,  ct. -pianist  to  Grand  Duke  of 
Mecklenburg-Strelitz ;  c.  concerto, 
etc. 


DICTIONARY  OF  MUSICIANS   743 


Soubies  (soo-bt-es),  Albert,  b.  Paris, 
May  lo,  1846  ;  mus. -historiographer 
and  critic  ;  a  lawyer,  then  pupil  of  Sa- 
vard  and  Bazin  (harm,  and  comp.)  at 
the  Cons.;  1874  he  revived  the  fa- 
mous ''  Ahnaiiach  des  spectacles. 
Aim.  Duchesne";  for  this  the  Aca- 
demie,  1893,  awarded  him  the  Prix 
Voirac  ;  1876,  critic  for  "  Z.?  Soir" 
under  name  "  j9.  de  Lomagiie"; 
officer  of  public  instruction,  and  Le- 
gion of  Honour,  also  of  the  Russian 
order  Stanislas ;  writer  of  valuable 
historical  works,  etc. 

Soubre  (soobr),  Etienne  Jos.,  Liege, 
1813 — 1871;  director  and  dram.  comp. 

Souhaitty  (soo-et-te),  J.  Jac,  Fran- 
ciscan monk  at  Paris,  the  first  to  use 
figures  for  popular  notation,  1665-78. 

Soulier  (soo-ya).     Vide  solie. 

Sousa  (soo'-sa),  John  Philip,  b. 
Washington,  D.  C,  Nov.  6,  1856; 
son  of  a  Spanish  trombonist  in  the 
U.  S.  Marine  Corps  band.  Pupil  of 
John  Esputa  and  G.  F.  Benkert 
(harm,  and  comp.)  ;  at  17  cond.  of 
travelling  theatrical  troupes  ;  1877, 
violinist  in  Offenbach's  orch.  in  Amer- 
ica ;  dir.  "  Philadelphia  Church-choir 
Pinafore  Co.";  1880-92,  bandm. 
U.  S.  Marine  Corps ;  resigned  and 
organised  the  military  band  bearing 
his  own  name,  which  has  toured 
America  and  Europe  with  greatest 
succ.  ;  (igoo),  Paris,  Exposition. 
Compiled,  by  Govt,  order,  'National 
Patriotic  and  Typical  Airs  ofallCoun- 
tries " ;  wrote  instruction-books  for 
trumpet  and  drum,  and  for  vln.  C.  7 
comic  operas  incl.  v.  succ.  "  ElCapi- 
tan"  succ.  (text  and  music)  "  The 
Bride  Elect"  "  The  Charlatan"  and 
"Chris  and  the  Wonderful  Lamp" 
a  symph.  poem  "  The  Chariot  Race  " 
(from  "  Ben  Hur")  ;  3  suites,  "  The 
Last  Days  of  Pompeii  "  ''Three  Quo- 
tations" and  "  Sheridan's  Ride  " ; 
and  many  immensely  succ.  marches 
popular  throughout  the  world, 
"  Washington  Post"  "  High  School 
Cadets  "  "  Stars  and  Stripes  For- 
ever" "  Imperial  Edward"  etc. 


Sovinsky  (s6-vtn'-skl),  Albert  (Czyli 
Wojech),  Ladyzyn,  Ukraine,  1803 
(1805  ?) — Paris,  March  5,  1880  ;  pian- 
ist, teacher  and  dram,  composer. 

Soyer  (swa-ya),  Berthe,  b.  Chalon- 
sur-Saone,  May  12,  1877;  contralto  ; 
pupil  of  Paris  Cons.,  took  1st  prize 
Paris  Cons.,  1S99  ;  debut  same  year 
at  Opera  as  "  Amneris." 

Spangenberg  (spang'-en-berkh),  (i) 
Jn.,  Ilardeisen,  near  Gottingen,  1484 
— Eisleben,  1550;  theorist  and  com- 
poser. (2)  Cyriak,  Nordhausen, 
1528  —  Strassburg,  1604  ;  son  of 
above  ;  writer. 

Spark,  Dr.  Wm.,  Exeter,  Engl.,  Oct. 
28,  1823  —  Leeds,  June  16,  1897; 
noted  organist  and  editor  ;  wrote  au- 
tobiography and  memoirs;  composer. 

Spataro  (spa-ta'-ro)  (or  Spat'arus, 
Spada'ro,  Spada'rius),  Giov,,  Bo- 
logna, ca.  1460 — 1541  ;  conductor 
and  theorist. 

Spazier  (shpa-tser'),  Jn.  Gl.  K.,  Ber- 
lin, 1761 — Leipzig,  1805  ;  theorist 
and  composer. 

Speer  (shpar),  Daniel,  cantor  at  Wai- 
blingen,  1692  ;  composer. 

Speidel  (shpl'-del),  (i)  Konrad,  d. 
Ulm,  Jan.  29,  18S0  ;  singer  and  con- 
ductor. (2)  Wm.,  Ulm,  1826 — 
Stuttgart,  1899;  son  of  above;  pianist, 
conductor  and  composer.  (3)  Ma- 
ria, b.  Stuttgart,  Oct.  13,  1872  ; 
daughter  of  above  ;  singer  ;  pupil  of 
Pollini  and  Nicklass-Kempner. 

Spengel  (shpeng'-el),  Julius  H.,  b. 
Hamburg,  June  12,  1853  ;  pupil  of 
Cologne  Cons,  and  Berlin  Hoch- 
schule,  taught  in  Hamburg,  and 
studied  with  Gradenerand  Armbrust; 
1878,  cond.  Cacilienverein  ;  singing- 
teacher  and  organist  ;  c.  symph., 
'cello-sonata,  etc. 

Spenser,  Willard,  b.  Cooperstown, 
N.  Y.,  July  7,  1856;  self-taught; 
prod.  V.  succ.  operettas,  text  and 
music,  "  The  Little  7>ft;^«  "  (Philadel- 
phia, 1886),  and  "Princess  Bonnie." 

Speyer  (Speier)  (shpl'-er),  Wilhelm, 
Frankfort,  1790 — 1878  ;  violinist  and 
composer. 


744         THE    MUSICAL    GUIDE 


Spicker  (shplk'-er),  Max,  b.  Konigs- 
berg,  Prussia,  Aug.  i6,  1S58  ;  pupil 
of  Louis  Kohler,  then  of  Leipzig 
Cons.;  theatre  conductor  various 
cities;  1882-88,  cond.  "Beethoven 
Mannerchor,"  New  York;  1888-95 
Dir.  Brooklyn  Cons.;  since  teacher 
Nat.  Cons.,  New  York  ;  c.  orch. 
suite,  cantata  with  orch.,  etc. 

Spiering  (shpe'-rlng),  Theodor,  b. 
St.  Louis,  Missouri,  1871  ;  violinist  ; 
pupil  of  H.  Schradieck,  Cincinnati  ; 
then  of  Joachim,  Berlin;  founder  and 
1st  vln.  "  Spiering  Quartet,"  Chi- 
cago. 

Spies  (shpes),  Hermine,  Lohnberger 
P^oundry,  near  Weilburg,  1857 — 
Wiesbaden,   1S93  ;  concert-contralto. 

Spiess  (shpes),  (i)  jn.  Martin,  organ- 
ist and  composer  (1745-61).  (2) 
Meinard,  Honsolgen,  Swabia,  1683 
— Yrsee  Monastery,  1761  ;  prior, 
theorist  and  composer. 

Spindler  (shplnt-ler),  Fritz,  b.  Wlirz- 
bach,  near  Lobenstein,  Nov.  24, 
1817;  pianist;  studied  mus.  with 
Fr.  Schneider  at  Dessau  ;  from  1841, 
lived  in  Dresden  as  teacher ;  c.  3 
symphs.,  pf. -concerto,  v.  pop.  salon- 
pcs.,  etc. 

Spinelli  (spl-nel'-ll),  Nicola,  b.  Tu- 
rin, 1865  ;  notable  neo-Italian;  pupil 
of  Naples  Cons.;  1890  took  2nd  Son- 
zogno  prize  with  i-act  opera  "Co- 
billa"  Mascagni  winning  ist  prize  ; 
prod.  V.  succ.  3-act  lyric  drama  "^ 
Basso  Porto "  (1894,  New  York, 
1899),  vide  "  Stories  of  the  Operas." 

Spinney,  English  family  of  musicians, 
(i)  Thos.  Edw.,  b.  June  24,  1824  ; 
pupil  of  Sir  Henry  Bishop ;  organ- 
ist St.  Edmund's,  Salisbury,  and  cond. 
Orpheus  Soc. ;  c.  cantata,  church- 
mus.,  etc.  (2)  Mattie  (Mrs.  Bees- 
ley),  daughter  of  above  ;  pianist  ; 
pupil  of  Benedict,  Bennett,  and  von 
Biilow ;  debut,  London,  1875;  or- 
ganist, at  Banbury.  Her  four  broth- 
ers, (3)  Eugene,  1845— 1867  ;  1862, 
organist,  Banburj'.  (4)  Frank,  1850 
— 188S  ;  organist,  conductor  and 
composer.    (5)  Walter,  1S52— 1894  ; 


organist  various  cities;  c.  org. -pes., 
etc.  (6)  Rev.  T.  Herbert,  b.  Jan. 
13-  1857  ;  pupil  of  Arnold  and 
Bridge ;  won  harm. -prize.  Trinity 
Coll.,  London,  1S76  ;  at  16  organ- 
ist, Salisbury,  later  at  Exeter  Coll., 
O.xford  ;  F.R.C.O.;  1882,  ordained 
priest ;  1885,  vicar,  Burton-on-Trent ; 
composer. 

Spiridio  (spe-re'-dl-o),  Berthold, 
monk,  organist  and  composer,  Bam- 
berg,  1665-91. 

Spirid  ion.     Vide  xyndas. 

Spitta  (shptt'-ta),  (i)  (Julius  Aug.) 
Philipp,  Wechold,  near  Hoya,  Han- 
over, Dec.  27,  1841 — Berlin,  April  13, 
1894;  teacher  and  prof,  musical  his- 
tory ;  wrote  many  essays  and  a  not- 
able life  of  J.  S.  Bach  (2  vols.,  1873- 
80),  etc.  (2)  Fr.,  b.  Wittingen,  Han- 
over, Jan.  10,  1852  ;  bro.  of  above  ; 
prof,  of  theology,  Strassburg  Univ.; 
ed.  works  of  Schtitz  and  pub.  valu- 
able treatises. 

Spof  forth,  (i)  Reginald,  Nottingham, 
Southwell,  1769 — Kensington,  1827  ; 
c.  glees,  etc.  (2)  Samuel,  1780 — 
1864  ;  bro.  of  above ;  organist  and 
composer. 

Spohr  (shpor),  Ludwig  (in  his  auto-  i 
biography  he  calls  himself  Louis), 
Brunswick,  April  5,  1784 — Cassel, 
Nov.  22,  1859  ;  eminent  violinist  and 
conductor ;  notable  composer  and 
teacher.  Son  of  a  physician  who  re- 
moved to  Seesen,  1786;  pupil  of  his 
mother,  and  at  5  studied  with  Rie- 
menschneider  (vln.)  and  Dufour ; 
then  with  Kunisch,  Hartung  and 
Maucourt,  Brunswick ;  at  14  he 
played  a  concerto  of  his  own  at  court. 
He  became  a  member  of  the  Ducal 
Orch.;  1802  pupil  of  Fz.  Eck,  whom 
he  accompanied  to  St.  Petersburg; 
1803,  returned  to  the  Ducal  Orch. ; 
1804  toured  with  great  succ.  ;  1805, 
leader  Duke  of  Gotha's  orch.;  m. 
Dorette  Scheidler  (d.  1834),  the  harp- 
player  and  toured  with  her,  1807  and 
1809.  1S36  he  m.  the  pianist  Mari- 
anne Pfeiffer  (d.  1892) ;  18 12,  after 
brilliant  concerts  at  Vienna,  leader  at 


DICTIONARY  OF  MUSICIANS    745 


the  Th.   an  der  Wien  ;  1815,  toured 
Italy   (playing   a   concertante  of   his 
own  with  Faganini  at  Rome)  ;  18 17- 
19,  opera-cond.  at  Frankfort  ;  prod, 
here   succ.    opera    ''Faust";     1820, 
visited  England  with  his  wife,  played 
at    Philharm.    Concerts,    and   prod, 
there  two  symphs.;  introducing  into 
England  the  habit  of  conducting  with 
a   baton.     Gave    concerts    at    Paris 
with  little  succ.     From  1822  ct.-cond. 
at  Cassel ;   1857,  retired  for  political 
reasons  on  a  reduced  pension.     Dur- 
ing  his  period  as  a  cond.   he  prod. 
Wagner's    "  Fliegendc     Hollander  " 
(1842),  and    *'  Tannhciuser"  (1853), 
but  could   not   overcome   the   oppo- 
sition  to   a  production   of    "  Lohen- 
grin.'*     He  soon  recognised  Wagner 
as  the  greatest  living  dramatic  com- 
poser, but  did  not  care  for  Beethoven 
or  Weber.     He  is  among  the  first  of 
the  second-best  composers,  his  high- 
est attainments  being  the  opera"/*'-*'- 
sonda "  (Cassel,    1823),  the   oratorio 
"  Die  Letzten  Dinge  "  (Cassel,  1826  ; 
in    England   as    "  The    Last   Judg- 
metit'')  ;     the    grand    symph.    ''Die 
Weihe   der  Tone"  {"  The  Consecra- 
tion  of  Tone,''    1832)  and  the  clas- 
sic  vln.-  concertos.      His    "  Violin- 
School'"  (1831  in  3  parts),  is  a  stand- 
ard.    He  c.  II  operas  in  all;  dram, 
cantata,     "  Das    Befreite     Deutsch- 
latid";    a   mass,  etc.,  with   orch.;  9 
symphs.;  No.  4  op.  86  in  F  ("  Weihe 
der  Tone  ") ;  No.  6  op.  116,  G  {"His- 
torical";  dedicated   to  the    London 
Philh.  Soc);  7  op.  121,  C  ("  Irdisch- 
es    und    Gottlisches     im    Menschen- 
leben  ")  for   2   orchs. ;  8    op.  137,    G 
min.  (ded.  to  the  London  Philharm.)  ; 
9  op.  143,  B  min.  ('*  Die  Jahreszeit- 
en"),  8   overtures,  and   15   vln. -con- 
certos ;  No.    8   (op.  47.  in   A   min., 
"in    viodo   d'una   scena    cantante") 
"quartet-concerto"  for  2  vlns.,  via., 
and  'cello  with  orch. ;  2  concertantes 
for  2  vlns.  with  orch.;  grande  polo- 
naise  for   vlns.  with  orch.;    2  clar.- 
concertos  ;     much     chamber  -  mus. 
Autobiogr.  (Cassel,  i860,  '61.  2  vols.); 


Biogr.  by  Malibran  (Frankfort,  i860); 
by  H.  _M.  Schletterer  (iSSi). 
Spontini       (sp6n-te'-ne),       Gasparo 
(Luigi  Pacifico),  Majolati,  Ancone, 
Nov.  14,  1774 — Jan.  24,  1851;  note- 
worthy cond.  and  dram,    composer. 
Son  of  poor  peasants,  who  intended 
him  for  the  church,  he  ran  away,  and 
an  uncle,  at  San  Vito,  provided  him 
with   teaching.      At    17    entered   the 
Cons,  della  Pieta  de'  Turchini  at  Na- 
ples.    1796,   commissioned    to   write 
an  opera  for  the  Teatro  Argentina  at 
Rome,  its  director  having  heard  some 
of  his  church-mus.  in  Naples,  he  left 
the    Cons,    without    permission    and 
prod.  succ.  opera,   "/  Funtigli  delle 
Donne";  Piccinni   secured    his   rein- 
statement and  gave  him  valuable  ad- 
vice.    He  prod,  operas  with  succ.  in 
various  cities  and  in  Palermo,  where 
he  was  cond.  to  the  Neapolitan  court 
which  had    fled   before    the  French. 
After  having  produced   16  light  Ital- 
ian operas,  he  went  to  Paris  (1803), 
where  three  successive    failures   and 
a  study  of   Mozart's  works,  led  him 
to  change  his  style.     After  support- 
ing himself  as  a  singing-teacher  he 
won  succ.  with  his  substantial  i-act 
opera  "Milton"  (Th.  Feydeau,  Nov. 
27,  1804);  the  Empress  Josephine,  to 
whom  he  had  dedicated  the  score,  ap- 
pointed   him    "  chamber-composer." 
He  c.   a   cantata    "Heccelsa  Gar  a" 
celebrating  the  victory  of  Austerlitz. 
The  Empress's  power  secured  a  hear- 
ing for  his  opera  "La  V e stale, "  \s\i\z\i 
after  three  years  of  delay  and  polish- 
ing, was  prod,  with  greatest  succ.  1807; 
by  a  unanimous  verdict  of  the  judges, 
Mehul,    Gossec   and    Gretry,    Napo- 
leon's prize  for  the  best  dram,  work 
of  the  decade  was  awarded  to  it.     It 
was  followed  with  equal  succ.  by  the 
grand     opera     "  Fernand     Cortez" 
1809.     iSio,     dir.    It.    opera;    dis- 
missed    for     financial     irregularity ; 
1814,  Louis  XVIII.   appointed   him 
ct.-composer.     He  c.   2  stage-pieces 
in   glorification   of    the    Restoration. 
The    opera   "  Olym^ii"  was    prod. 


746 


THE  MUSICAL  GUIDE 


1819  without  succ,  though  when  re- 
vised and  prod.  1S26  it  prospered. 
1S20,  he  became  ct. -composer  and 
gen.  mus.-dir.  at  Berlin ;  he  prod, 
his  old  operas  with  succ,  and  c.  the 
festival  play  '' Lalla  Jiiikh"  (1821), 
remodelled  as  "  Nurviahal"  (1822) ; 
*'  Akidor'''  (1825)  and  "Agnes  von 
Hohen  Stan  fen'"  (1829),  none  of 
which  were  widely  succ.  A  period  of 
violent  jealousies  and  quarrels  with 
the  Intendant  Brlihl,  and  virulent  in- 
trigues, culminated  after  a  score  of 
stormy  years  in  his  being  royally  rep- 
rimanded, and  finally  driven  out  of 
the  theatre  by  a  hostile  audience. 
He  retired  in  1841  on  full  pay.  He 
went  to  Paris,  then  to  Italy.  1844 
the  Pope  gave  him  the  rank  and  title 
of  "Conte  di  Sant'  Andrea";  he 
was  a  knight  of  the  Prussian  "  Ordre 
pour  le  merite,"  member  of  the  Ber- 
lin Akademie  (1839),  and  Paris  Aca- 
demic, and  Dr.  Phil.,  Halle  Univ. 
Biog.  by  L.  de  Lomenie  (1841) ; 
Montanari  (1S51) ;  Raoul-Rochette 
(18S2). 

Spor'le  (rightly  Burnett),  Nathan  J., 
i8i2 — 1S53  ;  English  tenor  and  com- 
poser. 

Squire,  Wm.  Henry,  b.  Ross,  Here- 
fordshire, Aug.  8,  1871;  'cellist;  son 
and  pupil  of  an  amateur  violinist ; 
debut  at  7  ;  won  scholarship  at  the 
R.  C.  M.,  and  studied  with  Powell 
and  Parry;  second  debut,  1891;  c. 
'cello-concerto. 

Stabile  (sta-be-le),  Annibale,  d. 
Rome,  ca.  1595  ;  conductor  and 
composer. 

Stade  (shta'-de),  (i)  H.  Bd.,  Ettisch- 
leben,  1S16 — Arnstadt,  1882  ;  organ- 
ist and  composer.  (2)  Fr.  Wm.,  b. 
Halle,  Aug.  25,  1817;  organist,  pu- 
pil of  Fr.  Schneider,  Dessau  ;  mus.- 
dir.  and  Dr.  Phil.  h.  e.  Jena  Univ.; 
1860-1891,  ct. -organist  and  cond.  at 
Altenburg;  c.  2  symphs.;  Festouver- 
tiire ,  music  to  "  Orestes" ;  cantatas,  with 
orch.;  choral  works;  vln. -sonata ; 
•*  Kindersonate  "  (4  hands),  etc.  (3) 
Dr.  Fritz  (L,  Rudolf),  b.   Sonders- 


hausen,  Jan.  8,  1844;  pupil  of  Riedl 
and  Richter,  Leipzig,  and  teacher 
there  ;  pub.  an  answer  to  Hanslick's 
"Fern  Musikalisck-Schonen"  etc. 

Staden  (shta'-den),  (i)  Jn.,  NUrnberg, 
ca.  1579 — 1634  ;  organist  and  com- 
poser. (2)  Sigismund  Gl.,  son  and 
successor  of  above  ;  c.  "  Seeleivig" 
the  earliest  extant  German  opera  (cf. 
H.  SCHUTZ'  opera  "Da/ne"). 

Stadler  (shtat'-ler).  Maximilian, 
Melk,  Lower  Austria,  174S — Vienna, 
1833  ;  composer  and  writer. 

Stadlmayer  (shtat'-'l-ml-er),  Jn.,  Frei- 
sing,  Bavaria,  1560 — Innsbruck,  after 
1646  ;  conductor  and  composer. 

Stadtfeldt  (shtat'-felt),  Alex.,  Wies- 
baden, 1S26— Brussels,  1853  ,  dram, 
composer. 

Stagemann  (shta-ge-man).  Max,  b. 
Freienwalde-on-Oder,  May  10,  1843; 
pupil  of  Dresden  Cons.;  barytone 
and  "chamber-singer"  at  Hanover; 
1877,  dir.  of  Konigsberg  Th.;  later, 
manager  Leipzig  City  Th. 

Stag'gins,  Nicholas,  d.  1705  ;  Eng- 
lish composer  and  professor. 

Stagno  (stan'-y5),  Alberto,  Palermo, 
1836— Genoa,  1897  ;  tenor. 

Stahlknecht  (shtal-k'nekht),  two  broth- 
ers, (i)  Ad.,  Warsaw,  1813 — Berlin, 
1887;  violinist  and  dram,  composer. 
(2)  Julius,  Posen,  1817  — Berlin, 
1892  ;  'cellist  royal  orchestra. 

Stahmer-Andriessen  (shta'  -mer-an'- 
dres-sen),  Pelagie  (now  Greef-A.)  b. 
Vienna,  June  20.  1862 ;  pupil  of  the 
Cons.,  and  of  Frau  Dreyschock ;  so- 
prano in  Neumann's  troupe  ;  1S84-90, 
Leipzig  town-theatre  ;  1890,  m.  arch- 
itect Ende  ;  later  m.  Greef. 

Stainer  (or  Steiner)  (shti-ner),  Jakob, 
Absam,  Tyrol,  1621— 1683  ;  inventor 
and  manufacturer  of  instrs.  (2) 
Markus,  his  brother,  also  vln.-  and 
via. -maker. 

Stainer  (sta -ner),  Sir  John,  London, 
June  6,  1840 — Verona,  April,  1901  ; 
chorister  at  St.  Paul's  ;  studied  with 
Bayley  (harm.)  and  Steggal  (cpt.), 
and  later  Cooper  (org.)  ;  1854-60,  or- 
ganist  various  places,  then  Univ.  or- 


DICTIONARY  OF  MUSICIANS   747 


tRia 


ganist  at  Oxford;  (1859)  Bac.  Mus., 
and  (1865)  Mus.  Doc;  1866,  Exam- 
iner for  mus.  degrees  ;  1872-S8,  or- 
ganist of  St.  Paul's,  resigning  on 
account  of  his  eyesight  ;  1876,  prof. 
of  org.  and  harm.  Nat.  Training 
Sch.  for  Mus.  ;  1881,  principal  in 
R.  C.   M.;    1883,  again  at   Oxford; 

1882,  Govt.  Inspector  of  Mus.  in 
the  Training-Sch. ;  1878,  Chev.  of 
the  Legion  of  Honour ;  knighted, 
1888  ;  1S89,  prof,  of  mus.  at  Oxford 
Univ.;  pub.  treatises  and  (with  Bar- 
ret) a  "  Diet,  of  Mus.  Terms"  1875; 
c.  oratorio  "  Gideon"  cantatas  ''The 
Daughter  of  fair  us"  (Wore.  Fest., 
1878),  ''St.  Mary  Magdalene" 
(Gloucester,  1883),  and  "  The  Cruei' 

fixion "  (London,  1887),  4  services, 
etc. 

Stair,  Martha  Greene  ("  Patty  "), 
b.  Cleveland,  O.;  pianist  ;  pupil  of 
F.  Bassett,  there  ;  lives  there  as  con- 
cert pianist,  organist  and  composer. 

Stamaty  (sta-ma-te),  Camille  M., 
Rome,  1811— Paris,  1870;  pianist 
and  composer. 

Stamitz  (shta-mlts),  (i)  Jn.  K., 
Deutsch  -  Brod.,  Bohemia,  1717  — 
Mannheim,  1761  ;  notable  violinist 
and  composer.  (2)  Anton  Thad- 
daus,  Deutsch-Brod.,  1721 — Altbunz- 
lang,  1768  ;  bro.  of  above ;  canon ; 
'cellist,  Mannheim.  (3)  K.,  Mann- 
heim, 1746 — Jena,  1801  ;  violinist 
and  viole  d'amour-  performer,  con- 
ductor and  composer.  (4)  Anton, 
Mannheim,  1753 — Paris, bro.of  above; 
violinist  and  composer. 

Stanford,  Chas.  Villiers,  b.  Dublin, 
Sept.  30,  1852  ;  pianist  and  notable 
composer  ;  pupil  of  Sir  Robt.  Stew- 
art and  Arthur  O'Leary  (comp.),  and 
Ernst  Pauer  (pf.),  London  ;  1870  won 
organ  scholarship  at  Queen's  Coll., 
Cambridge ;  1873-92,  organist  of 
Trinity  Coll.,  Cambridge,  also  cond. 
Univ.  Mus.  Soc.  (till  1893)  ;  1875- 
76,  studied  comp.  with  Reinecke  at 
Leipzig,  and  Kiel,  Berlin,  M.A., 
Cantab.,  1878;   Mus.   Doc,  Oxford, 

1883,  Cambridge,   1888;  1883,  prof. 


of  comp.  and  cond.,  R.C.M.;  1885, 
cond.  Bach  Choir ;  1S87,  prof,  of 
Mus.  at  Cambridge ;  1897,  cond. 
Leeds  Philh.  Soc.  C.  operas,"  The 
Veiled  Prophet  of  Khorassan  "(Han- 
over, 1881)  ;  '■'■Savonarola"  (Ham- 
burg, 18S4)  ;  "The  Canterbury  Pil- 
gri?ns "  (London,  Covent  Garden, 
1884)  ;  v.  succ.  "  Shamns  O'Brien" 
(London,  1896)  ;  "  Much  Ado  about 
Nothing"  (Covent  Garden,  1901, 
Leipzig,  1902);  incid.  mus.;  orato- 
rio, "  The  Resurrection  "  (1875)  » 
"  The  Three  Holy  Children"  (Bir- 
mingham, 1885)  ;  Psalm  96  (1877)  ; 
"Elegiac  Ode"  (Norwich,  18S4) ; 
"The  Revenge"  (Leeds,  1S86)  ; 
"Jubilee  Ode"  (1887),  etc.  "  The 
Bard"  (Cardiff,  1895);  "  Phaudrig 
Crochoore"  (Norwich,  1896);  re- 
quiem, 3  Morning  and  Evening 
Services;  a  Communion  Service,  etc.; 
5  symphs.  "Elegiac"  in  D  min. 
(No.  3)  "  Irish"  (No.  4)  "  Thro* 
Youth  to  Strife,  Thro'  Death  to 
Life";  and  No.  5  "  V allegro  ed  il 
penseroso";  2  overtures,  a  pf. -con- 
certo ;  "Irish  Rhapsody  ''  (1902),  etc. 

Stange  (shtang'-e),  Hermann,  b.  Kiel, 
Dec.  19,  1S35;  pupil  of  Leipzig  Cons.; 
organist  at  Rossal  College,  Engl.; 
since  1878,  mus.-dir,,  and  since  1887 
prof.  Kiel  Univ. 

Stanhope,  Chas.,  Third  Earl  of. 
1753 — London,  1816;  writer. 

Stanley,  (i)  (Chas.)  John,  London, 
1713 — 1786  ;  organist  and  conduct- 
or. (2)  Albert  Augustus,  b.  Man- 
ville,  Rhode  Island,  May  25,  1851  ;' 
studied  in  Providence,  and  at  Leip- 
zig ;  organist.  Providence ;  1888, 
prof,  of  mus.  Univ.  of  Michigan,  C. 
"The  City  of  Freedom"  ode,  with 
orch.  (Boston,  1883);  Psalm  21  (Prov- 
idence, 1892),  and  Commemoration 
Ode  "  Chorus  triumphalis"  with 
orch  ;  symph.  "  The  Awakening  of 
the  Soul";  symph.  poem  ^^Altis," 
etc 

Stans'burg,  Geo.  F.,  Bristol,  1800 — 
1845  ;  pianist,  violinist,  flutist,  singei 
and  composer. 


748 


THE    MUSICAL    GUIDE 


Starck,  Ingeborg.     Vide  broksart. 
Stark    (shtark),    L.,    Munich,   1831— 

Stuttgart,  1 884  ;  teacher,  editor   and 

composer. 
Starke    (shtark'-e),  Fr.,  Elsterwerda, 

1774 — Dobling,  near   Vienna,  1835  ; 

bandm. ,  writer  and  composer. 
Stasny    (shtas'-ne),    (i)    L.,    Prague, 

1823  —  Frankfort,    1883  ;   conductor 

and  dram,  composer.     (2)  Vide  sri- 

ASTNY. 

Staudigl  (shtow'-dekh-'l),  (i)  Josef, 
Wollersdorf,  Lower  Austria,  1807 — - 
(insane),  Michaelbeuerngrund,  near 
Vienna,  1861  ;  bass  and  ct. -conduct- 
or. (2)  Josef,  b.  Vienna,  March  18, 
1850  ;  son  of  above  ;  barytone;  pupil 
of  Rokitansky  at  the  Cons. ;  chamber- 
singer  to  the  Grand  Duke  at  Carls- 
ruhe  and  a  member  of  the  ct. -opera. 
His  wife  (3)  Gisela,  singer  ;  pupil 
of  Marchesi,  1899  Wiesbaden  ct.- 
opera. 

Stavenhagen  (shta-fen-ha-gen),  (i) 
Bd.,  b.  Griez,  Reuss,  Nov.  24,  1862; 
pianist ;  pupil  of  Kiel,  at  the  Mei- 
sterschule,  and  of  RudorfT,  at  the 
Hochschule,  Berlin  ;  1880,  won  the 
Mendelssohn  prize  for  pf.;  pupil  of 
Liszt,  1S85  ;  toured  Europe  with 
succ.  and  the  U.  S.  (1894-95) ;  1890, 
ct. -pianist  and  ct. -conductor  at  Wei- 
mar ;  Knight  of  the  White  Falcon 
order  ;  from  1898  ct.-cond.  at  Mu- 
nich ;  c.  pf.-pcs.  (2)  S.  Denis  Ag- 
nes, b.  Winsen,  Sept.  3,  1862  ;  so- 
prano ;  pupil  of  Frau  Prof.  Schultzen 
and  Frau  Jachmann- Wagner  ;  cham- 
ber-singer. 

Stcherbatcheff(stcher'-bat-chef),  Nic- 
olas de,  b.  Russia,  Aug.  24,  1853  ; 
prominent  figure  in  the  neo- Russian 
sch.;  c.  '''^  Deux  idylles  pour  orches- 
tre" ;  '' F^ei-ies  et  pantomimes,'* 
"  Mosaique,  album pittoi-esque,'"  etc., 
for  pf.;  songs  *'^i<  soir  tovibant" 
etc. 

Stecker  (shtek'-er),  K.,  b.  Kosmanos, 
Bohemia,  Jan.  22,  1S61  ;  pupil  of 
Prague  Org.-Sch. ;  1885-89,  teacher 
of  org.  there  ;  then  prof,  of  cpt.,  and 
history  at  the  Cons.;  from  !S88  also 


lecturer  at  the  Univ.;  pub.  treatises; 
c   a  Missa  solemnis,  etc. 

Steffani  (stef-fa'-ne),  Abbate  Agosti- 
no,  Castelfranco,  Venetia,  1655 — 
Frankfort-on-Main,  1730 ;  eminent 
composer  of  daring  originality  and 
great  power  both  in  instrumentation 
and  general  construction  ;  ct.-  and 
chamber-musician  and  ct. -organist  ; 
prod.  20  operas. 

Steffens  (shtef'-fens),  Julius,  Stargard, 
Pomerania,  1831 — Wiesbaden,  1882  ; 
'cellist  and  composer. 

Steffkins,  (i)  Theodore,  prof,  lute 
and  viol,  in  London,  1672;  his  broth- 
er (2)  Dietrich  was  in  the  ct.-band, 
1641  ;  (3)  Fr.,  and  (4)  Chr.,  sons  of 
(i)  ;  violinists. 

Steg'gall,  (i)  Chas.,  London,  June  3, 
1826;  pupil  of  Bennett,  R.  A.  M., 
1S51;  prof,  of  org.  and  harm,  there; 
Mus.  Bac.  and  Mus.  Doc. ,  Cambridge; 
from  1864,  organist  Lincoln's  Inn 
Chapel  ;  wrote  method  for  org.;  ed. 
colls.,  and  c.  Psalms  105,  and  33 
with  orch. ;  services,  etc.  (2)  Regi- 
nald, b.  London,  April  7,  1867  ;  son 
and  asst. -organist  of  above  ;  pupil, 
R.A.M.;  from  1895,  prof,  of  org. 
there  ;  c.  mass  with  orch.  and  organ, 
''Festival  Evening  Service"  with 
orch.,  a  symph.,  3  overtures,  etc. 

Stegmann'  (stakh'-man),  K,  David, 
Dresden,  1751 — Bonn,  1826;  tenor, 
cond.  and  dram,  composer. 

Stegmayer  (shtakh'-mT-er),  Fd.,  Vien- 
na, 1S03 — 1863  ;  conductor,  singing- 
teacher  and  composer. 

Stehle  (shta'-le),  Gv.  Ed.,  b.  Stein- 
hausen,  WUrtemberg,  Feb.  17,  1839  ; 
cond.  at  St.  Gallen  Cath.;  c.  symph. 
tone-picture  "  Saul"  for  org. 

Steibelt  (shtl'-belt),  Daniel,  Berlin, 
1765 — St.  Petersburg,  1823  ;  a  most 
unvirtuous  virtuoso.  Under  patron- 
age of  the  Crown  Prince,  a  pupil  of 
Kirnberger ;  early  debut;  1790,  fa- 
vourite pianist,  teacher  and  com- 
poser at  Paris ;  prod.  v.  succ.  opera 
''  Ronu'o  et  Juliette"  (1793).  He 
seems  to  have  suffered  from  klepto- 
mania and  general  dishonesty,  which. 


L 


DICTIONARY  OF  MUSICIANS   749 


with  his  insolence,  snobbery,  and  his 
debts,  forced  him  to  leave  Paris  in 
1797,  for  London,  where  he  was 
equally  succ. ;  the  ''Storm  Rondo" 
(or  the  finale  of  his  3rd  concerto 
''L'Orage,  pr/ct'de  d' tin  rondeau  pas- 
toral"), rivalling  the  notorious  'Bat- 
tle of  Prague"  by  Koczwara.  I799, 
he  toured  Germany,  challenging 
Beethoven  at  Vienna  with  disastrous 
results.  He  carried  Haydn's  "Crea- 
tion "  back  to  Paris  and  prod,  it, 
1800,  with  great  succ,  with  himself  as 
cembalist ;  but  had  to  leave  Paris 
again,  remaining  in  London,  until 
1805,  when  he  revisited  Paris  for  3 
years ;  1808  toured  and  settled  in 
Petersburg;  1810,  Imp.  ct.  -  cond. 
and  cond.  of  French  Opera  ;  here 
prod.  2  new  operas,  as  well  as  earlier 
ones.  In  spite  of  his  odious  personal- 
ity, his  virtuosity  was  remarkable, 
and  his  compositions  show  much  orig- 
inality in  modulation  and  scoring. 
He  wrote  a  pop.  pf. -method  ;  c.  6 
operas,  5  ballets,  and  much  piano- 
mus.,  including  50  etudes,  many 
programme  -  pes.  of  extraordinary 
vogue. 
Stein  (shtin),  (i)  Jn.  Andreas,  Heide- 
sheim.  Palatinate,  1728 — Augsburg, 
1792;  inv.  "  German  (Viennese)  pf.- 
action "  ;  organist  and  famous  pf.- 
maker.  Succeeded  by  son  (2)  Mat- 
thaus  Andreas  (Augsburg,  1776 — 
Vienna,  1842),  who  1802  set  up  for 
himself  in  Vienna.  (3)  Maria  Anna 
(or  Nanette  Streicher),  Augsburg, 
1769 — Vienna,  1835  ;  daughter  of  (i); 
a  devoted  friend  of  Beethoven  ;  also 
a  manager  of  the  pf. -factory.  Her 
son  (4)  Jn.  Bapt.  (b.  Vienna,  1795), 
was  her  successor.  (5)  Fr.,  Augs- 
burg, 178 1 — (of  consumption)  Vienna, 
1808  ;  bro.  of  above  ;  prominent  pi- 
anist. (6)  Karoline  (nee  Haar), 
pianist  and  teacher.  (7)  K.  An- 
dreas, Vienna,  1797 — 1863  ;  son  and 
successor  of  (2)  ;  pupil  of  Forster, 
ct.-pf. -maker  and  composer.  (8) 
Eduard,  Kleinschirma,  Saxony,  1818 
— Sondershausen,     1J64  ;      ct.  -  con- 


ductor and  composer.  (9)  Theodor, 
b.  Altona,  1819;  pianist;  debut  at 
12  ;  since  1872,  pf.-prof.  Petersburg 
Cons.  (10)  Gertrude  May,  b.  Al- 
bany, U.  S.  A.  ;  pupil  C.  A.  White  ; 
1891,  toured  with  the  Juch  Opera 
Co.  ;  prominent  American  contralto  ; 
1901  m.  L.  A.  Bailey. 

Steinbach  (shtln'-bakh),  (i)  Emil,  b. 
Lengenrieden,  Baden,  Nov.  14,  1849; 
pupil  Leipzig  Cons.;  1877,  cond. 
Mayence  town-orch  ;  c.  orch.  and 
chamber-mus. ,  etc.  (2)  Fritz,  b. 
Grunsfeld,  Baden,  June  17,  1855 ; 
bro.  and  pupil  of  above  ;  also  pupil 
Leipzig  Cons. ;  won  Mozart  Scholar- 
ship ;  1880-86,  2nd  cond.  at  Ma- 
yence  ;  since  1886  ct.-cond.  Meining- 
en ;  pub.  a  septet,  'cello-sonata, 
songs. 

Steindel  (shtln'-del),  (i)  Bruno,  b. 
Zwickau,  Saxony,  ca.  1864  ;  ist  'cel- 
lo, Berlin  Philh.;  later  in  the  Chicago 
Orch.  (2)  Bruno,  b.  Munchen- 
Gladbach,  Germany,  1890  ;  pianist ; 
son  and  pupil  of  mus.-dir.  in  that 
town ;  played  in  pubHc  at  6  ;  has 
played  since  in  Germany  and  Lon- 
don. 

Steiner.     Vide  stainer. 

Steingraber  (shtln'-grap-er),  Theo- 
dor, b.  Neustadt-on-the-Orla,  Jan. 
25,  1830;  founder  of  Hanover  mus.- 
pub.  firm  ;  since  1890  in  Leipzig ; 
wrote  a  pf. -method  under  the  pseud. 
"  Gustav  Damm." 

Stein  way  &  Sons,  firm  of  pf  .-makers. 
New  York  and  Hamburg  ;  founded 
by  (i)  H.  Engelhard  Steinweg 
(shtin'-vakh),  Wolfshagen,  Harz, 
1797 — New  York,  1871  ;  journeyman 
org. -builder,  Seesen,  ca.  1820  ;  he 
worked  at  night  on  his  first  piano, 
which  combined  the  good  points  of 
Old  English  and  recent  German 
instrs.;  it  made  immediate  succ;  after 
the  Revolution  of  1848,  he  emigrated 
to  New  York  in  1850  with  four  sons, 
(2)  Chas.,  Seesen,  1S29— 1865.  (3) 
H.,  Seesen,  1829— New  York,  1865. 
(4)  Wm.,  Seesen,  1836— New  York, 
1896 ;    (5)    Albert,    Seesen,    1840 — 


750 


THE    MUSICAL    GUIDE 


New  York,  1877  ;  leaving  the  busi- 
ness in  charge  of  (6)  Theodor  (See- 
sen,  1825 — Brunswick,  1889).  Fa- 
ther and  sons  worked  in  different 
factories  till  1853,  when  they  com- 
bined as  Steinway  &  Sons.  In  1865 
Theodor,  who  had  moved  to  Bruns- 
wick, sold  the  business  to  the  tirm 
Grotrian,  Helferich  &  Schulz,  Theo- 
dor Steinwegs  Nachfolger  (i.  e.  "  suc- 
cessors") (v.  STEiNWEG),  and  be- 
came a  partner  in  the  N.  Y.  firm, 
now  the  largest  of  its  kind  in  the 
world. 

Steinweg,  Original  form  of  "  Stein- 
way "  (q.  V.  No.  6). 

Stelzner  (shtelts'-ner).  Dr.  Alfred,  b. 
Wiesbaden  ;  lives  in  Dresden  ;  inv. 
the  violotta  and  cellone,  etc.  (v. 
D.D.)  ;  they  were  used  in  the  orch.  of 
his  fairy  opera  ''  KUbezahV  (Dres- 
den, 1902).  "  He  was  diflident  as  a 
performer,  but  his  compositions  for 
the  'cello  must  render  his  name  im- 
mortal, for  though  the  list  of  his 
works  only  amount  to  13,  the  origi- 
nality and  purity  of  them  entitle  him 
to  rank  among  the  very  first  writers. 
He  is  often  called  the  Beethoven  of  the 
violoncello,  nor  can  that  be  consid- 
ered too  high  praise"  (George  Her- 
bert). 

Stephens,  (i)  Dr.  John,  d.  1780;  or- 
ganist   Salisbury    Cath.;     composer. 

(2)  Cathenne,'  London,  1791  (94?) 
— 1SS2  ;    opera  and  concert-soprano. 

(3)  Chas.  Edw.,  London,  1821 — 
1892  ;  nephew  of  above  ;  pianist ; 
teacher,  organist  and  composer. 

Sterkel  (shter'-kel).  Abbe  Jn.  Fz.  X., 
Wlirzburg,  1750 — Mayence,  1817  ; 
conductor,  organist  and  composer. 

Sterling,  (i)  Antoinette,  b.  Ster- 
lingville,  N.  Y.,  Jan.  23,  1850;  con- 
cert and  oratorio  contralto,  range 
e  flat—/"  (v.  PITCH,  D.  D.)  ;  pupil 
of  Mme.  Marchesi,  Viardot-Garcia 
and  Manuel  Garcia  ;  sang  for  a  time 
in  Henry  Ward  Beecher's  Ch.,  at 
Brooklyn  ;  from  1873,  London  ;  1875, 
m.  John  MacKinlay.  (2)  Win- 
throp  S.,  b.  Cincinnati,  1859;  pupil 


of  Coll.  of  Mus.  and  Leipzig  Cons., 
also  under  R.  Hoffman  (comp.)  and 
Frau  Unger-Haupt  (voice),  later  in 
London  under  Turpin,  Behnke  and 
Shakespeare  ;  organist  W' est  London 
Tabernacle ;  from  1887,  prof.  Cin- 
cinnati Coll.  of  Mus. 

Stern  (shtern),  (i)  G.  Fr.  Th^ophile, 
Strassburg,  1803 — 1886;  organist 
and  composer.  (2)  Julius,  Breslau, 
1820 — Berlin,  1883  ;  cond.,  teacher 
and  composer.  (3)  Margarethe 
(nee  Herr),  b.  Dresden,  Nov.  25, 
1857  ;  pianist ;  pupil  of  Karl  Kragen, 
Liszt  and  Frau  Schumann  ;  1881,  she 
m.  the  poet  Dr.  Adolph  Stern,  Dres- 
den. (4)  Leo,  b.  Brighton,  Engl., 
1870  ;  'cellist ;  pupil  of  Piatti  and  of 
Klengel  and  Davidoff,  Leipzig  ;  first 
tour,  1888  (with  Piatti) ;  made  succ. 
tours  in  P'rance  ;  1897,  America  ;  c. 
'cello  pieces,  etc. 

Sternberg  (stern'-berkh),  Constantin 
(Ivanovitch),  Edler  von,  b.  St. 
Petersburg,  July  9,  1852;  pianist; 
pupil  of  Leipzig  Cons.,  Berlin  Aka- 
demie,  and  of  Liszt ;  conductor  va- 
rious churches ;  from  1877,  toured 
widely ;  18S0,  United  States  ;  from 
1890,  dir.  "Sternberg  Sch.  of  Mus.," 
Philadelphia;  c.  2  pf. -trios,  '' Danses 
cosaques"  for  vln.,  'cello-fantasia, 
etc. 

Stevens,  (i)  Richard  J.  Samuel, 
London,  1757 — 1837;  organist,  com- 
poser and  prof.  (2)  Kitty.  Vide 
STEPHENS  (2). 

Stevenson,  (i)  Sir  J.  Andrew,  Dub- 
lin, ca.  1762 — 1833;  Mus.  Doc;  c. 
Irish  operas  ;  son  of  (2)  John  (vio- 
linist in  the  State-Band  at  Dublin). 
(3)  E.  Irenaeus.    Vide  prime-stev- 

ENSON. 

Stewart,  Sir  Robt.  Prescott,  Dub- 
lin, 1825— 1894;  organist,  professor, 
conductor^and  composer. 

Stiastny  (Stastny)  (sht'yast'-ne),  (i) 
Bd.  Wenzel,  Prague,  1760— 1S35  ; 
'cellist,  professor  and  composer.  (2) 
Fz.  Jn.,  Prague,  1764 — Mannheim, 
ca.  1820  ;  bro.  and  pupil  of  above  , 
'cello-virtuoso  and  composer. 


DICTIONARY   OF  MUSICIANS   75' 


Stich  (stlkh),  Jan  Vaclav  (or  Jn. 
Wenzel)  (Italianised  as  "  Giovan- 
ni Punto  "),  Zchuzicz,  Bohemia,  1748 
— Prague,  1S03  ;  eminent  horn-virtu- 
oso, writer  and  composer. 

Stiehl  (shtel),  (r)  H.  (Fz.  Daniel), 
Liibeck,  1829 — Reval,  1886  ;  organ- 
ist, conductor  and  dram,  composer. 
(2)  K.  Jn.  Chp.,  b.  Liibeck,  1826  ; 
bro.  of  above  ;  organist  and  compos- 
er ;  from  1878,  conductor  and  critic 
Liibeck  ;  and  mus.-custodian  in  the 
library ;  pub.  historical  works  on 
Liibeck. 

Stiehle  (shte'-le),  L.  Maximilian 
Ad.,  b.  Frankfort,  Aug.  19,  1850; 
violinist ;  pupil  of  Vieuxtemps,  Her- 
mann and  Joachim  ;  lives  at  Basel. 

Stigelli  (rightly  G.  Stiegele)  (stl-gel'- 
le,  or  shte'-ge-le),  Giorgio,  Ingstet- 
ten,  18 19 — at  his  villa  n.  Monza, 
Italy,  1868  ;  tenor  and  composer. 

Stimp'son,  Jas.,  b.  Lincoln,  1820; 
organist  various  churches  in  Engl.; 
prof,  of  mus.  Blind  Inst.;  editor,  or- 
ganist and  composer. 

Stirling,  Elizabeth,  Greenwich,  1819 
— London,  1895  ;  organist  and  com- 
poser. 

Stobaus  (shto'-ba-oos),  Jn.,  Graudenz, 
W.  Prussia,  1580 — Konigsberg,  1646; 
bass,  conductor  and  composer. 

Stockhausen  (shtok'-how-zen),  (i) 
Fz.,  1792— 1868;  harpist  and  com- 
poser. His  wife  (2)  Margarethe 
(nee  Schmuck),  Gebweiler,  1803 — 
Colmar,  1877;  pupil  of  Cartruffo, 
Paris  ;  concert-soprano  ;  toured  with 
her  husband.  (3)  Julius,  b.  Paris, 
July  22,  1826  ;  barytone  and  eminent 
teacher ;  son  of  above ;  pupil  of 
Paris  Cons,  and  of  Manuel  Garcia  ; 
succ.  concert-singer;  1862-67,  cond. 
Philh.  Concerts  and  Singakademie, 
at  Hamburg ;  1S69-70,  chamber- 
singer  at  Stuttgart;  1878-79  and 
1882-98,  teacher  of  singing,  Hoch 
Cons.,  Frankfort:  since  private 
teacher;  pub.  a  Method.  (4)  Fz,, 
b.  Gebweiler,  Jan.  30,  1839  ;  pupil  of 
Alkan  and  of  Leipzig  Cons.;  1868- 
79,  cond.  at  Strassburg ;  from  1871, 


teacher  Strassburg  Cons.;  1892,  R. 
Prof. 

Stojowski  (sto-yof'-shkl),  Sigismund, 
b.  Strelce,  Poland,  May  2,  1S70 ;  pi- 
anist ;  pupil  of  L.  Zelenski  at  Cra- 
cow, and  at  Paris  Cons.,  winning  ist 
prizes  for  pf.  and  comp.;  studied 
with  Paderewski  ;  lives  in  Paris,  as 
teacher ;  comp.  pf. -concerto,  suite 
and  variations  for  orch.,  songs,  pf.- 
pcs.,  etc. 

Stokes,  Chas.,  b.  1784,  Engl.;  or- 
ganist, pianist,  teacher,  composerand 
theorist. 

Stoltz,  (i)  Rosine  (rightly  Victorine 
Nob)  (shtolts  or  nap),  Paris,  Feb.  13, 
1S15 — (?)  ;  pupil  of  Choron's  Sch.; 
mezzo-soprano  ;  1837-47,  Gr.  Opera, 
Paris ;  other  stage-names  "  Mme, 
Ternaux,"  "  Mile.  H61oise," 
"  Rose  Niva  "  ;  m.  successively  a 
baron  and  2  princes  ;  c.  6  songs.  (2) 
Therese,  Trieste, _  1838  ?— -Milan, 
1902  ;  soprano ;  debut.  La  Scala, 
1865  ;  created  "  Ai'da  "  in  Italy  ;  in- 
timate friend  of  Verdi ;  married  after 
1875  and  retired. 

Stoltzer  (shtolts'-er),  Thos.,  Silesia, 
ca.  1490 — Ofen,  1526;  ct.-conductor 
and  composer. 

Stdlz(e)l  (shtelts'-el),  Gf.  H.,  Grun- 
stiidtl.  Saxony,  1690 — Gotha,  1749  ; 
ct.-conductor  and  dram,  composer. 

Stolzenberg  (shtol'-tsen-berkh),  Ben- 
no,  b.  Konigsberg,  Feb.  25,  1829; 
tenor;  pupil  of  Mantius  and  H. 
Dorn ;  debut,  Konigsberg,  1852  ; 
dir.  Danzig  City  Th.;  teacher,  Ber- 
lin ;  1885,  Cologne  Cons. ;  from  1896, 
dir.  of  a  vocal  sch.  at  Berlin. 

Stopel  (shta'-pel),  Fz.  (David  Chp,), 
Oberheldrungen,  Saxony,  1794 — 
Paris,  1836  ;  theorist. 

Sto'nard,  Wm.,  d.  1630 ;  organist 
and  composer  at  Oxford. 

Stor  (shtar),  K.,  Stolberg,  Harz,  1814 
— Weimar,  1889 ;  violinist,  cond. 
and  dram,  composer. 

Sto'race,  (i)  Stephen,  London,  1763 
— (of  gout)  1796,  prod.  iS  stage- 
works,  son  and  puipil  of  (2)  Stefano 
S.,   an     Italian    double-bass-player. 


752 


THE    MUSICAL    GUIDE 


(3)  Anna  Selina  (1766 — 1817),  fa- 
mous colorature-soprano ;  daughter 
and  pupil  of  (2) ;  sang  in  public  at  8; 
then  debut,  Florence,  1780;  created 
"Susanna"  in  Mozart's  "Figaro." 

Storch  (storkh),  M.  Anton,  Vienna, 
1 8 13 — 1888  ;  conductor  and  com- 
poser. 

Stowe  (shta'-ve),  Gv.,  Potsdam,  1835 — 
1 891;  dir.  and  composer. 

Stradella  (stra-del -la),  Alessandro, 
probably  Naples  or  Venice,  ca.  1645 
— Genoa,  after  168 1  (the  date  of  his 
last  cantata) ;  important  Italian  com- 
poser, of  whom  little  is  actually 
known,  though  he  is  the  hero  of  an 
extraordinarily  melodramatic  legend 
of  jealous  nobility,  paid  assassins, 
and  love  pursued.  In  a  work  by 
Bonnet-Bourdelot  (1715),  it  is  said 
that  his  name  was  Stradel  and  being 
engaged  to  write  an  opera  for  Venice, 
he  eloped  with  the  mistress  of  a 
nobleman  who  sent  paid  bravi  to  as- 
sassinate him  in  Rome.  These  men 
were  overcome  by  the  beauty  of  an 
oratorio  of  his  and  warned  him  of  his 
danger.  He  fled  to  Turin  with  the 
woman  who  passed  for  his  wife,  and 
after  being  followed  here  and  there, 
and  recovering  from  numerous 
wounds,  was  finally  slain  in  Genoa. 
Flotow  made  an  opera  of  this  story, 
in  which  there  is  much  that  is  in- 
credible. S.  was  also  credited  with 
being  a  singer  and  poet,  ar,d  a  wonder- 
ful harpist.  In  any  case,  148  of  his 
works  exist  in  MS.  in  the  Modena 
Library,  and  others  elsewhere,  incl. 
8  oratorios,  many  cantatas,  madri- 
gals, duets,  etc.  The  church-aria 
''  Fieta,  Signore"  and  the  arias  "  O 
del  mio  dolce  ardor"  and  "  &  i  niiei 
sospiri"  are  probably  wrongly  at- 
tributed to  him.  Monographs  by  P. 
Richard,  "A.  Stradella"  (1S66),  and 
Calelane. 

Stradivari  (Stradivarius)  (strad-K-va- 
re,  or  -va -rl-oos),  (i)  Antonio,  Cre- 
mona, 1649  (1650?) — Dec.  17  (18?), 
1737  ;  maker  of  vlns.,  vlas. ,  'cellos, 
etc.,  who  established  a  type  and  pro- 


portion never  improved  ;  his  tone  is 
also  supreme  among  vlns.  (with  the 
possible  exception  of  those  of  Jos. 
Guarneri)  ;  he  probably  worked"  foi 
Niccolo  Amati,  1667-79 ;  1680,  he 
purchased  the  house  in  which  his 
workshop  thereafter  was  situated ; 
1700-25,  is  his  best  period,  but  he 
worked  to  1736;  his  label  reads  "  An- 
tonius  Stradivarius  Cremonensis. 
Fecit  Anno  .  .  .  (A  f  S)."  01 
his  eleven  children,  2  sons,  (2)  Fran. 
(1671 — 1743)  and  (3)Omobono  (167C1 
— 1742),  were  his  assistants.  Mono- 
graphs, by  Lombardini  (1872),  Fetis 
(1856)  ;  Wasielewski,  and  Riech- 
ers. 
Straeten,  van    der.     Vide    vander- 

STKAETEN. 

Strakosch  (shtra'-kosh),  (i)  Moritz, 
Lemberg,  Galicia,  1825  (1830?) — 
Paris,  Oct.  9,  1887  ;  pianist  and  im- 
presario ;  c.  operas  ;  teacher  of  Ade- 
lina,  and  husband  of  Carlotta,  Patti. 
(2)  Max,  d.  New  York,  1892  ;  bro. 
of  above  and  equally  famous  as  im- 
presario. (3)  Phoebe ;  soprano 
niece  of  above  ;  debut  in  opera, 
Trieste,  iSg6;  has  sung  at  Coveni 
Garden,  Met.  Op.,  etc. 

Stratton,  Geo.  W.,  Swanzey,  N.  H 
U.  S.  A. — Berlin,  1901  ;  lived  BostO] 
as  composer. 

Straube  (strow'-be),  C. ;  pupil  of  Rie 
mann,  Rufer,  and  A.  Becker  ;  1902 
organist  Thomaskirche  (vice  C 
Piatti). 

Strauss    (shtrows),  (i)    Jos.,    Briinn 
1793 — Carlsruhe,  Dec.   i   (2?),  1866 
violinist,    mus. -director,   ct.-conduct-| 
or  ;  c.  operas.     (2)  Jn.  (Sr.),  Vienna, 
March    14,    1804 — (of   scarlet    fever^ 
Sept.  25,   1849,  "  The  Father  of  the 
Waltz  "  ;  son  of  proprietor  of  a  beei 
and  dance-hall ;  conductor  and  com- 
poser of  152  waltzes  all  more  or  lessff 
famous.     (3)  Jn.  (Jr.),  Vienna,  Oct,]' 
25,    1825  —  June    3,     1899;     "  Tht'': 
Waltz-King";  son  of  above,  whoop-' 
posed  the  mus.   tastes  of   the    three 
sons,  for   whom  the   mother  secureci 
secret  instruction.      In  1844  conduct- 


fe 


F 


1 


DICTIONARY  OF  MUSICIANS    753 


or  of  court  -  balls  and  very  succ. 
orch.  concerts.  He  had  c.  a  waltz 
at  6,  and  his  later  comps.  eclipsed 
the  success  of  those  of  his  father, 
after  whose  death  he  united  the  two 
orchestras.  1S62,  he  m.  the  singer 
Henriette  Treffz  (d.  1878),  and  later 
the  singer  Angelica  Dittrich  ;  c.  400 
pes.  of  dance-music  ;  his  waltzes 
"  The  beautiful  blue  Danube" 
''''  Kiinstlerleben"  "  IViener  Bhct" 
"  The  100 1  Nights"  "  Wine,  Wom- 
en and  Song^"  etc.,  a.Te.  dance-rhap- 
sodies whose  verve  and  colour  have 
deserved  and  won  the  highest  praise 
of  severe  musicians.  His  light  operas 
rival  his  waltzes  in  charm  and  succ. 
and  incl.  the  v.  succ.  "  Die  Fleder- 
maus"  ('74).  (4)  Jos.,  Vienna,  April 
25,  1827 — July  22,  1870;  bro.  of 
above,  during  whose  illness  in  1853 
he  served  as  cond.;  later  formed  an 
orch.  of  his  own  and  learned  the  vln.; 
on  a  tour  to  Warsaw  he  was  mal- 
treated by  Russian  officers  for  whom 
he  had  refused  to  play,  and  died  in 
the  arms  of  his  wife  (whom  he  had 
m.  in  1857)  ;  he  c.  283  dances.  (5) 
Eduard,  b.  Vienna,  Feb.  14,  1835  ; 
bro.  and  succ.  of  Johann  as  cond.  of 
the  ct. -balls  and  orch.;  took  his  orch. 
to  America  1892  and  1900  ;  c.  dance- 
mus.  (6)  Ludwig,  b.  Pressburg, 
March  28,  1S35 — Cambridge,  Engl., 
1899 ;  violinist.  (7)  Victor  von, 
Royal  opera  conductor,  Berlin,  1902. 
(8)  Richard,  b.  Munich,  June  11, 
1864  ;  composer  ;  daring  and  brilliant 
musical  adventurer ;  son  of  (8)  Fz. 
S.  (chamber-mus.  and  horn-player) ; 
studied  also  with  W.  Meyer.     At   4 


he  c.  a  polka.  He  took  a  regular 
Gymnasium  course  1874-82,  and  spent 
two  years  at  the  univ.  At  17  his 
first  symph.  was  prod,  by  Levi ;  his 
"  Serenade"  for  13  wind-instrs.  had 
much  succ.  with  the  Meiningen  orch. 
under  von  Billow,  to  whom  S.  be- 
came asst.,  and  (1885)  successor  as 
ct.-mus.  dir.  at  Meiningen ;  1886, 
3rd  cond.  at  Munich  ;  1889,  ct.-cond. 
at  Weimar  under  Lassen;  1894,  cond. 
at  the  ct. -opera,  Munich,  also  1894, 
cond.  Berlin  Philh.,  and  from  1898, 
cond.  at  Berlin  Royal  Opera.  He 
m.  the  soprano,  Pauline  de  Ahna, 
who  created  "  Freihilde  "  in  his  opera 
"  Guntram  "  (Weimar,  1894,  Munich, 
'95).  His  i-act  opera  "  Feuers- 
noth"  ("Fire-Famine"),  libretto  by 
Wolzogens,  was  prod.  Dresden,  Nov. 
21,  1901,  with  much  success.  He  has 
also  cond.  with  great  succ.  in  various 
cities.  C.  symph.  op.  12  ;  symphonic 
fantasie  ''A us  Italien"  "  Wanderers 
Sturmlied"  (Goethe),  for  6-part  cho- 
rus, and  full  orch.;  tone  -  poems, 
'"Don  Juan"  op.  20;  ''Macbeth" 
op.  23;  "  Tod  und  Verkldrung"  op. 
24,  the  symph.  poems  "  Also  sprach 
Zarathustra  "  (after  Nietzsche),  "^i« 
Heldenleben"  {op.  40),  and  ''Don 
Quixote  " ;  op.  28,  Orchester-Rondo 
"  Till  EulenspiegeV s  lustige  Streiche" ; 
chamber-mus.;  vln. -concerto  ;  5 
"  Stimmungsbilder  "  for  pf. ;  concer- 
to for  Waldhorn  ;  "  Enoch  Arden" 
melodrama  for  pf.  and  recitation, 
and  songs.  1 6-part  a  cappella  chorus 
"  Der  Abend"  (1902),  ballad  for 
chorus  and  orch.  "Taillefer"  (1902). 
Biog.  by  Dr.  Arthur  Seidl  (Prague). 


Richard  Strauss. 

By  James  Huneker. 

THAT   Richard  Strauss  was  the  son  of  the  famous  horn-player,  may 
explain  his  predilection  for  the  beautiful  instrument.    ^At  Meiningen 
he  met  Alexander  Ritter,  a  pupil  of  Wagner,  and   this  friendship, 
with  Von  Billow's   daily   coaching,  decided   Richard   Strauss's  tendency  in 


754         THE    MUSICAL    GUIDE 


i]£ 


■i  ^ 


art.  He  became  a  composer  of  the  future,  a  man  of  the  new  school.  He 
travelled  much — he  went  to  Greece,  Italy,  and  Egypt  for  incipient  lung- 
trouble — and  on  "guesting"  tours,  on  which  he  was  received  with  en- 
thusiasm, for  he  is  a  modern  conductor  in  all  the  implications  of  the  phrase. 
A  man  of  good  physique,  Scandinavian  in  appearance,  Strauss  is  widely 
cultured  and  well  read  in  classical  and  modern  literature.  ^In  music  he  is  a  i 
true  descendant  of  Berlioz,  Liszt,  and  Wagner,  though  early  in  his  career  hei 
showed  marked  traces  of  a  devotion  to  Brahms.  This  is  more  noticeable  in 
his  piano  and  orchestra  Burleske  in  D  minor,  in  the  solo  sonata  and  in  the 
"  Wanderer' s  Sturmlied,'"  opus  14,  for  six-voiced  chorus  and  orchestra. 
But  the  Richard  Strauss  we  know  to-day  stands  for  all  that  is  revolutionary] 
in  the  art.  ^He  has  in  his  symphonic  forms  pushed  to  the  verge  of  thej 
sublime — or  the  ridiculous, — or  both — the  poetic  programme  (Vide  D.  D.,f  W 
" program  music  ") .  Yih  "  Don  Juan, ^'  '^Macbeth,'"''  '■'Death  and  Trans- 
figuration,'''' "Till  EulenspiegeV  s  Merry  Pranks,''''  "Thus  Spake  Zarathus- 
tra,^'  "  Don  Quixote,"  and  "  Bin  Heldenleben  "  are  tokens  of  labours; 
almost  Balzacian  in  their  intensity.  An  emotional  strenuousness,  a  marvel-j 
lous  mastery  of  the  orchestral  apparatus,  an  abnormal  colour  and  rhythmic! 
sense,  combined  with  poetic  feeling,  bizarre,  even  grotesque  methods  of  ut 
terance,  an  utter  defiance  of  formalism  either  classic  or  romantic,  and 
thematic  invention  not  commensurate  with  his  other  gifts — all  these  quali- 
ties jumbled  in  amazing  juxtaposition  and  flavoured  by  a  powerful  individu- 
ality, easily  made  Richard  Strauss  the  leader  of  the  New  German  School  anc 
a  formidable  figure  in  the  musical  arena.  ^Since  his  flaming  utterances  ir 
'♦  Don  Quixote'"''  and  "  A  Hero'' s  Career  "  the  faith  of  some  of  his  mos 
ardent  disciples  has  been  rudely  shaken.  "  Either  retreat  or  madness  "  i; 
the  critical  cry,  and  Strauss  is  not  a  man  to  be  moved  by  prayer  or  assault 
So  we  find  his  two  new  solos  for  barytone  and  orchestra,  sung  at  the  Lowe] 
Rhine  Festival,  June,  1900,  in  Aix-la-chapelle,  more  eccentric  than  ever 
^A  brilliant  composer,  a  strikingly  intellectual  man,  Richard  Strauss  to-da} 
may  be  fairly  called  the  leader  of  the  musical  Decadence.  As  a  song-write 
his  various  collections  have  met  with  the  greatest  success,  for  he  has  a  happ^ 
method  of  welding  music  and  poem  into  a  perfect,  if  somewhat  startling] 
whole.  Form  he  abandons  utterly,  striving  to  capture  the  idea  as  he  per; 
ceives  it,  in  its  full  bloom.  Opera  10,  15,  17,  127,  29,  32,  are  favourites 
the  newer  songs  are  very  difficult  and  almost  cryptic  in  sentiment  and  execu 
tion.      Richard  Strauss  is  the  greatest  living  master  of  the  orchestra. 


Streabbog.     Vide  gobbaerts.  of  Bizet   and   Damcke,   Paris  ;  criti 

Street    (shtrat),     G.    Ernest,    b.     of  there;  since    1S9S,  of    ''L Eclair" 

French  parents,  Vienna,  1S54  ;  pupil  c.       operettas,       i-act      mimodrain 


l 


DICTIONARY  OF  MUSICIANS    755 


"Fides"  (Op.-Com.,  1894),  3-act 
opera  "  Mignonette"  parody  of 
Thomas's  ''  Alignon"  {iZ()b),  ballet, 
"  Scaramouche  "with  Messager.iSgi, 
etc. 

Streicher  (shtri'-kher),  (i)  Jn.  Andre- 
as, Stuttgart,  1761 — Vienna,  1S33  ; 
piano-maker  and  professor  ;  1793  inv. 
the  pf.-action  which  drops  the  ham- 
mer from  above  ;  succeeded  1S32  by 
his  son  (2)  Jn.  Bapt.,  1794 — 1871, 
who '  was  succeeded  by  his  son  (3) 
Emil. 

Strelezki  (stre-let'-shkt),  Anton  (pen- 
name  of  a  Mr.  Burnand  (?)),  b. 
Croydon,  Engl.,  Dec.  5,  1S59  ;  pupil 
of  Leipzig  Cons.,  and  of  Frau  Schu- 
mann ;  c.  popular  songs,  and  pf.- 
pcs. 

Strepponi.     Vide  ve'rdi. 

Striggio  (strld'-j6),  Ales.,b.  Mantua, 
ca.  1535;  lutenist,  composer  and 
conductor. 

Strinasacchi  (stre-nji-sak'-ke),  Regi- 
na,  Ostiglia,  near  Mantua,  1764 — • 
1823  ;  violinist. 

Stro'gers,  Nicholas,  English  organ- 
ist and  composer,  1685. 

Strohmeyer  (shtro'-ml-er),  d.  Weimar, 
1845  ;    bass. 

Strong,  G.  Templeton,  b.  New 
York,  ca.  1855  ;  pupil  of  Leipzig 
Cons.,  and  lives  in  Berlin  ;  c.  symph. 
"  In  den  Bergen " ;  symph.  poem 
"  Undine"  (op.  14)  ;  "  Gestrebt — • 
Gewonnen — Gescheitert" ;{.  orch.  with 
vln.-obbligato;  choral  works  with 
orch.;  pf.-pcs.,  etc. 

Stroud,  Chas.,  1705 — 1726;  Engl, 
organist  and  composer. 

Strozzi  (strod'-ze),  (i)  Pietro,  b.  Flor- 
ence, i6th  cent.;  co-founder  of  the 
stile  rappresentativo  (v.  peri)  ;  set 
to  music  Caccini's  "  Iai  Mascarada 
degli  Accecati"  1595.  (2)  Abbate 
Gregorio,  apostolic  protonotary  at 
Naples ;  composer,  1683. 

Strube  (shtroo'-be),  Gustav,  b.  Ballen- 
stedt,  Harz,  March  3,  1867  ;  violin- 
ist ;  pupil  of  his  father ;  at  10  in 
Ballenstedt  orch.;  at  r6  pupil  of  Leip- 
zig  Cons.;    played    in    the    Gewand- 


haus  Orch. ;  later  prof,  at  Mannheim 
Cons.;  1889,  Boston,  Mass.,  in 
Symph.  Orch.;  c.  symph.,  etc. 

Struck  (shtrook),  Jn.  Bapt.  (called 
Batistin),  Florence,  ca.  1680 — Paris, 
1755  ;  1st  'cellist  that  ever  played  in 
Paris  Opera  orch.;  c.  operas. 

Strungk  (or  Strunck)  (shtroonk),  Ni- 
kolaus  Adam,  Celle,  Hanover,  1640 
— Leipzig,  1710;  violinist,  organist 
and  dram,   composer. 

Struss  (shtroos),  Fz.,  b.  Hamburg, 
Nov.  28,  1847 ;  violinist ;  pupil  of 
Unruh,  Auer,  and  Joachim ;  1870, 
member  Berlin  ct.  -  orch.;  1885, 
"chamber-virtuoso";  1887,  ct.-Con- 
zertmeister;  also  teacher  Klindworth- 
Scharwenka  Conservatorium. 

Stumpf(f)  (shtoompf),  (i)  Jn.  Chr., 
bassonist  at  Paris,  ca.  1785  ;  com- 
poser. (2)  K.,  b.  Wiesentheid,  Lower 
Franconia,  April  21,  1848  ;  lives  in 
Munich ;  theorist. 

Stuntz  (shtoonts),  Jos.  Hartmann, 
Arlesheim,  near  Basel,  1793 — Munich, 
1859  ;  dram,  composer. 

Sturmer  (shtTr'-mer),  Heinrich,  1811 
— Leipzig,  igo2  ;  operatic  bass. 

Succo  (zook'-ko),  Reinhold,  Gorlitz, 
1837  —  Breslau,  1897;  organist, 
teacher  and  composer. 

Such  (zookh),  Percy,  b.  June  27,1878; 
'cellist  ;  studied  with  Robt.  Haas- 
manns  ;  toured  ;  lived  in  Berlin. 

Sucher  (zoo'-kher),  (i)  Josef,  b.  Dor- 
bor,  Hungary,  Nov.  23,  1844 ;  emi- 
nent cond.;  studied  singing  and  the 
vln.,  Vienna;  pupil  of  Sechter 
(comp.) ;  vice-cond.  of  the  acad.  Ge- 
sangverein;  coach  for  solo  singers 
at  the  ct. -opera  ;  1876,  cond.  Leipzig 
City  Th.  ;  1877,  m.  the  distinguished 
Wagnerian  soprano,  (2)  Rosa 
Hasselbeck  (b.  Velburg,  Upper 
Palatinate)  ;  1878-88  they  were  en- 
gaged by  Pollini  at  Hamburg  ;  later 
as  cond.  of  the  Royal  Opera  at  Ber- 
lin (retired  1899),  and  prima  donna 
(retired  1898).  Frau  S.  was  daugh- 
ter of  a  musician  and  sang  small  roles 
at  Munich  and  elsewhere  at  first ; 
later  prominent   in   Wagner    opera, 


756 


THE    MUSICAL    GUIDE 


which  she  sang  at  Bayreuth  and  in 
America. 

Sudds,  Wm.,  b.  London,  Engl., 
March  5,  1843 ;  at  7  moved  with 
his  parents  to  a  farm  in  Gouverneur, 
N.  Y. ;  self-taught;  a  bandm.  dur- 
ing the  Civil  War,  and  later  pupil  of 
Eugene  Thayer  (org.),  and  J.  Eich- 
berg  (vln.  and  comp.),  Boston  Cons. 
of  Music ;  lives  in  Gouverneur  as 
teacher  and  pub.  of  various  methods  ; 
c.  4  overtures,  many  dances,  marches, 
church  mus.,  etc.,  for  pf.,  incl.  can- 
tata "  The  Star  of  Bd  hie  hem." 

Suk  (sook),  Josef,  b.  Kre6ovic,  Bo- 
hemia, Jan.  4,  1874;  violinist  ;  pupil 
and  son-in-law  of  Dvorak  at  Prague 
Cons.,  1S96,  2nd  vln.  "Bohemian 
String-Quartet "  ;  c.  a  dramatic  over- 
ture "  Winter  s  Tale,"  symphony  in 
E  ;  suite  for  orch.  op.  16  "  Ein 
Mdrchen  "  (1898),  etc. 

Sullivan,  Sir  Arthur  Seymour,  Lon- 
don, May  14,  1842 — Nov.  22,  igoo  ; 
eminent  composer  of  national  Eng- 
lish comic  opera  ;  v.  succ.  in  church- 
mus.  also;  at  12  a  chorister  under 
Helmore,  Chapel  Royal ;  at  13  pub. 
a  song  ;  1856,  the  first  Mendelssohn 
Scholar  at  the  R.  A.  M.;  studied  also 
at  Leipzig  Cons.,  etc.  At  18  cond. 
his  overture  ''  Lalla  Rookh" ;  at  20 
prod,  his  mus.  to  "  The  Tempest" 
(Crystal  Palace)  ;  at  22  his  notable 
cantata  ^'  Kenihuorth"  (Birmingham 
festival) ;  cond.  of  the  London  Phil- 
harm.  (1885-87);  and  from  1880, 
the  Leed's  Festivals.  1876-81,  prin- 
cipal, and  prof,  of  comp.  at  the 
Nat.  Training  Sch.  for  Mus.  ;  Mus. 
Doc.  h.c,  Cambridge  (1876),  and 
Oxford  (1879)  ;  Chev.  of  the  Legion 
of  Honour,  1878  ;  grand  organist  to 
the  Freemasons,  1887 ;  knighted, 
1883.  C.  symphony  (played  at  the 
Gewandhaus,  Leipzig,  etc.)  overtures 
"  In  Memoriam "  (on  his  father's 
death),  "  Marmion"  ''Di  ballo,"  and 
"  Sapphire  Necklace";  oratorios  and 
cantatas,  incl.  ''The  Golden  Legend" 
(1886);  "^  Festival  Te  Deum" 
(1872),  Ode  "  /    Wish   to    Tune   my 


Quivering  Lyre"  with  orch.,  and 
succ.  incid.  mus.  to  8  of  Shake- 
speare's plays  and  others  ;  c.  much  v. 
succ.  church-mus.  of  all  kinds.  His 
operas  include  the  grand  opera, 
'' Ivanhoe"  (1891),  the  romantic 
opera,  ''Rose  of  Persia"  (1900), 
neither  a  succ. 

His  chief  contribution  to  music, 
was  his  brilliant  series  of  truly  Eng- 
lish comic  operas,  with  the  equally 
brilliant  librettos  of  W.  S.  (iilbert. 
Some  of  these  had  a  world-wide 
succ,  and  " /"(///fwf^ "  was  a  satire 
of  equal  effectiveness  with  Moliere's 
' '  Les  P red e uses  Ridicules."  Among 
16  comic  operas  were  the  following 
great  successes:  "Cox  and  Box" 
(1867),  "  Trial  by  Jury"  (1875), 
"  H.  M.  S.  Pinafore"  (1878),  "  The 
Pirates  of  Penzance"  (1880),  "Pa- 
tience" (1S81),  "lolanthe"  (1882), 
"The  Mikado  "  (1885),  "Ruddigore  " 
(1887),  "  The  Yeomen  of  the  Guard" 
(1888),  "  The  Gondoliers"  "  Utopia 
{Limited)"  (1893);  "  Contrabandis- 
ia"  (1867,  revised  1894  as  "The 
Chieftain"),  "  The  Emerald  Isle"  \ 
(1901),  finished  by  Edw.  German  ; 
libretto  by  Basil  Hood. 

Sulzer  (zool-tser),  (i)  Jn.  G.,  Winter-^ 
thur,  1719 — Berlin,  1779;  writer  and 
professor.  (2)  Salomon,  of  Jewish; 
parents,  Hohenems,  Vorarlberg,  1804; 
— Vienna,  1890  ;  prof,  of  singing  andi 
composer.  (3)  Julius,  Vienna,  18341 
— 1891  ;  son  of  above  ;  violinist  and- 
conductor,  and  c.  operas.  His  sisters 
(4)  Marie  and  (5)  Henriette  [are 
singers. 

Sunderland,  Mrs. ,  b.  Bright- 
house,  Yorkshire,  1 8 19;  soprano  ;  re- 
tired, 1864. 

Suppd,  Fz.  von  (fon-zoop'-pa),  Spala- 
to,  Dalmatia,  1820 — Vienna,  May 
22,  1895  ;  very  popular  operetta-com- 
poser ;  pupil  of  Padua,  Cigala,  and 
Ferrari  ;  at  first  unpaid  cond.  at  the 
Josephstadter  Th.;  then  at  Pressburg 
and  Baden  and  at  Vienna  ;  he  c.  2 
grand  operas,  a  symph.,  a  Missa  Dal- 
matica,  a  requiem,  "  Lestremo  giudi- 


1 


DICTIONARY  OF  MUSICIANS   757 


zio"  overtures  (incl.  the  immensely 
pop."  Dichter  und  Batter''  pub.  for 
59  combinations).  Of  his  Singspiele, 
comediettas,  etc.,  some  (like  "  Tan- 
tienkauser"  and  "■  DinoraW)  are 
parodies,  of  the  others  the  most  succ. 
are  ''  Fatinitza"  (Vienna,  1876),  and 
"  Die  Afrikareise  "  (18S3). 

Surette  (su-ret),  Thos.  Whitney,  b. 
Concord,  Massachusetts,  Sept.  7, 
1862  ;  graduated  Harvard,  1891  ; 
pupil  there  of  Arthur  Foote  (pf .),  and 
J.  K.  Paine ;  organist,  Baltimore  ; 
then  University  Extension  lecturer 
(Phila.,  Pa.)  ;  wrote  treatises,  etc.; 
pub.  2  -  act  operetta  '■' Priscilla" 
(given  over  500  times),  etc. 

Suriano   (or   Soriano)  (soo'-  (or  so') 

.  rl-a-no),  Fran.,  Rome,  1549— Jan., 
1620  ;  conductor  and  notable  com- 
poser ;  pupil  of  Nanini  and  Palestri- 
na  ;  cond.  S.  Maria  Maggiore,  and 
1603,  at  St.  Peter's,  Rome. 

Sur'raan,  Jos.,  1803 — 1871 ;  English 
tenor,  conductor  and  composer. 

Susato.     Vide  tvlman  susato. 

Siissmayer  (zus'-mi-er),  Fz.  X., 
Steyr,  Upper  Austria,  1766 — Vienna, 
1803  ;  conductor  and  dram,  com- 
poser. 

Svendsen(svent'-zen),  (i)  01uf,Christi- 
ania,  1832 — London,  1888  ;  flutist. 
(2)  Johan  (Severin),  b.  Christiania, 
Sept.  30,  1840;  important,  though 
eclectic  composer  ;  son  of  a  bandm.; 
at  II  c.  vln.-pcs. ;  at  15  enlisted  in 
the  army  and  was  soon  bandm.,  and 
played  flute,  clarinet,  and  vln.;  with 
a  stipend  from  Charles  XV.,  he 
studied  vln.;  at  23  he  became  pupil 
of  David  and  Hauptmann,  Richter, 
and  Reinecke,  Leipzig  Cons.;  toured 
1868-69,  in  Musard's  orch. ;  and  at 
the  Odeon,  Paris ;  1869,  Leipzig  ; 
187 1,  m.  an  American  in  New  York  ; 
1872-77,  and  1880-83,  cond.  Christi- 
ania Mus.  Assoc;  1883,  ct.-cond.  at 
Copenhagen ;  from  1896,  cond. 
Royal  Th.  there.  C.  2  symphonies, 
overture  to  Bjornson's  "  Sigurd 
Slembe" ;  "  Romeo  and  Juliet,"  fune- 
ral march    for  Charles  XV.,  corona- 


tion march  (for  Oscar  IL),  wedding- 
cantata,  etc.,  with  orch.;  op.  16, 
"  Car  naval  des  artistes  ttorv/giens  " 
humorous  march  ;  4  "  Norwegian 
Rhapsodies"  for  orch.;  vln.  and 
'cello  concertos,  chamber-music  and 
songs,  etc. 

Swan,  Timothy,  Worcester,  Mass., 
1758 — Northfield,  1842  ;  teacher  and 
composer. 

Sweelinck  (or  Swelinck,  the  best  2 
of  the  7  spellings)  (sva'-link),  (i) 
Jan  Pieter  (called  Jan  Pieters- 
zoon),  Amsterdam,  1562 — Oct.  16, 
162 1  ;  chief  of  Dutch  organists.  Son 
and  (1577-81)  successor,  probably  also 
pupil,  of  (2)  Pieter  (d'.  1573),  who 
had  won  pre-eminence  as  the  org.- 
virtuoso  and  teacher  of  his  own  time; 
(i)  was  the  first  to  employ  the  pedal 
in  a  real  fugal  part,  and  originated 
the  org. -fugue. 

Sweet'hand,  W.,  org. -builder,  Bath, 
Engl.,  19th  cent. 

Swert,  Jules  de.     Vide  desw^ert. 

Swieten  (sve'-ten),  Gf.,  Baron  von, 
1734 — Vienna,  1803;  eminent  patron, 
but  unimportant  composer,  of  music; 
c.   6  symphs. 

Swinnerton,  Heap.     Vide  heap. 

Swoboda  (sv6-b5'-da),  August,  d. 
1901  ;  teacher  in  Vienna  ;  pub.  text- 
books (1826-32). 

Sylva  (sel'-va),  Eloi,  b.  Geeraerds- 
bergen,  Belgium,  Nov.  29,  1847  ; 
noted  tenor  ;  studied  Brussels  Cons., 
and  with  Duprez ;  debut,  Nantes  ; 
sang  7  years  Paris  Opera,  then  in 
Russia,  England  and  America  ;  1889 
Berlin. 

Sympson.     Vide  simpson. 

Szalit  (sha-let),  Paula;  b.  1886  (?); 
pianist  ;  pupil  of  Leschetizki. 

Szarvady.     Vide  clausz-szarvady. 

Sz6kely  (sha'-ke-le),  Imre  (Emeric), 
b.  Malyfalva,  Hungary,  May  8, 
1823  ;  pianist ;  studied  in  Pesth  ; 
toured  1846  ;  from  1852  teacher 
Pesth ;  c.  Hungarian  fantasias  on 
national  airs  ;  pf. -concertos,  etc. 

Szumowska  (shoo-mof'-'shka),  Antoi- 
nette, b.    Lublin,   Poland,    Feb.  22. 


758 


THE    MUSICAL    GUIDE 


1868  ;  pianist ;  pupil  of  Strobel  and 
Michalowski  at  Warsaw,  and  of 
Paderewski  at  Paris ;  has  played 
with  great  succ.  at  London,  Paris, 
New  York,  Boston,  etc. ;  m.  Joseph 
Adamowski  ;  lives  in  Boston. 
Szymanowska  (she-ma-nof'-shka), 
Maria  (nee  Wolowska),  Poland, 
1790 — (of  cholera),  Petersburg,  1831  ; 
pianist  ;  pupil  of  Field  at  Mos- 
cow ;  ct. -pianist  at  Petersburg ; 
Goethe  was  infatuated  with  her 
and  she  with  him  ;  c.  24  mazurkas, 
etc. 


Tabourot  (ta-boo-ro),  Jean,  Dijon, 
15 19 — Langres,  1595  (?)  ;  a  priest  and 
writer  under  the  pseud.  "  Thoinot 
Arbeau." 

Tacchinardi  (tak-kt-nar'-de),  (i)  Nico- 
la, Florence,  1772 — 1859  ;  at  17  a  vio- 
linist ;  later  a  tenor  of  greatest  Euro- 
pean popularity,  even  singing  "  Don 
Giovanni "  (transposed)  with  succ, 
though  he  was  hideous  and  a  hunch- 
back. His  daughter  (2)  Fanny  Tac- 
chinardi-Persiani  (v.  persiani). 
His  daughter  (3)  Elisa  was  a 
pianist. 

Tadolini  (ta-do-le'-ne),  (i)  Giov.,  Bo- 
logna, 1793 — 1872  ;  dram,  composer; 
m!  (2)  Eugenia  Savorini  (b.  Forli, 
1809),  a  singer. 

Taffenel  (taf'-fii-nel),  Claude  Paul, 
b.  Bordeaux,  Sept.  16,  1844;  flutist, 
pupil  of  Dorns  (flute)  and  Reber 
(comp.)  ;  3rd  cond.  Grand  Opera,  ' 
Paris;  1892,  dir.  Paris  Cons,  con- 
certs— resigned,  1901  ;  1893,  prof,  of 
flute  there. 

Tag  (takh),  Chr.  Gotthilf,  Bayerfeld, 
Saxony,  i735 — Niederzwonitz,  iSli; 
composer. 

Tagliafico  (tal-ya-fe'-ko),  (i)  Jos. 
Dieudonn6,  b.  Toulon,  Jan.  i,  1821; 
operatic  singer  and  stage-manager  in 

London  ;    married  (2)  Cottis, 

a  singer. 

Tagliana  (tal-ya-na),  Emilia,  b.  Mi- 
lan, 1854 ;  pupil  of  the  Cons,  there. 


also  of  Lamperti ;  colorature-soprano 
in  various  cities;  1873-77,  Vienna; 
pupil  of  Hans  Richter;  1881-82, 
chamber-singer,  Berlin. 

Taglichsbeck  (takh'  -  llkhs  -  bek), 

Thos.,  Ansbach,  1799— Baden-Ba- 
den, 1867;  violinist,  conductor  and 
dram,  composer. 

Taglioni  (tal-yo'-ne),  Fdo.,  b.  Naples, 
Sept.  14,  iSio;  son  of  the  famous 
ballet-master  Salvatore  T.  (1790 — 
1868).  1842-49,  cond.  at  Laziano  ; 
till  1852,  leader  San  Carlo  Th.,  Na- 
ples ;  editor  and  conductor  ;  founded 
a  sch.  for  choral  singing ;  pub. 
pamphlets  and  sacred  songs. 

Talexy  (ta-lex-e),  Adrien,  Paris,  1820 
— 1881;  pf. -teacher  and  composer. 

Tal(l)ys  (or  Tallis),  Thos.,  ca. 
(1520-29) — London,  Nov.  23,  1585  ; 
an  early  English  composer  whose  re- 
markable contrapuntal  ability  and 
harmonic  richness  place  him  close  to 
Palestrina.  His  training  is  not  known; 
1540,  he  ceased  to  be  organist  at  Wal- 
tham  Abbey  and  joined  the  Chapel 
Royal ;  he  was  co-organist  with  Byrd 
and  shared  his  monopoly  of  mus.- 
paper  and  printing ;  he  c.  notable 
church  mus.  for  both  Catholic  and 
English  services,  also  a  song  in  40 
parts,  etc. 

Tamagno  (ta-man'-yo),  Fran.,  b.  Tu- 
rin, 1851;  robust  tenor;  debu.i,  Paler- 
mo ;  sang  with  great  succ  at  Laj 
Scala,  Milan,  1880.  Has  sung  throughli 
out  Europe  and  in  both  Americas. 
18S7,  he  created  Verdi's  "  Otello." 

Tamaro  (ta-mii'-ro),  Josef,  Barcelona, 
1824 — New  York,  March  3,  1902  ; 
noted  tenor ;  pupil  of  Lamperti  ; 
from  1876  teacher  in  America. 

Tam'berlik,  Enrico,  Rome,  1820^ 
Paris,  1889  ;  famous  tenor  ;  pupil  of 
Borgna  and  Guglielmi  ;  debut,  Na- 
ples, 1841;  he  had  a  powerful  high  . 
c'". 

Tamburini  (tam-boo-re'-ne),  A.,  Faen- 
za,  March  28,  1800 — Nice,  Nov.  9,  [ 
1876.  Next  to  Lablache,  perhaps 
the  most  succ.  of  male  singers ; 
lyric  bass  with  compass  of  2  octaves 


t 


It    - 

I 


DICTIONARY   OF  MUSICIANS    759 


the  son  and  pupil  of  a  bandm.  A 
horn-player  first,  then  pupil  of  Boni 
and  Asioli  ;  debut,  Centi,  1818. 

Tanaka  (ta-na-ka),  Shoh6,  Japanese 
theorist  ;  pupil  of  Spitta ;  inv.  the 
enharmonium  with  just  intonation. 

Tanejeff  (ta-na-yef),  Sergei,  b.  Rus- 
sia, Nov.  13,  1856  ;  pupil  of  N.  Ru- 
binstein and  Tchaikowski ;  prof,  of 
theory  and  comp.  Moscow  Cons.; 
prod.  3-act  opera  ''  Oresteia"  (St. 
Petersburg,   1S95). 

Tansur  (tan'-sCir),  Wm.,  Dunchurch 
or  Barnes?  ca.  1700 — St.  Neots, 
17S3  ;  organist,  teacher,  writer  and 
composer. 

Tappert  (tap'-pert),  Wm,,  b.  Ober- 
Thomaswaldau,  Silesia,  Feb.  19, 
1830  ;  important  theorist ;  a  school- 
master, then  1856,  studied  with  Dehn 
theory;  Kullak's  Acad.;  lived  in 
Berlin  from  1866  as  a  writer,  editor 
and  composer. 

Tarchi  (tiir'-ke),  Angelo,  Naples, 
1760 — Paris,  1814;  dramatic  com- 
poser. 

Bi'rl(  Tarditi  (tar-de'-te).  Orazio,  d.  after 
1670 ;  from  1648,  maestro  Faenza 
Cath.;  composer. 

Tartini  (tar-te'-ne),  Giuseppe,  Pirano, 
Istria,  Aprils,  1692 — Padua,  Feb.  16, 
1770;  eminent  violinist,  composer  and 
■  scientist ;  at  first  he  studied  for  the 
priesthood  at  his  father's  wish  ;  then 
law,  finally  mus.;  apparently  self- 
taught  as  a  violinist.  A  charge  of 
abduction,  due  to  his  secret  marriage 
with  a  niece  of  Cardinal  Cornaro,  led 
him  to  take  refuge  in  the  Franciscan 
monastery  at  Assisi,  where  for  two 
years  he  practiced  the  vln.  and  stud- 
ied comp.  After  a  reconcihation  he 
returned  to  Padua.  Later  he  heard 
the  violinist  Veracini  at  Venice,  and 
sending  his  wife  to  relations,  retired 
to  Ancona  for  further  study.  17 14, 
he  discovered  the  combinational  tones 
(v.  D,  D..  "resultant")  and  util- 
ised them  in  perfecting  intonation; 
1721,  solo-violinist  and  cond  at  St. 
Antonio,  Padua  ;  1723-25,  chamber- 
mus.  to  Count  Kinsky,  Prague;  1728, 


founded  a  vln. -school  at  Padua  ; 
pub.  treatises  on  harm,  and  acoustics; 
c.  over  200  vln. -concertos,  50  sona- 
tas with  bass,  etc.,  incl.  the  famous, 
posthumous  "//  Trillo  del  Diavolo" 
an  effort  to  reproduce  a  sonata  played 
to  him  by  the  devil  in  a  dream.  Biog. 
Fanzago  (Padua,  1770);  J.  A.  Hiller 
(1784),  Fayolle  (1810). 

Tasca  (tas'-ka),  P.  Ant.,  neo-Italian  ; 
c.  opera  "^  Santa  Lucia"  succ.  in 
Germany,  1902. 

Taskin  (tas-kah),  (i)  Pascal,  Theux 
(Liege),  1723— Paris,  1795  ;  cele- 
brated instr. -maker  in  Paris  ;  introd. 
the  piano-pedal  worked  by  the  foot 
instead  of  the  knee  ;  inv.  leather  tan- 
gents for  clavichord,  the  armandine, 
etc.  (2)  Jos.  Pascal,  1750 — 1829; 
nephew  of  above ;  keeper  of  the 
King's  Instruments.  (3)  H.  Jos., 
Versailles,  1779 — Paris,  1S52  ;  son  of 
above  ;  organist.  (4)  (Emile)  Alex., 
Paris,  1853 — 1897  ;  grandson  of  (3) ; 
barytone. 

Taubert  (tow'-bert),  (i)  (K.  Gf.)  Wm., 
Berlin,  181 1 — 1891  ;  noted  pianist 
and  composer  of  operas,  incid.  mus. 
to  Shakespeare,  etc.;  pupil  of  Neidt- 
hardt,  Berger  and  Klein;  ct.-cond.  at 
Berlin.  (2)  Otto,  b.  Naumburg-on- 
Saale,  June  26,  1833  ;  pupil  of  O. 
Claudius  and  "  prefect"  of  the  cath.- 
choir ;  1863,  prof.,  cantor  and  cond. 
at  Torgau  ;  pub.  treatises  ;  com- 
poser. (3)  Ernst  Eduard,  b.  Re- 
genwalde,  Pomerania,  .Sept.  25,  1838; 
studied  at  the  Stern  Cons.,  Berlin  ; 
Prof.,  1898  ;  pub.  chamber-mus., 
etc. 

Taudou  (to-doo),  A.  (Antonin  Bar- 
thel6my),b.  Perpignan,  France,  Aug. 
24,  1846  ;  violinist  ;  pupil  of  Paris 
Cons.,  winning  Grand  prix  de  Rome, 
1889;  member  of  the  Opera-orch.; 
from  1883,  prof,  of  harm,  at  the 
Cons.;  c.  vln. -concerto,  etc. 

Tausch  (towsh),  (i)  Fz.,  Heidelberg, 
1762 — Berlin,  1817;  clarinettist  and 
composer.  (2)  Julius,  Dessau,  1827 — 
Bonn,  1895  ;  pianist,  conductor,  com- 
poser and  writer. 


760 


THE  MUSICAL  GUIDE 


Tausig  (tow'-zlkh),  (i)  Aloys,  1820— 
1885 ;  pianist  and  composer,  pupil 
of  Thalberg.  (2)  Karl,  Warsaw,  Nov. 
4,  1841 — (of  typhoid  fever),  Leipzig, 
July,  1871  ;  remarkable  piano-virtu- 
oso ;  son  and  pupil  of  above;  and  of 
Liszt;  debut,  Berlin,  1S58;  lived  Dres- 
den and  Vienna  as  notable  cond.; 
1865  founded  a  sch.  at  Berlin  ;  c. 
brilliant  exercises,  transcriptions,  etc. 

Tauwitz  (tow'-vUs),  Eduard,  Glatz, 
Silesia,  1812 — Prague,  1894;  con- 
ductor ;  c.  more  than  1,000  comps. 
incl.  3  operas. 

Tavecchia  (ta-vek'-kT-a),  Luigi ;  no- 
table buffo  ;  debut  in  concert  Milan  ; 
in  opera  at  La  Scala  ;  has  sung  in 
Europe  and  America. 

Tav'erner,  (i)  John,  d.  Boston,  Eng- 
land; organist  and  composer  at  Ox- 
ford, 1530.  (2)  Rev.  J.,  d.  Stoke 
Newington,  1638;  organist  and  com- 
poser. 

Tayber.     Vide  teyber. 

Taylor,  (i)  Edw.,  Norwich,  Engl., 
1784 — Brentwood,  1863 ;  bass,  con- 
ductor, critic,  lecturer  and  writer.  (2) 
Franklin,  b.  Birmingham,  Engl., 
Feb.  5,  1843  ;  pianist  and  teacher  ; 
pupil  of  C.  Flavell  (pf.)  and  T.  Reds- 
more  (org.)  ;  also  of  Leipzig  Cons.; 
1876-82,  prof.  Nat.  Training  Sch., 
and  from  1883,  at  the  R.  C.  M.; 
Pres.  of  Acad,  for  the'  Higher  Devel- 
opment of  pf. -playing;  writer  and 
translator. 

Tchaikovsky  (or  Tschaikowski, 
etc.)  (tsha-e-kof'-shkl),  Peter  II- 
jitch,  Wotinsk,  in  the  Government 
of  Wiatka,  Dec.  25,  1840 — (of  chole- 
ra) Petersburg,  Nov.  6,  1893;  emi- 
nent Russian  composer.  Studied 
law,  and  entered  the  government 
civil  ser^'ice ;  did  not  take  up  mus. 
seriously  till  22  ;  then  entered  the 
newly  founded  Petersburg  Cons., 
under   Zaremba  and   A.  Rubinstein, 


1865,    winning    a    prize    medal    foil 
Schiller's     ode     "An    die    Freude'\ 
(also  used  in  Beethoven's  9th  symph.) ; 
1866-77,  instructor   of   harm.'  there  i 
then   lived    Petersburg,   Italy,  Switzj 
eriand,  as  composer.   He  visited  Engj 
land  and  appeared  at  Phil.  Concerts! 
18S8  and  '89  ;  visited  New  York  fo;j 
the  dedication  of  the  new  Carnegiij 
Music   Hall,  and  cond.  his  own  comi 
positions.       1893,     Mus.    Doc.    k.c. 
Cambridge.  Writer,  and  translator  o 
harm,  text-books.   C.  11  Russian  op 
eras,  incl."  The  Voyevode"  (Moscow 
1 869), "  Opritchnuyk  "  ( Petersb. ,  1 8 74) 
"  Vakula,     the     Smith"    (Petersb. 
1876);    ''Jevgeujie    Onegin" ;     1879 
"  Eugene      Onegin"      in      Germai 
(Hamburg,     1892),    and    posthumou 
''Pique Dame  "(Vienna  ct.-th.,  1902) 
3  ballets,  "  Le  Lac  des   Cygnes  "  (op 
20),    "La    Belle  au  Bois  Dormant 
(1890),  and  "Le  Casse-Noisette  "  (op^ 
71);  a  coronation  cantata  with  orch. ; 
masses  ;  6  symphs.,  incl.  No.  6  in  ] 
minor,  the  famous  "  Pathetique" ; 
symph.     poems,     "  The      Tempest, 
''  Francesca     da    Rimini"     "Man 
/red"  "  Romeo  and  Juliet"  (a  fantf 
sy-overture)  ;   "Hamlet"  "  Fatum, 
and    "  Le    Voyevode"    (symph.    ba! 
lad)  ;  4    orch.     suites  incl.  "  Mozaj 
tiana  ;"  3  overtures  "  1812"  (op.  49. 
"  Triomphale"  on   the    Danish  naf 
hymn;  "L'Orage" ;    "  Marche  slave, 
coronation  march  ;  3  pf. -concertos  ; 
pf. -fantasia  with  orch.;  vln.-concert( 
capriccio  for  'cello  with  orch.;  strinj, 
sextet    "  Souvenir    de    Florence  " 
string-quartets,  a  pf.-trio,   pieces  fc' 
vln.    and    'cello;    and   pf.-pcs.,  inc 
"  Souvenir  de  Hapsal"  sonata  "  7/ 
Seasons,"     12      characteristic      pes 
"  Kinder  Album  " ;  6  duets,  Russia 
songs,  etc.     Also  pub.  a  harmony  ;  h 
"  Erinnerungen  "  and  translations  v 
Gevaert,  etc. 


DICTIONARY  OF  MUSICIANS   761 

luS  Tschaikowsky. 


By  Ernest  Newm/ 


IF  I  T    T-^L^   French    in    his    ancestry,   Tschaikowsky' s   prenatal  influences 

I 1       ^^^^^  *  blend  of  East  and  West.      While  Westerns  regard  him  as 

M.    JL      typically  Russian,  his  compatriots  think   him  less  "native"    than 

('  other  Russian  composers.      Like  most  Slavs,  he  drew  sustenance  more  from 

France  than  Germany.      Brahms  he    thought  dull  ;   Wagner  he   never  really 

'',  understood.      He   loved  music,  he  said,  that  came  from   the  heart,  that  ex- 

:   pressed  "  a  deep  humanity,"  like  Grieg's.     To  the  delicate  brain  and  nerves 

of  the  modern  man  he  added  the  long-accumulated   eruptive  passions  of  his 

L    race.      He  takes  the   language   made  by  the  great  Germans,  and   uses   it  to 

;,jj^  express  the  complex  pessimism  of  another  culture.      The  colour  of  life  in  his 

.ermaij  music  ranges   from  pale  grey  to  intense  black,  with  here  and  there  a  note  of 

™*[  angry  scarlet  tearing  through  the  mass  of  cloud.      Almost  all   his  work,  like 

'    TourgenielTs,  lies  within  the  one  scale  of  emotions  ;  but  from  relatively  few 

,;   elements  he  evokes  an  infinite  variety  and  complexity.      In  his  songs,  for  ex- 

'[  ample,  though  melancholy  is   the  dominant  note  of  nine  .out  of  ten,  each 

paints  a  different  shade  of  the  generic  mood.      ^More  interested  in  personal, 

dramatic  emotion   than    in    music   of  abstract  beauty,   he    worked    his   way 

;,   through  and  beyond   the  ordinary  symphonic   form,  to  the  symphony  with  a 

>  human  significance  or  the  symphonic  poem   pure  and  simple.      His  phrases, 

''^•^  sabring  his  general   conceptions,  are   vital,    emotional,  intimate.      Music,  he 

'  y]  hpld,  must  always  interest  in  the  first  place  ;   and  so  he  avoids  the  cold  dis- 

r  plays  of  technical  artifice   which    Brahms,  for  example,  so   often   gives   us, 

•    preferring  rather  to   repeat  the  old  matter  with  variations   of  ornamentation. 

'    "[['His  real  contribution  to  the  history  of  music,  apart  from  the  general  beauty 

,    and  expressiveness  of  his  work,  is  the  modification  of  the  symphonic  form  in 

'    obedience   to  a  poetic  idea.      He  takes   up   the  suggestions  bequeathed    by 

'    Berlioz  and  Liszt,  and  turns  them  into  accomplished  realities. 


Tebaldini    (ta-bal-de'-ne),    Giovanni,  bossi)  ;  c.  opera.  "  Fantasia  Araba" 

%'■     b.  Brescia,  1864  (?);  pupil    of    Paolo  "  Tl/^jj-a /««,?(Jr^  "  with  Bossi,  etc. 


pS, 


Ghimeri  ;    at   15  organist    of    Brescia  Tedesca  (ta-des'-ka),  Fernanda,  near 
Russet     Gath.,  and  chorusm.  Guillaume  Th.;  Baltimore,   U.  S.  A.,   i860 — August, 

later    studied   at    Milan    Cons.;     ex-  1885;  violinist. 

pelled    1886    for   criticising    a    mass  Tedesco    (ta'-des'-ko),    Ignaz  (Ama- 
written  by   a    prof.;  after  wandering  deus),  Prague,   1817 — Odessa,   Nov. 

a^^  organist  and  journalist,  studied  at  13,     1882;     brilliant     pianist     ("the 

Ratisbon  ;  maestro,  "  Schola  Canto-  Hannibal  of  octaves")  ;  composer, 

rum,"   San    Marco,     Venice;    1894,  Telemann  (,ta'-le-man),  (i)  G.  Philipp, 
maestro,    Padua    Cath.;     1897,    dir.  Magdeburg,  March   14,  1681 — Ham- 

Parma  Cons.  ;  wrote  org.-method  (v.  burg,    July   23,    1767  ;    mainly   self' 


762 


THE    MUSICAL    GUIDE 


taught;  conductor;  1709,  ct.-cond.; 
he  overshadowed  J.  S.  Bach  in  con- 
temporary esteem  and  was  one  of  the 
most  prolific  and  facile  composers 
ever  known  ;  c.  opera  ;  autobiog., 
1731.  (2)  G.  Michael,  Plon,  Hol- 
stein,  174S — Riga,  1831  ;  grandson 
of  above  ;  cantor,  theorist  and  comp. 

Telle  (tel'-le),  K,,  1826— Klosterneu- 
burg,  1895  ;  ballet-composer. 

Telford.     Vide  Francis  boott. 

Teliefsen,  Thos.  Dyke  Acland, 
Trondheim,  Norway,  1823 — Paris, 
1874  ;  pianist  and  composer. 

Temple,  Hope,  b.  19th  cent,  of  Eng- 
lish parents,  Dublin;  pupil  of  J.  F, 
Barnett,  and  E.  Silas,  London,  and 
of  A.  Messager,  whom  she  m.  ;  c. 
operetta  "  The  Wooden  Spoon,"  and 
numerous  pop.  songs. 

Tem'pleton,  J.,  Riccarton,  Scotland, 
1S02 — New  Hampton,  near  London, 
1886;  tenor.    . 

Tenaglia  (ta-nal'-ya),  Anton  Fran., 
b.  Florence  ;  conductor  at  Rome  ;  c. 
the  first  known  opera  using  an  aria 
da  capo,  "  Clearco^^  1661. 

Ten  Brink.     Vide  brink,  ten. 

Tenducci  (ten-doot'-che),  Giusto   F., 

b.  Sienna,  1836  ;  famous  male  opera- 
tic soprano. 

Ten  Kate.     Vide  k.ate  ten. 

Ternina  (tar-ne'-nS),  Milka,  b.  Be- 
gisse,  Croatia,  Dec.  19,  1864;  no- 
table dramatic  soprano  ;  studied  with 
Gansbacher ;  debut  Leipzig,  1883; 
then  sang  Graz  and  Bremen  ;  1890 
Munich,  named  "court-singer";  sang 
in  Bayreuth  and  in  America  from 
1899. 

Terpan'der,  b.  Antissa,  Lesbos,  7th 
cent.  B.C.;  called  the  "Father  of 
Greek  music." 

Terradellas  (Terradeglias)  (ter-rji- 
del'-las  or  dal'-yas),  Domingo  (Do- 
menico),  Barcelona,  Spain  (bap- 
tised, Feb.  13,  171 1) — Rome,  1751  ; 
dram,   composer. 

Terschak  (ter'-shak).  Ad.,  Prague, 
April  21,  1832 — 1901  ;  flutist  ;  pu- 
pil of  Zierer,  Vienna  Cons. ;  toured  ; 

c.  flute-pcs. 


Terziani  (ter-tsl-a'-ne).  Eugenic 
Rome,  1825 — 1889;  prof.,  conduc 
or  and  dram,  composer. 

Teschner  (tesh'-ner),  Gv.  Wm 
Magdeburg,  1800 — Dresden,  1883 
teacher,  composer  and  editor. 

Tesi-Tramontini  (ta'-ze-tra-ni6n-tt 
ne),  Vittoria,  Florence,  ca.  1695- 
Vienna,  1775  ;  famous  contralto. 

Tessarin  (tes'-sa-ren),  Fran.,  b.  Ve 
ice,  Dec.  3,  1820  ;  pianist  and  teac 
er ;  pupil  of  A.  Fanno  and  G. 
Ferrari;  c.  opera  ''  L  Ultimo  Abe 
cerragio  "  (Venice,  1858)  ;  a  cantat 
etc. 

Tessarini    (tes-sa-re'-ne),    Carlo, 
Rimini,       1690;       famous      violini 
writer  and  composer. 

Testori  (tes-to'-re),  (i)  Carlo  Gi', 
vln. -maker  at  Milan,  ca.  1687 — 17;, 
with  his  sons  (2)  Carlo  A.  and  | 
Paolo  A. 

Teyber  (or  Tayber)  (tl'-ber),  (i)  h' 
ton, Vienna,  1754 — 1822;  conduct;, 
cembalist   and    composer.     (2)    F;,    - 
Vienna,  1756 — 1810;  bro.  of  abo^i; 
organist  and  dram,  composer.  \ 

Thadewaldt  (ta'-de-valt).  Hermai, 
b.  Bodenhagen,  Pomerania,  April  , 
1827  ;  1850-51,  bandm.  at  Diis: - 
dorf ;  1893-95,  cond.  at  Diepj  ; 
1857  at  Berlin. 

Thalberg     (tal'-berkh),    Sigismul, 
Geneva,  Jan.  7,  1812 — Naples,  Ail 
27,  1871  ;  famous  piano-virtuoso  ;d 
composer.     "  Being  the  son  of  rri:e 
Dietrichstein,  who    had    many    w-:s 
without  being  married,  T.  had  sev',il 
brothers  of  different   family  nam  ''    • 
(Grove).     His  mother  was  the  Bai'|-  ;  ^^ 
ess  von  Wetzlar.   Both  of  the  par(||s  Ijg 
took  the  greatest  interest  in  his  (d-  r- 
cation.      He  was  intended  for  a  'p-  ; 
lomatic  career,  but  after  his  succ.   a 
pianist    at     14,    gave    himself    upto  ■ 
mus.       He   had    some    tuition    fjin 
Hummel  (pf.)  and    Sechter  (con*^, 
but  chiefly  from  Mittag.  a  bassuB- 
ist.     At  16  three  florid   compositns 
appeared;  at  18  a  pf. -concerto,      he 
same  year  he  toured  Germany  :th 
much  succ.  1834,  ct. -pianist  at  \ai- 


r 


DICTIONARY  OF  MUSICIANS  763 


na  ;  1835,  he  conquered  Paris,  and 
later  the  rest  of  Europe.  1843,  he 
m.  Mme.  Boucher,  daughter  of  La- 
blache  ;  1851,  his  first  opera  ''Flo- 
rida" failed  in  London,  and  1S55, 
'' Cristina  di  ^'cvs/a  "  failed  in  Vi- 
enna. He  then  toured  Brazil  (1855), 
and  1S56,  United  States ;  retiring  in 
1858  to  his  villa  at  Posilippo,  near 
Naples.  1862,  Paris  and  London ; 
1863,  second  Brazilian  tour;  1864, 
retired  again.  He  was  remarkable 
for  his  legato  effects  and  for  the  sing- 
ing-tone, Liszt  saying  "  Thalberg  is 
the  only  artist  who  can  play  the  vio- 
lin on  the  keyboard."  He  originated 
the  subsequently  abused  scheme  of 
dividing  a  central  melody  between 
the  two  thumbs,  and  enveloping  it  in 
arpeggiated  ornament.  His  comps. 
include  many  florid  transcriptions  of 

■  opera-tunes,  also  a  grand  concerto, 
6  nocturnes,  "  La  Cadence"  and 
"  Marc  he  fiinebre  variee"  etc. 

Thal'lon,  Robt.,  b.  Liverpool,  March 
18,  1852  ;  taken  to  New  York  at  2  ; 
studied  in  Stuttgart,  Leipzig,  Paris, 
and  Florence  ;  lives  in  Brooklyn,  N. 
Y.,  as  organist  and  mus. -teacher. 

Thayer  (tha-cr),  (i)  Alex.  Whee- 
lock,  South  Natick,  Mass.,  Oct.  22, 
1817 — Trieste,  July  15,  1897  ;  grad- 
uated Harvard,  1S43  ,  was  librarian 
there  for  some  years  ;  1849  went  to 
Europe  and  began  materials  for  life 
of  Beethoven  ;  1S62,  America  as 
journalist ;  1854  returned  to  Germany 
and  frequently  afterwards  as  his  means 
permitted;  1S62,  U.  S.  consular  agent 
at  Vienna  ;  later,  till  death,  consul  at 
Trieste  ;  besides  many  articles  he 
wrote  a  great  but  unfinished  life  of 
Beethoven  ;  though  written  in  Eng- 
lish it  has  been  pub.  only  in  a  German 
trans,  by  H.  Deiters,  in  3  vols.  (Ber- 
lin, 1866-1879).  Though  incomplete, 
his  biog.  of  Beethoven  is  his  monu- 
ment. (2)  (Whitney)  Eugene,  Men- 
don,  Mass.,  1838 — Burlington,  Ver- 
mont, 1889;  organist,  editor,  lecturer 
and  composer.  (3)  Arthur  Wilder, 
b.   Dedham,    Mass.,   Aug.  26,  1857  , 


pupil  of  Guilmette  and  Adams  (sing- 
ing), Chadvvick  and  Zerrahn  ;  cond. 
choral  societies  in  Lowell,  Worcester, 
etc.;  1882  at  Dedham,  1885  at  Mil- 
ton; then  mus.-dir.  Eliot  Ch.,  New- 
ton ;  c.  part-songs,  etc. 

Theile  (t!'-le),  Jn.,  Naumburg,  1646 — 
1724  ;  conductor  and  composer. 

Theo'deri'cus,  Sixtus.  Vide  Die- 
trich. 

Them  (tarn),  (i)  Karl  (Karoly),  Iglo, 
Upper  Hungary,  1817 — Vienna,  1886; 
conductor,  professor  and  dram,  com- 
poser. His  sons  and  pf. -pupils  (also 
pupils  of  Moscheles  and  Reinecke), 
(2)  Willi  (b.  Ofen,  June  22,  1847), 
and  (3)  Louis  (b.  Pesth,  Dec.  18, 
1848),  were  teachers. 

Thibaud  (te'-bo),  (i)  Jos.,  b.  Bor- 
deaux, Jan.  25,  1875  ;  pianist  ;  pupil 
of  L.  Diemer,  Paris  Cons.,  taking 
1st  prize  for  pf. -playing,  1892;  1895- 
96,  accompanied  Marsick  to  America. 
(2)  Jacques,  b.  1880;  French  pian- 
ist. 

Thibaut  IV.  (te-bo-katr),  King  of 
Navarre  ;  Troycs,  1201 — Pamplona, 
1253  ;  composer. 

Thibaut  (te  -bowt),  Anton  Fr.  Jus- 
tus, Hameln,  1774 — Heidelberg, 
1840  ;  professor  and  writer. 

Thiele  (te'-le),  (i)  Ed.,  b.  Dessau, 
Nov.  21,  1S12  ;  mus.-dir.  at  Kothen, 
organist  and  prof,  at  the  Seminary  ; 
1855,  Dessau;  i860,  Hofkapell- 
meister ,  c.  a  mass,  etc.  (2)  K.  L., 
Harzgerode,  near  Bernburg,  1816 — ■ 
Berlin,  1S48  ;  organist  and  composer. 

Thieme  (called  Thi6me)  (te'-me,  or 
t'ya'-ma),  Fr.,  Germany  (?) — Bonn, 
1802  ;  publisher  of  te.Kt-books,  and 
composer. 

Thierfelder  (ter'-felt-er).  Dr.  Albert 
(Wm.),  b.  Muhlhausen,  April  30, 
1846;  pupil  of  Leipzig  Univ.  and  Dr. 
Phil.;  studied  with  Hauptmann, 
Richter  and  Paul ;  cond.  various 
cities  ;  from  1887  mus.-dir.  and  prof. 
Rostock  Univ.;  writer  of  important 
treatises  ;  prod.  5  operas,  incl.  succ. 
■'  Der  Heirathstein  "  (text  and  music) 
(Rostock,     1898),     '' Zlatorog,"    and 


764 


THE    MUSICAL    GUIDE 


"  Frau  Holde"  for  soli,  chorus,  and 
orch.,  and  2  symphs.,  etc. 

Thieriot  (te'-rT-6t),  (i)  Paul  Emil, 
Leipzig,  1780 — Wiesbaden,  1831  ; 
violinist.  (2)  Fd.,  b.  Hamburg, 
April  7,  1838  ;  pupil  of  E.  Marxsen, 
and  Rheinberger;  mus.-dir.  at  Ham- 
burg, Leipzig,  and  Glogau ;  lives  in 
Hamburg;  c.  syniph.  fantasy  "  Loch 
LafHond,'"  vln. -concerto,  etc. 

Thillon  (te-yon),  Anna  (nee  Hunt), 
b.  London,  1819;  very  succ.  soprano; 
pupil  of  Bordogni,  Tadolini,  and 
Thillon,  marrying  the  last  named  at 
15  ;  debut,  Paris,  1838  ;  1844,  Au- 
ber's  ' '  Cro7vn  Diamonds  "  was  writ- 
ten for  her;  1850-54,  in  America,  the 
first  to  produce  opera  in  San  Fran- 
cisco ;  retired  1867  to  Torquay. 

Thimus  (te'-moos),  Albert,  Freiherr 
von,  Cologne,  1806 — 1846  ;  writer. 

Thirl'wall,  (i)  J.  Wade,  Shilbottle, 
Northumbria,  1809  —  1875  ;  critic, 
conductor  and  composer.  (2)  Annie, 
daughter  of  above  ;  soprano. 

Thoinan,  E.     Vide  roquet. 

Thoma  (to'-ma),  Rudolf,  b.  Lehse- 
witz,  near  Steinau-on-Oder,  Feb.  22, 
1829;  pupil  of  R.  Inst,  for  Church- 
mus.,  Berlin  ;  1857,  cantor,  Hirsch- 
berg,  then  Breslau,  1870,  "  R.  Music 
Dir."  ;  founder  of  a  singing-soc,  dir. 
of  a  sch.;  c.  2  operas,  2  oratorios, 
etc. 

Thomas  (to-mas),  Chr,  Gf.,  Wehrs- 
dorf  near  Bautzen,  1748 — Leipzig, 
1S06  ;  writer. 

Thomas  (to-mas)  (Chas.  Louis), 
Ambroise,  Metz,  Aug.  5,  1811 — 
Paris,  Feb.  12,  i8g6;  pupil  of  Paris 
Cons.;  winning  ist  pf. -prize,  1829; 
harm.,  1S30  ;  Grand  prix  de  Rome 
(1832),  with  cantata  ""  Hermann  et 
Kettyy  After  3  years  in  Italy,  re- 
turned to  Paris,  and  up  to  1843,  prod, 
nine  stage-pcs.,  at  the  Opera  and 
Op. -Com.  with  fair  succ.  The  fail- 
ure of  the  last  was  retrieved  after  a 
silence  of  5  years  by  "Zs"  C2V/"(i849), 
"  Zf  Songe  d' Une  Nuit  d'£te'" 
(1850,  both  at  the  Op. -Com.).  1851 
elected  to  the  Academic.    The  next  6 


operas  were  only  moderately  succ.  ;; 
but  ''  Mignon"  (Op. -Com.,  1866) 
made  a  world-wide  succ.  and  ''Ham-' 
let"  (Opera,  1868)  a  lasting  succ.  in 
Paris,  where  it  is  still  sung.  "  Gille  ei 
Gillotin"  {li-]^),  '' d'ranfoise  de  Jvi- 
mini"  {1SS2),  and  the  ballet,  "La 
Tempete"  (Opera,  i88g),  were  his  lasl; 
dram,  works  ;  187 1,  dir.  of  the  Cons. , 
1845,  Chev.  ;  185S,  Officier  ;  i868,i 
Commander  of  the  Legion  of  Hon-, 
our.  C.  also  cantatas;  messe  solen-' 
nelle  (Notre-Dame,  1S65)  ;  man) 
excellent  "  choeurs  orpheoniques ' 
(3-part  male  choruses),  etc. 
Thomas  (tam'-iis),  (i)  J.,  b.  Brigend.: 
Glamorganshire,  March  i,  1826  . 
1861  made  "  Pencerdd  Gwalia,"  i.e. 
Chief  Bard  of  Wales  ;  pupil  at  the 
R.  A.  M.;  1851,  harpist,  R.  It.  Op, 
era  ;  toured  Europe,  1852-62  played 
at  the  Gewandhaus,  etc.  1862,  cond: 
of  the  first  annual  concert  of  Welsli 
mus.,  with  a  chorus  of  400,  and  2<j 
harps  ;  1871,  harpist  to  the  Queen  ; 
leader  in  the  Eisteddfodau,  and  harp; 
prof.  R.  C.  M.  C.  dram,  cantat;' 
"  Z/^wt'/yw  "  (1863)  ;  a  Welsh  scenr 
"  The  Bride  of  Neath  Valley  "  (i866)i 
patriotic  songs,  with  harp ;  2  harp 
concertos,  etc.  (2)  Lewis  Wm. 
Bath,  April,  1S26 — London,  1896, 
concert-bass,  editor  and  critic.  Hii 
sons  are  :  (3)  W.  Henry  (b.  Bath 
May  8,  1848),  prof,  of  singing, Guild 
hall  and  R.  A.  M.;  and  (4)  Franl 
L.,  conductor  and  organist  a 
Bromley.  (5)  Harold,  b.  Chelten. 
ham,  July  8,  1834  ;  pianist  ;  pupil  0 
Sterndale  Bennet,  C.  Potter,  an' 
Blagrove  ;  debut  1850 ;  pf.-prol; 
R.  A.  M.  and  Guildhall  Sch.,  Lor 
don ;  c.  overtures,  etc.  (6)  Theo 
dor(e),  b.  Esens,  East  Frieslanc 
Oct.  II,  1835  ;  eminent  cond.,  edi 
cator  and  stimulator  of  mus.  taste  i, 
America;  son  and  pupil  of  a  violinis' 
at  6  played  in  public  ;  at  10  wa 
brought  to  New  York,  where  he  soo 
entered  an  orch.;  185 1,  toured  a 
soloist,  later  with  Jenny  Lind,  Ciris 
etc.;    1855,    began   the    Mason    anl 


DICTIONARY  OF  MUSICIANS    765 


Thomas  Soirees  (with  Dr.  Wm.  Ma- 
son) ;  1864-69  cond.  "  Symph,  Soi- 
rees" ;  1869  made  concert-tour  with 
an  orch.  of  54  ;  1876  at  Philadelphia 
Centennial  with  ill-succ.  leading  to 
disbandment ;  1S78-80,  pres.  Cin- 
cinnati Coll.  of  Mus.;  1880,  cond. 
New  York,  Philh.  Orch.;  from  1888, 
dir.  Chicago  Cons.,  also  cond.  Chi- 
cago Orch.  (7)  Arthur  Goring, 
Ralton  Park,  near  Eastbourne,  Sus- 
sex, Nov.  21,  1850 — London,  March 
20,  1892  ;  too^k  up  music  at  24  and 
studied  with  Emile  Durand,  later  with 
Sullivan  and  Prout  R.  A.  M.,  Lon- 
don, winning  Lucas  Prize,  1879;  lived 
in  London.  C.  2  operas,  v.  succ. 
"  Esmeralda  "  (Drury  Lane,  1883, 
New  York,  1900);  ''  .Vadeskda" 
(1883);  "  The  Golden  Web''  (score 
finished  by  Waddington,  Liverpool, 
1893);  a  choral  ode,  "  The  Sun 
Worshippers"  (Norwich,  1881),  v. 
succ.  cantata,  "  The  Swan  and  the 
Skylark"  (Birmingham,  1894,  instru- 
mented by  C.  V.  Stanford)  ;  psalm 
with  orchestra  (1S78)  ;  3  vocal 
scenes,  ''Hero  and  Leander  "  (i88o), 
etc. 


ff.jThomas  Aqui'nas  (Saint  Thomas  of 
':^f  •     Aquino),  Rocca  Sicca,  near   Aquino, 


%|  Italy,  1225  (27?)  —  Fossa  Nuova, 
M  near  Terracina,  1274  ;  famed  theolo- 
"'''  gian  and  philosopher  ;  he  c.  a  no- 
table communion  service. 
Thoni6  (to-ma),  Francis  (rightly 
Francois  Luc.  Jos.),  b.  Port  Louis, 
^L1uritius,  Oct.  18,  1850;  pupil  of 
^Llrmontel  (pf.),  and  Duprato  (theo- 
ry), Paris  Cons.;  lives  in  Paris  as 
teacher  and  critic  ;  c.  "  Rome'o  et  fu- 
liette"  {i2,()o)\  a  mystery,  "V Enfant 
Jesus"  (1891)  ;  symph.  ode  ''Hyinne 
h  la  Nuit"  and  many  pop.  songs 
and  pf.-pcs. 
Thomson  (tam'-stin),  (i)  Geo.,  Lime- 
kilns, Fife,  1757 — Leith,  185 1  ;  not- 
able coll.  and  pub.  of  Scotch,  Welsh 
and  Irish  melodies,  to  which  he  had 
special  instrumental  accompaniments 
written  by  Beethoven,  Pleyel,  etc. 
(2)  J.,  Sproutson,    Ro.xburgh,  1805 — 


Edinburgh,  1841;  conductor  and 
dram,  composer. 

Thomson  (ton-son),  C6sar,  b.  Li^.ge, 
March  17,  1857;  notable  violinist; 
from  7  pupil  of  Liege  Cons.;  at  11, 
winning  the  gold  medal  ;  then  pupil 
of  VMeu.xtemps,  Leonard,  Wieniaws- 
ki  and  Massart  ;  1873-83,  chamber- 
mus.  to  Baron  von  Derwies  at  Luga- 
no, and  a  member  of  Bilse's  orch., 
Berlin ;  1883-97,  teacher  at  Liege 
Cons. ;  1898,  vln.-prof.  Brussels  Cons, 
(vice  Isaye)  ;  has  toured  widely  ;  1894, 
United  States. 

Thorndike,  Herbert  Elliot,  b.  Liver- 
pool, April  7,  185 1 ;  concert-bass; 
debut,  Cambridge,  1S78  ;  18S7,  Dru- 
ry Lane. 

Thorne  (thorn),  (i)  Edw.  H,,  b.  Cran- 
borne,  Dorset,  May  9,  1S34  ;  pianist 
and  org.  ;  chorister  under  Elvey  ;  or- 
ganist various  churches;  from  1S91, 
at  -St.  Anne's,  Soho,  London  ;  cond. 
St.  Anne's  Choral  and  Orch'l  Soc. 
C.  Psalm  57,  with  orch.  (1S84) ;  Mag- 
nificat and  Nunc  dimittis  with  orch. 
and  organ  ;  an  overture  ;  "  Sonata 
elegia  "  for  pf.  (2)  Thos.  Pearsall, 
American  composer  of  comic  operas, 
'' Leandro"  (New  York,  1898), 
etc. 

Thuille  (too-e'-le),  L.  (Wm.  Ands. 
M.),  b.  Bozen,  Tyrol,  Nov.  30,  1861; 
pupil  of  Jos.  Pembaur  (pf.,  cpt.),  at 
Innsbruck;  Baermann  (pf.)  and 
Rheinberger  (comp.)  Munich  Mus.- 
.Sch.;  from  1883,  teacher  of  pf.  and 
theory  there;  also  cond.  '' Lieder- 
hort" ;  1891,  R.  Prof,  of  Mus.;  c. 
succ.  opera  ''  Thenerdank"  (Munich, 
1897,  Luitpold  Prize),  opera  '' Lohe- 
tanz"  (Carlsruhe  and  Berlin,  189S) ; 
"Romantic"  overture,  sextet  for 
piano  and  wind,  sonatas,  etc. 

Thunder,  H.  G.,  near  Dublin,  1832 — ■ 
New  York,  1891 ;  pianist,  organist 
and  composer. 

Thurlings  (tur'-llngks).  Ad.,  since 
1877,  prof,  of  Old-Catholic  theology 
at  Bonn  ;  Dr.  Phil.,  Munich,  with 
dissertation,  "  Die  beiden  Tonge- 
schlechter  und  die  neuere  iniis.  Theo- 


766 


THE    MUSICAL    GUIDE 


rie"  (1877)  (advocating  harmonic 
dualism). 

Thru  nam,  Ed.,  Warwick,  1825— 188-; 
organist  and  composer. 

Thurner  (toor'-ner),  Fr.  Eugen, 
Montbeliard,  1785  —  Amsterdam, 
1S27;  oboe-virtuoso  ;  composer. 

Thurnmayer.     Vide  avf.ntinus. 

Thurs  by,  Emma,  b.  Brooklyn,  N.  Y., 
Nov.  17,  1857;  famous  concert-so- 
prano ;  pupil  of  Meyer  (Brooklyn), 
Errani  (New  York)  and  IMme.  Ru- 
dersdorff  (Boston),  then  of  Lamperti 
and  San  Giovanni,  Milan ;  concert- 
debut,  America,  Plymouth  Church, 
Brooklyn,  1S75  ;  sang  in  concert  and 
oratorio,  and  with  Gilmore  (1875)  ; 
frequently  toured  Europe  and  Amer- 
ica with  great  succ;  compass  c'-e' ' 
(v.  PITCH,   D.  D.). 

Tichatschek  (tekh'-at-shek),  Jos. 
Aloys,  Ober-Weckelsdorf,  Bohen^-a, 
1S07 — Dresden,  18S6  ;  tenor  ;  cre- 
ated Wagner's  ''Jiienzi"  and  "  Tann- 
Adi/sc'r." 

Tieffenbriicker.      Vide  duiffoprug- 

GAR. 

Tiehsen  (te'-zen).  Otto,  Danzig,  1817 
— Berlin,  1849  ;  c.  comic  opera. 

Tiersch  (tersh).  Otto,  Kalbsrieth, 
Thuringia,  1838 — Berlin,  1892  ;  sing- 
ing-teacher and  theorist. 

Tiersot  (tl-er-so),  (J.  Bapt.  Eli- 
see)  Julien,  b.  Bourg,  Bresse, 
France  ;  pupil  of  Franck,  Paris  Cons. ; 
from  18S3,  asst.  libr.  there ;  pub. 
essays,  inch  "  Histoire  de  la  chan- 
son populaire  en  France,"  Bordun 
Prize,  1SS5  ;  c.  "  Hellas''  for  soli, 
chorus  and  orch.;  rhapsodies  on  pop- 
ular airs,  etc. 

Tietjens  (rightly  Titiens)  (tet'-yens), 
Therese  johanne  Alex.,  of  Hun- 
garian parents,  Hamburg,  July  17, 
1831— London,  Oct.  3,  1877;  famous 
soprano  ;  teachers  unknown  ;  debut, 
Hamburg,  1849  ;  from  1858,  chiefly 
in  London  in  grand  and  comic  opera. 

Til'borghs,  Jos.,  b.  Nieuwmoer,  Sept. 
28,  1830  ;  theorist ;  pupil  of  Lemmens 
(org.)  and  Fetis  (comp.),  Brussels 
Cons.  ;    from    1882,    prof,    of    org., 


Ghent  Cons.;  and  of  cpt.  Antwerj 
Mus.-Sch. ;  comp.  organ-pieces  anc 
motets. 

Tilman  (tel'-man),  Alfred,  Brussels  % 
1848 — 1895  ;   composer  and  pianist.      »( 

Tilmant  (tel'-mah),  (i)  Th^ophilf  ic 
Alex.,  Valenciennes,  1799 — Asnieresi  if 
1878;  conductor.  His  brother  (2  •: 
Alex.,  1808— Paris,  1880;  'cellist,  t^ 

Timanoff  (te'-man-6f).  Vera,  b.  Ufajlj 
Russia,  Feb.  18,  1855  ;  pianist ;  pu!  ^ 
pil  of  L.  Nowitzky,  A.  Rubinsteini  .'I 
Tausig  and  Liszt;  lived  in  Petersi  r 
burg,  Prague  (187 1)  and  Vienn:i  • 
(1872). 

Timm  (tlm),  Henry  Christian,  Ham 
burg,  Germany,  18 11 — New  York 
1S92  ;  pianist  and  org. -composer. 

Timm'ner,  Christian,  b.  1S60  ;  DutcJ 
violinist  ;  pupil  of  Wirth  ;  toured 
then  retired  1S94  for  eight  yearj 
practice  ;   reappeared  in  Berlin,  19021 

Tinc'toris,  Johannes  (called  John 
Tinctor;  or  Giov.  Del  Tintore 
rightly  Jean  de  Vaerwere  (var'-wa. 
re)),  Poperinghe,  1434  (or  35,  some  sa  ■ 
1450) — Nivelles,  151 1  ;  canon  ;  wrote, 
1477,  the  earliest  known  diet,  of  mus 
(ca.  1475),  etc.;  composer. 

Tinel  (te-nel),  Edgar,  b.  Sinay,  Bel 
gium,  March  27,  1S54 ;  pianist  am 
composer  ;  son  and  pupil  of  a  poo 
school-teacher  and  organist ;  pupi 
also  of  Brussels  Cons.;  ist  pf. -prize 
1873,  and  pub.  op.  i,  4  nocturne 
for  solo-voice  with  pf.;  1877,  woi 
Grand  prix  de  Rome  w.  cantat. 
'' Klokke  Roeland"  (op.  17);  1881 
dir.  Inst,  for  Sacred  Mus.  at  Ma' 
lines  ;  1SS8,  prod,  very  succ.  oratorio 
''  F?-anciscHs"  (op.  36);  1889,  in 
spector  State  mus.  schs. ;  1896,  prof 
of  cpt.  and  fugue,  Brussels  Cons, 
pub.  a  treatise  on  Gregorian  chant 
and  prod,  a  "Grand  Mass  of  th 
Holy  Virgin  of  Lourdes,"  for  5  part 
(op.  41),  Te  Deum,  Alleluia,  motet' 
and  sacred  songs,  iscid.  mus.,  pf. 
pes.,  etc. 

Tiraboschi  (te-ra-bos'-ke),  Girolamc 
Bergamo,  1731  —  Modena,  1797 
writer.  m 


DICTIONARY  OF  MUSICIANS   767 


Tirindelli    (te-rtn-der-le),  P.  Adolfo, 

b.  Conegliano,  Italy,  1858  ;  violinist; 
pupil  Milan  Cons.,  then  of  Boniforti; 
cond.  at  Gorizia  3  years,  then  stud- 
ied with  Griin  and  Massart ;  18S7, 
vln.-prof.  Liceo  Benedetto  Marcello, 
Venice  ;  1893,  dir.,  also  cond.  "  Ver- 
di Orchestra  ";  made  Cavaliere,  1894; 
played  with  the  Boston  Symph. 
Orch.  in  1895  ;  c.  i-act  opera 
''  VAtenaide"  (Venice,  1892),  etc., 
now  prof.  Cincinnati  Cons. 

PetflTitl   (tet'-'l),  Anton  Emil,  Bernstein. 
Moravia,    1809 — Vienna,   1882  ;  con- 
ductor and  dram,  composer. 
Titoff   (te'-tof),    Nicolai     Alexeije- 
vitch,  St.   Petersburg,   1801— 1876  ; 

c.  songs. 
Ti(e)tze    (tet'-tse),   L.,    1797— 1850 ; 

tenor  at  Vienna. 

Todi  (to'-de),  Luiza  Rosa  (nee  de 
Aguiar),  Setubal,  Portugal,  Jan. 
9,  1753— Lisbon,  Oct.  i,  1833;  fa- 
mous mezzo-soprano  ;  an  actress  at 
15,  then  pupil  of  Perez  ;  sang  Lon- 
don, 1712  ;  1777  V.  succ.  at  Madrid  ; 
1783  provoked  a  famous  rivalry  with 
Mara  ;  1780  ct. -singer,  Berlin.  When 
she  died  she  left  her  2d  husband  and 
her  8  children  $80,000  and  much 
jewelry. 

Todini  (to-de'-ne),  Michele,  b.  Saluz- 
zo,  ca.  1625  ;  musette-player  and 
instr. -maker,  at  Rome. 

Toedt  (tat),  Theodore  J.,  b.  New 
York,  Feb.  4,  1853  ;  choir-boy.  Trin- 
ity Parish,  1861-71  ;  pupil  of  Mrs. 
liorn  -  Rust  ;  singer  in  oratorio, 
church,  and  concert ;  lives  in  New 
York  as  a  vocal  teacher  ;  blind  from 


Toeschi  (t5-as'-ke)  (in  German  ta'- 
she),  (i)  Carlo  Giu.  (rightly  Toesca 
della  Castella-Monte),  Romagna, 
1724 — Munich,  1788,  ct.-mus.,  direc- 
tor and  composer.  (2)  Jn.  Bapt., 
Mannheim,  ca.  1745 — Munich,  May, 
1800 ;  son  and  successor  of  above  ; 
noted  violinist  ;  c.  18  symphs.,  etc. 

Tofts,  Mrs.  Katherine,  first  English- 
woman to  succeed  in  Italian  opera  ; 
most    successful    soprano ;    accumu- 


U 


lated  a  fortune,  lost  her  reason  1709, 
and  d.  after  1735  ;  m.  Jos.  Smith. 
Tolbecque  (tol'-bgk),  four  Belgian 
brothers,  (i)  Isidore  Jos.,  Han- 
zinne,  1794 — Vichy,  187 1  ;  conductor 
and  composer.  (2)  Jean.  Bapt. 
Jos.,  1787 — Paris,  1869  ;  violinist 
and  conductor.  (3)  Aug.  Jos.,  1801 
— Paris,  1869  ;  violinist.  (4)  Chas. 
Jos.,  Paris,  1806  — 1835  ;  violinist 
and  conductor.  (5)  Aug.,  b.  Paris, 
March  30,  1830  ;  'cellist ;  pupil  of 
the  Cons.,  and  1849  took  ist  prize  ; 
1865-71,  teacher  Marseilles  Cons.  ; 
later  'cellist  in  the  Paris  Cons,  con- 
certs ;  pub.  "  Za  Gymnastiqiie  du 
Violoncelle"  (op.  14)  ;  prod.  succ.  I- 
act  comic  opera  "  ^/;vj-  la  Valse" 
(Niort,  1895).  His  son  (6)  Jean,  b. 
Niort,  Oct.  7,  1857  ;  'cellist  ;  pupil 
Paris  Cons.  ;  1873,  took  ist  'cello- 
prize. 
Toilet,  Thos.,  English  pub.  and  com- 
poser, 1694. 
Tomaschek,  Jn.  Wenzel  (rightly 
Jan  Vaclav  Tomaiek)  (tam'-a- 
shek),  Skutsch,  Bohemia,  April  17, 
1774 — Prague,  April  3,  1850;  notable 
pianist,  organist ;  also  c.  operas  and 
pf.-pcs.  _    ^ 

Tomasini  (to-ma-se'-ne),  (i)  Luigi 
(Aloysius),  Pesaro,  1741 — Esterhaz, 
1808  ;  violinist  and  director  ;  he  had 
two  daughters  who  sang  in  opera  at 
Eisenstadt  and  2  sons,  (2)  Luigi,  Es- 
terhaz, 1779 — after  1814;  violinist. 
(3)  Anton,  Eisenstadt,  1775—1824, 
viola-player  and  leader. 
Tombelle  (toh-bel),  Fd.  de  la,  b. 
Paris,  Aug.  3,  1854  ;  pupil  of  Guil- 
mant  and  Dubois,  Paris  Cons.  ;  his 
quartet  and  symph.  won  ist  prize  of 
the  "  Societe  des  compositeurs  "  ;  Of- 
ficer of  Pub.  Instruction,  Paris  ;  c. 
orch. -suites,  etc. 
Tomeoni  (to-ma-o'-ne),  (i)  Florido, 
Lucca,  1757 — Paris,  1820;  teacher 
and  theorist.  (2)  Pellegrino,  b. 
Lucca,  ca.  1729;  bro.  of  above; 
teacher  and  writer  in  Florence. 
Tom  kins,  (i)  Rev.  Thos.,  Engl,  com- 
pose"-,   Gloucester,    1600.       His  son 


768 


THE    MUSICAL    GUIDE 


(2)  J.,  d.  1638  ;  organist  and  com- 
poser. (3)  Thos.,  d.  1656  ;  organ- 
ist at  Worcester  cath.  ;  composer ; 
son  of  (i).  (3)  Giles,  d.  1668  ;  bro. 
and  succ.  of  above.  (4)  Robt.,  son  of 
(2):  1641  one  of  the  King's  musicians. 

Tom  lins,  Wm.  Lawrence,  b.  Lon- 
don, Feb.  4,  1844  ;  pupil  of  Macfar- 
ren,  and  Silas  ;  1S69,  America,  from 
1S75  singing-t.  and  cond.  Apollo  Glee 
Club,  Chicago  ;  pub.  "  Children's 
Songs,  and  How  to  Sing  Thetn " 
{1885?). 

Tommasi  (tom-mas'-se),  Giu.  M., 
Cardinal,  Alicante,  Sicily,  1649  — 
Rome,    1713  ;  writer. 

T6pfer(tep'-fer),  Jn.  Gl.,  Niederrossla, 
'ihuringia,  1791 — Weimar,  1870;  or- 
ganist, writer  and  composer. 

Torchi  (tor'-ke),  Luigi,  b.  Mordano, 
Bologna,  Nov.  7,  1S53  ;  graduate, 
Bologna  Cons.,  1876,  then  studied 
with  Serrao  (comp.)  at  Naples  Cons, 
and  at  Leipzig  Cons,  where  he  c.  a 
sympli.,  an  overture,  a  string  quartet; 
1885-91,  prof,  of  mus.  histon,-,  Liceo 
Rossini,  Pesaro ;  then  at  Bologna 
Cons., since  1S95  also  prof,  of  comp.; 
has  begun  a  great  34-vol.  coll.  of  the 
chief  Italian  works  of  the  15-18  cen- 
turies, "  Larte  tmisicale  in  Italia." 

Torelli  (to-rel'-le),  Giu.,  Verona,  ca. 
1660 — Ansbach,  1708  ;  violinist  and 
composer;  originator  of  the  "con- 
certo grosso." 

Tor'rance,  Rev.  G.  Wm.,  b.  Rath- 
mines,  near  Dublin,  1835  ;  chorister, 
Dublin  ;  organist  at  St.  Andrew's, 
and  St.  Anne's  ;  studied  at  Leipzig, 
1856;  1866,  priest;  1869,  Melbourne, 
Australia;  since  1895,  incumbent  at 
St.  John's  there  ;  Mus.  Doc,  k.  c. 
Dublin,  1879 ;  c.  succ.  oratorios, 
''Abraham"  (Dublin,  1855),  "  T/^j- 
Captivity  "  (1S64),  and  "  The  Reve- 
lation" (MeXhonrnG.,  1882),  services, 
an  opera,  etc. 

Torri  (tor'-re),  Pietro,  ca.  1665 — Mu- 
nich, 1737;  court  -  conductor  and 
dram,   composer. 

Tor'rington,  Fr.  Herbert,  b.  Dud- 
ley,   Engl.,    Oct.    20,    1837;  pianist 


and  conductor  ;  articled  pupil  of  Jas. 
Litzgerald  ;  at  16  organist  at  Bewd- 
ley  ;  1856-68,  organist,  Great  St. 
James's  Church,  Montreal,  Canada  ; 
also  solo-violinist,  cond.  and  band- 
master; his  orch.  represented  Canada 
at  the  Boston  Peace  Jubilee,  1869  : 
then  teacher  New  Engl.  Cons.;  isl 
vln.  Handel  and  Haydn,  and  othei 
socs. ;  from  1873,  organist  Metro- 
politan Ch. ,  Toronto,  Canada,  anc 
cond.  Toronto  Philh.  Soc. ;  1886,  or- 
ganised the  first  Toronto  mus.  festi- 
val ;  18S8,  founded  Toronto  Coll.  ot 
Mus.;  c.  services,  etc. 

Toselli,   Enrico,  b.   Florence,  1S77 
pianist ;  pupil  of  Sgambati  and  Mar 
tucci ;    debut    Monte    Carlo,     1896  f 
played  in  London  and  America,  1901I 

Tosi  (to'-zt).  Pier  Fran.,  Bologna; 
1647  —  London,  1727  ;  celebratec 
contralto  musico  and  singing-teacher  1 

Tosti  (tos'-te),  Fran.  Paolo,  b.  Orto, 
na,  Abnizzi,  April  9,  1846  ;  pupil  o;' 
the  R.  C.  di  S.  Pietro  a  Majella, 
Naples;  sub-teacher  there  till  1869  • 
then  ct. -singing-teacher  at  Rome 
1875  sang  with  great  succ.  London 
and  has  since  lived  there  as  a  teacher 
1S80,  singing-master  to  the  Roya 
family;  1894,  prof.  R.  A.  M.  ;  pub 
a  coll.  of  "  Canti popolari  abrnzzesi  ' 
(Milan),  and  c.  pop.  songs. 

Tottmann  (tot-man),  Carl  Albert,  b 
Zittau,  July  31,  1837;  studied  Dres 
den,  and  with  Hauptmann,  at  Leip 
zig  Cons.;  violinist  in  the  Gewand 
haus  Orqh.;  teacher  of  theory  am 
history  at  Leipzig,  also  lecturer 
1873,  Prof.,  for  his  valuable  compen 
dium  of  vln. -literature  ;  pub.  alsi 
essays,  etc.;  c.  a  melodrama  "  Dorn 
roschen"  Ave  Maria,  etc. 

Toulmouche  (tool-moosh),  Fr.,  b 
Nantes,  Aug.  3,  1850 ;  pupil  of  Vic 
tor  Masse  ;  1S94,  dir.  theatre  "  Me 
nus-Plaisirs";  since  1S82,  prod.  man. 
operettas. 

Tourj^e  (toor-zha).  Dr.  Eben,  Wai 
wick,  Rhode  Island,  1834— Bostor 
1890  ;  organist,  teacher  and  founde 
of  N.  E.  Cons. 


DICTIONARY  OF  MUSICIANS    769 


Tours  (toors),  Berthold,  Rotterdam, 
Dec.  17,  1838 — London,  March  ii, 
1897;  violinist,  composer  and  editor; 
pupil  Brussels  and  Leipzig  Conserva- 
tory. 

Tourte  (toort),  Fran.,  Paris,  1747 — 
1835  ;  famous  maker  of  vln.-bows  ; 
est.  the  standard  since  followed. 

Towers,  J.,  b.  Salford,  Feb.  18,  1836  ; 
pupil  of  R.  A.  M.  and  of  Marx,  Ber- 
lin ;  conductor  and  organist,  Man- 
chester, England. 

Tracy,  Minnie,  b.  New  York  ;  so- 
prano ;  sang  with  Hinrich's  Opera 
Co.,  Philadelphia;  later  at  Geneva 
and  elsewhere  ;  igoo  with  Am.  Op. 
Co.,  Met.  Op.,  N.  Y. 

Traetta  (tra-et'-tii)  (not  Trajetta),  (i) 
Tommaso  (Michele  Fran.  Save- 
rio),  Bitonto,  Naples,  March  30,  1727 
— Venice,  April  6,  1779  '<  pupil  of 
Durante;  175S,  maestro  to  Duke  of 
Parma  ;  1765,  given  a  life-pension  by 
the  Spanish  King;  1768,  ct.-com- 
poser  at  Petersburg  ;  he  prod.  37  op- 
eras, many  of  them  v.  succ. ;  c.  also 
an  oratorio,  masses,  etc.  (2)  Filip- 
po,  Venice,  1777  — Philadelphia,  1854; 
son  of  above  ;  from  1799  in  America 
as  an  e.xile  ;  wrote  a  vocal  method  ; 
c.  opera,  oratorios,  etc. 

Trasuntino  (tra-soon-te'-no),  Vito, 
harps. -maker  and  inv.,  Rome,  1555 — 
1606. 

Trautmann,  Marie,  Vide  jakl,  .-Al- 
fred. 

Trautwein  (trowt'-vin),  Traugott, 
founded  (1820)  mus.-pub.  business, 
at  Berlin,  transferred  in  1840  to  J. 
Guttentag,  and  by  him  to  Martin 
Bahn  (1858). 

Travenol  (tra-vvVnol),  Louis,  d.  1783  ; 
vln. -maker  and  writer,  Paris. 

Trav'ers,  J.,  d.  1758  ;  English  organ- 
ist and  composer. 

Trebelli  (tra-bel'-le),  Zella  ^rightly 
Guillebert),  Paris,  1S3S— Etretat, 
Aug.  18,  1892  ;  noted  mezzo-soprano; 
pupil  of  Wartel  ;  debut,  Madrid, 
1859;.  1863,  m.  Bellini;  sang  in 
Europe  and  (1884)  U.  S.  with  great 
succ. 

49 


Tree,  Anna  M.,  London,  1802 — 1862, 
mezzo-soprano. 

Treiber  (tri'-ber),  Wm.,  Graz,  183S— 
Cassel,  1899  ;   pianist. 

Tren'to,  Vittorio,  b.  Venice,  1761  (or 
1765)  ;  d.  after  1826  ;  mus.-dir.  and 
dram,  composer. 

Treu  (Italianised  Fedele)  (troi,  or  fa- 
da-le),  Daniel  Gl.,  b.  Stuttgart, 
1695  ;  violinist,  conductor  and  dram, 
composer. 

Tr^ville  (tra-ve-yu),  Yvonne  de 
(rightly  Le  Gierce),  b.  Texas,  of 
French  father  and  American  mother  ; 
notable  soprano;  pupil  of  Marchesi ; 
debut,  New  York,  in  "La  Fa/ote," 
later  for  years  with  Castle  Square 
Opera  Co.;  1890  went  abroad  for 
rest  and  study  ;  1901  sang  in  Spain  ; 
June,  1902,  at  Paris  Opera  Comique. 

Trial  (tri-al),  (i)  Jean  Claude,  Avig- 
non, 1732 — Paris,  1771  ;  dir.  Paris 
Opera  and  dram,  composer.  (2)  An- 
toine,  1736 — suicide,  1795  ;  bro.  of 
above ;  tenor  ;  his  wife  (3)  Marie 
Jeanne  (nee  Milon)  was  a  colora- 
ture-sopr.  Their  son  (4)  Armand 
Emmanuel,  Paris,  1771  —  1803  ; 
dram,  composer. 

Triebert  (trl'-a-bar),  (i)  Chas.  L., 
Paris,  1810 — July  1867;  oboist  and 
professor  and  manufacturer  of  instrs. 
(2)  Frederic,  1813 — 1878  ;  bro.  and 
partner  of  above,  and  maker  of  bas- 
soons. (3)  Fr^d^ric,  son  of  (2)  ; 
oboist. 

Trito'nius,  Petrus,  German  com- 
poser, Augsburg,  1507. 

Trit'to,  Giacomo,  Altamura,  Naples, 
1735 — Naples,  1824;  professor  of  cpt. 
and  dram,  composer. 

Tromboncino  (trom-bon-che'-nd) , 

Bartholomaeus,  c.  at  Verona,  1504- 
10. 

Tromlitz  (trom'-llts),  Jn.  G.,  Gera, 
1726 — -Leipzig,  1805;  flute-player, 
maker  and  teacher. 

Trotter  (Trotere)(tro-tar'),  Henry,  b. 
London,  Dec.  24,  1855  ;  c.  pop.  songs. 

Trout'beck,  Rev.  J.,  Blencowe,  Cum- 
berland, 1832 — London,  1899;  pub. 
psalters  and  transl.  libretti. 


770 


THE  MUSICAL  GUIDE 


Y 


Troyers  (troi'-ers),  Fd.,  Count  von, 
amateur  clarinettist  and  patron,  Vi- 
enna, 1821-47. 

Troyte  (troit),  Arthur  H.  D.,  Devon, 
iSn— 1S57;   composer. 

Truhn  (troon),  Fr.  Hieronymus,  Elb- 
ing,  1811 — Berlin,  1SS6  ;  conductor, 
writer  and  composer. 

Tschaikowsky.    Vide  tch.mkovsky. 

Tschirch  (tsherkh),  si.\  brothers,  (i) 
Hermann,  Lichtenau,  Silesia,  180S — 
Schmiedeberg,  1829 ;  organist.  (2) 
K.  Ad.,  Lichtenau,  1815 — Lkiben, 
Silesia,  1S75  ;  writer.  (3)  Fr.  Wm,, 
Lichtenau,  1S18 — Gera,  1892;  ct.- 
conductor  and  dram,  composer.  (4) 
Ernst  Lebrecht,  Lichtenau,  1819 — 
Berlin,  1854;  conductor  and  dram, 
composer.  (5)  H.  Julius,  Lichte- 
nau, 1820 — Hirschberg,  Silesia,  1867; 
R.  Mus.-Dir.  and  composer.  (6) 
Rudolf,  Lichtenau,  1825  —  Berlin, 
1872;  mus.-dir.  and  composer. 

Tschudi.     Vide  hkoadwood. 

Tua  (too'-ii),  Teresina,  b.  Turin,  May 
22,  1867;  violinist;  pupil  of  Massart, 
Paris  Cons.,  took  ist  prize  1S80 ; 
toured  Europe,  and,  1887,  America, 
with  great  siicc.  1891  (?),  m.  Count 
Franchi-\'ernev  della  Valetta. 

Tubbs,  (i)  Frank  Herbert,  b. 
Brighton,  .Mass.,  Nov.  t6,  1853  ;  pu- 
pil of  Leavitt,  Petersile?.  and  W.  F. 
Apthorp,  Boston  ;  and  (in  singing)  of 
Davis  and  Wheeler,  Boston,  Manuel 
Garcia,  E.  Behnke,  and  Shakespeare, 
London,  San  Giovanni  and  Lamperti 
in  Italy ;  choirm.  various  churches ; 
founded  N.  V.  Vocal  Inst.;  writer  of 
essays  and  books  on  the  voice.  (2) 
Jas.,  head  of  a  family  of  vln.  bow- 
makers  in  London,  1890. 

Tucher  (too'-kher),  (i)  GI.,  Freiherr 
von,  Xtirnberg,  1798 — 1S77  ;  writer. 
(2)  Rev.  Wm.,  d.  1675  ;  Engl,  com- 
poser. 

Tuck  erman,  Samuel  Parkman, 
Boston,  Mass.,  1819 — Newport,  1890; 
organist,  editor  and  composer. 

Tuczek  (toots -zek),  Fz.,  Prague,  ca. 
1755 — Pesth,  1820;  tenor;  conductor 
and  dram,  composer. 


Tud  way,  Thos.,  England,  ca.  1660 
— London,  1730  ;  organist  and  pro- 
fessor,  Cambridge,  1704-26  ;  Mus. 
Doc.  there,  1705  ;  made  a  coll.  of 
contemporary  services,  also  c.  ser- 
vices, etc. 

Tulou  (til-loo),  J.  L.,  Paris,  Sept., 
17S6 — Nantes,  1S65  ;  chief  flutist  of 
his  time  ;  at  14  at  the  Opera  ;  1826- 
56,  flute-prof,  at  the  Cons.;  compos- 
er. 

Tuma  (too'-ma),  Fz.,  Kostelecz,  Bo- 
hemia, 1704 — Vienna,  1774;  gamba- 
virtuoso  and  composer. 

Tunder  (toon'-der),  Fz.,  1614 — Lii- 
beck,  1667  ;  organist  Marienkirche, 
as  predecessor  of  Bu.xtehude. 

Tunsted(e)  ^tun'-sted)  (or  Dunstede), 
Simon,  b.  Norwich,  Bruisyard,  Suf- 
folk, 1369  ;  writer.      (Cousseniaker.) 

Turini     (too-re-ne),    (i)      Gregorio. 
Brescia,  ca.  1560 — Prague,   ca.  i6uo 
singer,  cornet-player   and   composer.] 
(2)  Fran.,  Brescia,   ca.   1590 — 1656 
son  of  above  ;  organist  and  comp. 

Tiirk  (tiirk),  Daniel  Gl.,  Claussnitz 
Sa.xony,  Aug.  10,  1756 — Halle,  Aug. 
26,  1813  ;  eminent  organist  and  teach- 
er, theorist  and  composer. 

Turle  (turl),  (i)  Jas.,  Somerton,  Engl. 
1S02 — London,  1SS2  ;  organist,  con 
ductor,  editor  and  composer.  (2 
Robt.,  1S04 — 1877  ;  bro.  of  above 
organist.  (3)  Wm.  Taunton,  b.  1795 
cousin   of  above  ;  organist. 

Turley  (toor  -li),  Jn.  Tobias,  Treuen 
brietzen,  Brandenburg,  1773 — 1829 
org. -builder. 

Turner,  (i)  Wm.,  1651 — 1740;  Eng 
lish  Mus.  Doc.  Cambridge ;  com 
poser.  (2)  Austin  T.,  b.  Bristol 
1823,  cond.  and  composer;  fror 
1854  in  Australia.  (3)  Alfred  Dud 
ley,  St.  Albans,  Maine,  1S54 — 1888 
pianist,  teacher  and  composer. 

Turnhout  (tirn-hoot),  (i)  Gerard  d 
(rightly  Gheert  Jacques),  Turr 
hout,  Belgium,  ca.  1520 — Madric 
15S0;  cond.  at  Antwerp  Cath.  an 
to  the  Court  at  Spain  1572  ;  con- 
poser.  (2)  Jean,  son  of  above  ;  ct 
conductor  and  composer,  ca.  1595- 


I 


I 


DICTIONARY  OF  MUSICIANS    771 


Tur'pin,  Edmund  Hart,  b.  Notting- 
ham, May  4,  1S35  ;  concert-organist; 
lecturer,  editor  and  writer  ;  pupil  of 
HuUah  and  Pauer,  London ;  organist 
various  London  churches  ;  from  i8S8 
at  St.  Bride's;  in  18S9  Mus.  Doc; 
then  c.  masses,  2  oratorios,  cantatas, 
symph."  The  Monastery  "  O'V&rtmGS, 
etc. 

Turtshaninoff  (toort-sha'-n!-n6f),  Pe- 
ter Ivanovitch,  St.  Petersburg,  1779 
— 1S56  ;   composer. 

Tye  (tl),  Christopher,  d.  Westminster, 
1572  ;  1554-61,  organist  Ely  cathe- 
dral and  composer. 

Tyiman,  Susato  (also  Tilman,  Tiel- 
man,  Thieleman)  (tel'-man),  mus.- 
printer  at  Antwerp  from  1543  ;  com- 
poser. 

Tyn'dall,  J.,  Leighlin  Bridge,  Ireland, 
1820— Haslemere,  Engl,  1893;  fa- 
mous scientist  and  acoustician. 


u 

Ubaldus.     Vide  hucbald. 

Uber  (oo-ber),  (i)  Chr.  Benj.,  Bres- 
lau,  1746 — 1S12  ;  dram,  composer. 
(2)  Fr.  Chr.  Hermann,  Breslau, 
17S1 — Dresden,  1S22;  son  of  above; 
opera-conductor  and  composer.  (3) 
Alex.,  Breslau,  1783 — Carolath,  Si- 
lesia, 1824  ;  bro.  of  (2) ;  'cellist,  con- 
ductor and  composer. 

Uberti  (oo-ber-te)  (Hubert)  A.,  Ve- 
rona, 1697  (?)^Berlin,  1783;  brilliant 
soprano-musico  and  teacher  of  Mali- 
bran,  Grisi,  etc. 

Uccellini  (oo-chel-le'-ne),  Don  Mar- 
co, conductor  and  composer  at  Flor- 
ence, 1673. 

Ugbaldus,  Uchubaldus.  Vide  huc- 
bald. 

Ugalde  (ii-gald),  Delphine  (nee 
Beauce),  b.  Paris,  Dec.  3,  1829; 
soprano  at  Op. -Com.,  etc.;  1866,  also 
managed  the  Bouffes-Parisiens;  twice 
m.;  c.  an  opera. 

Ugolini  (oo-go-le'-ne),  V.,  Perugia,  ca. 
1570 — 1638  ;  teacher   and    important 


composer  ;  pupil  of  Nanini ;   1620-26 
inaertro  at  St.  Peter's. 
Ugolino  (oo-go-le'-no),  Biagio,  monk 

in  Venice  ;  pub.  treatise,  1744. 
Uhl    (ool),  Edmund,  b.   Prague,  Oct. 
25,    1853  ;  pupil   of    Leipzig   Cons., 
winning  Helbig  pf.-prize,  1878;  since 
teacher   at    the    Freudenberg   Cons., 
Wiesbaden  ;    organist    at    the    Syna- 
gogue ;    and  critic  ;  c.    Romance    for 
vln.  with  orch.,  etc. 
Uhlig    (oo'-likh),    Th.,  Wurzen,    Sax- 
ony, 1822 — Dresden,  1853  ;  violinist, 
theorist  and  composer. 
Ulibisheff  (in    French    OuHbischeff) 
(oo-le'-bT-shef),    Alex,    d',  Dresden, 
1795  —  Nishnij      Novgorod,     1858  ; 
diplomat  and  writer  of  biographies. 
Ulrich  (ool-rikh),  Hugo   (Otto),  Op- 
peln,    Silesia,    1827  —  Berlin,    1872  ; 
teacher  and  dram,  composer. 
Umbreit  (oom'-brlt),  K.Gl.,  Rehstedt, 
near    (iotha,  1763— 1829;  org.-virtu- 
oso  and  composer. 
Umlauf  (oom-lowf),  (i)  Ignaz,  Vien- 
na, 1756 — Meidling,  1796;  music  di- 
rector ;     asst.-conductor    to     Salieri. 
(2)    Michael,    Vienna,    17S1— 1842; 
son  of  above  ;  conductor  and  dram, 
composer. 
Umlauft    (oom'-lowft),  Paul,  b.  Meis- 
sen,   Oct.    27,    1853:    pupil    Leipzig 
Cons.,  with  Mozart  scholarship  1879- 
83  ;  c.  succ.  i-act  opera  ""  Evanthia" 
(Gotha,  1893)  (won  Duke  of  Coburg- 
Gotha's  prize)  ;  dram,  poem  '"  A,i^an- 
decca,"  with    orch.    (iS92)__;   '' Mittel- 
hochdetitsches  Liederspiel"  etc. 
Unger    (oong'-er),  (i)  Jn.  Fr.,  Bruns- 
wick, 1716— 1781;  inventor.     (2)  (in 
Ital.  Ungher)    Caroline,  Stuhlweis- 
senburg,     Hungary,     1S03  —  at    her 
villa,  near  Florence,  1877;  soprano; 
1840,  m.  Sabatier.     (3)  G.,  Leipzig, 
1837 — 1887  ;  tenor. 
Up  ton,  G.  Putnam,  b.  Boston,  Mass., 
Oct.    25,     1835  ;      graduate     Brown 
Univ.,  1854  ;   1861-85,  on   the  edito- 
rial staff,  Chicago  "  Tribune'' ;  found- 
er (1872)  and  first  pres.  Apollo  Club; 
translator    and     writer     of     valuable 
essays,     incl.     ''Standard     O.^era^" 


772 


THE    MUSICAL    GUIDE 


(1890);  '■'■  Standard  Oratorios"  (1S91); 
"  Standard  Symphs."  {i?>()2),  etc. 

Urban  (.oor'-biin),  (i)  Chr.,  b.  Elbing, 
1778  ;  mus. -director,  theorist  and 
composer.  (2)  H.,  Berlin,  Aug.  27, 
1837 — Nov.  24,  1901;  pupil  of  Ries, 
Laub,  Helman,  etc.;  violinist  and  the- 
orist; 1S81,  teacher  at  KuUak's  Acad.; 
c.  symph.  "  Friihling"  overtures  to 
"  Fiesco  "  (Schiller),  ''Scheherazade" 
and  "  Zii  eineni  Fastnachtsspiel"  etc. 
(3)  Fr.  Julius,  b.  Berlin,  Dec.  23, 
1838 ;  bro.  of  above  ;  solo  boy-so- 
prano in  the  Domchor  ;  pupil  of  H. 
Ries,  and  Helmann  (vln.),  Grell  (theo- 
ry), Eisner  and  Mantius  (singing)  ; 
singing-teacher,  Berlin  ;  wrote  vocal 
methods  and  songs. 

Urbani.     Vide  valentini. 

Urfey  (dur'-fT),  Thos.  d',  Exeter, 
ca.  1649 — London,  1723  ;  pop.  play- 
wright, whose  plays'were  set  by  Pur- 
cell  ;  also  a  singer  and  composer. 

Urban  (iir-aii),  Chretien,  Montjoie, 
1790 — Paris,  1845  ;  eccentric  and 
gifted  player  on  stringed  instrs.,  an- 
cient and  modern  ;  organist  and  com- 
poser. 

Urich  (oo'-rtkh),  I.,  b,  Alsace  ;  pupil 
of  Gounod;  prod,  operas  '' Der 
Lootse"  "  Hermann  und  Dorothea" 
and  2-act  "  Z^  Carillon"  (Berlin, 
1902). 

Urio  (oo'-rt-6),  Fran.  A.,  b.  Milan, 
1660  ;  writer  and  composer. 

Urquhart  (ur'-kart),  Thos.,  vln. -mak- 
er, London,  1675. 

Ursillo  (oor-sll'-lo),  Fabio  (or  simply 
Fabio),  1 8th  cent,  archlute  virtuoso 
and  composer  at  Rome. 

Urso  (oor'-so),  (i)  Camilla,  Nantes, 
France,  1842— New  York,  Jan.  20, 
1902  ;  vln. -virtuoso  (daughter  of  (2) 
Salvator,  organist  and  flutist);  pupil 
of  Massart  ;  she  played  in  America 
with  great  succ.  at  10  ;  toured  the 
world;  m.  Fr.  Lucres. 

Urspruch  (oor'-sprookh),  Anton,  b. 
Frankfort-on-Main,  Feb.  17,  1850; 
pupil  of  Ignaz  Lachner  and  M.  Wal- 
lenstein.  Raff  and  Liszt  ;  pf. -teacher 
Hoch    Cons.;    from    1887    at    Raff 


Cons.;     c.     opera      '' Der    Sturm 
(based  on  Shakespeare's  "  7\-iiipest"  ! 
Frankfort,  1888),  comic    opera    (text 
and  music)  "  Das   Unmoglichste  von 
Allem  "  (Carlsruhe,    1897),  a  symph., 
pf. -concerto,  etc. 

Ursus.     Vide  bahr. 

U(u)tendal  (or  Utenthal,  Uuten- 
dal)  (ii'-ten-dal),  Alex.,  d.  Inns- 
bruck, May  8,  1581  ;  Flemish  con- 
ductor and  composer. 

V 

Vaccai  (vak-ka'-e),  Niccold,  Tolen- 
tino.  Papal  States,  1790 —  Pesaro, 
1848  ;  noted  singing-teacher  ;  prof, 
of  comp.  Milan  Cons.;  wrote  vocal 
method  ;  c.  an  opera,  funeral  can- 
tata, etc. 

Vaet  (vat),  Jacques,  d.  Vienna,  1567; 
Flemish  conductor  and  composer.         jt 

Valentini  (va-len-te'-ne),  (i)  Giov.,  1 1 
ca.  1615  ;  organist  and  composer.  I 
(2)  Giov.,  Naples,  1779 — 1788;  dram,  h 
composer.  (3)  P.  Fran.,  Rome,  ca.  i 
1570 — 1654;  eminent  contrapuntist;) 
pupil  of  Nanini.  (4)  (Rightly  Va-;. 
lentino  Urbani)  (oor-ba'-ng),  cele-  i 
brated  contralto-musico  ;  later  a  ten-  it 
or;  London,  1707.  (5)  Giu.,  b.  | 
Florence,  ca.  1690;  violinist  andl 
composer.  | 

Valentino  (val-an-te'-no),  Henri  Jus- i 
tin  Armand  Jos.,  Lille,  1785 — Ver-  ; 
sailles,  1865;  conductor  Paris  Opera,  ^ 
1820-31,  then  at  Op.  Com.  till  1837.I 

Valefta,    Ippolito.     Vide    franchi-I 

VERNEV.  i 

Valle'ria,  Alwina  (rightly  A.  V.  Loh-  ' 
mann),  b.  Baltimore,  U.  S.  A. ,1848; 
soprano  ;  pupil  R.  A.  M.,  London,  , 
and  of  Arditi  ;  debut,  1871  ;  from; 
1882  in  oratorio,  England  ;  toured  v 
Europe  and  America  (range  b  flat — ' 
d'",  v.  riTCH    D.  D.). 

Vallotti  (val-lot'-te),  Fran,  A.,  Ver- 
celli,  June  11,  1697 — Padua,  Jan.  16, 
17S0;  noted  organist,  theorist  and 
composer 

Van    Bree  (van  bra),  Jn.  B,,  Amster- 


A  t 


DICTIONARY   OF  MUSICIANS    773 


dam,  1801  —  1S57  ;  violinist,  conduct- 
or and  composer. 

Van  Cleve,  J.  Smith,  b.  Maysville, 
Ky.,  Oct.  30,  185 1  ;  pianist  and 
teacher,  pupil  of  Nothnagel  (Colum- 
bus, O.),  Langand  Apthorp  (Boston), 
and  W.  Steinbrecher  (Cincinnati)  ; 
1879-97  as  teacher,  critic,  writer  and 
lecturer  Cincinnati  Cons,  and  the 
Coll.  of  Mus.  ;  then  Chicago ;  later 
returned  to  Cincinnati ;  composer. 

Van  den  Eeden(a'-den),  (i)  Gilles,  d. 
1792  ;  first  teacher  of  Beethoven;  son 
or  nephew  of  (2)  Heinrich  ;  ct.-mus. 
to  the  Elector  of  Cologne. 

Van  der  Heiden  (hT'-den),  d.  Besan- 
con,  1902  ;  noted  Belgian  'cellist. 

Vanderlinden    (viin'-der-ien-den),    C, 

b.  Dordrecht,  1839  ;  pupil  of  Eiohme 
(harm,  and  cpt.)  and  Kwast  (pf.)  ; 
conductor  Dordrecht  Philh.  Soc, 
National  Guard  band,  and  societies  ; 

c.  2  operas,  overtures,  etc. 

Van  der  Straeten  (stra-ten),  Ed- 
mond,  Oudenaarden,  Belgium,  1826 
— 1895;  writer  of  valuable  treatises 
based  on  research  and  c.  an  opera,  etc. 

Van  der  Stucken  (van'-der-shtook  - 
€n),  Frank  (Valentin),  b.  Frede- 
ricksburg, Gillespie  Co.,  Texas, 
Oct.  15,  1858,  of  Belgian  father  and 
German  mother;  notable  composer  and 
conductor  ;  at  8  taken  by  his  parents 
to  Antwerp,  studied  with  Benoit, later 
with  Reinecke,  Sanger  and  Grieg ; 
1881-82,  cond.  at  Breslau  City  Th. ; 
1883,  in  Rudolstadt  with  Grieg,  and 
in  Weimar  with  Liszt  ;  prod,  opera 
"  Fhsda  "  (Paris,  1S83)  ;  1884, 
called  to  be  mus.-dir.  of  the  "  Arion," 
New  York  ;  from  1895  dir.  Cincin- 
nati Cons.,  and  ist  cond.  Cincinnati 
Symph.  Orch.;  c.  symph.  prologue 
"  William  Ratcliff"  (Cincinnati, 
1899);  orch.  episode,  ''  Pagiiia  d'a- 
niore"  with  choruses  and  songs; 
'^  Festival  March"  for  orch.,  "Fax 
Triumphans "   (Antwerp,  1902),  etc. 

Van  Duyze  (van  doi'-ze),  Florimond, 
b.  Ghent,  Aug.  4,  1853  ;  lawyer  and 
amateur  ;  pupil  of  Cihent  Cons.,  win- 
ning  Grand    pri.\    de     Rome,    1873, 


with  cantata  '^  l'or<]uato  Tasso's 
Dood" ;  prod.  7  operas,  Antwerp  and 
Ghent ;  c.  also  ode-symphonie  "  Die 
Xacht." 

Van  Dyck  (van  dik),  Ernest  (Marie 
Hubert),  b.  Antwerp,  April  2,  1861  ; 
noted  tenor;  studied  law,  was  then  a 
journalist  at  Paris ;  studied  singing 
with  St.  Yves ;  debut  Paris,  18S7,  as 
"  Lohengrin  ";  1892  sang  "  Parsifal  " 
at  Bayreuth  ;  1888  engaged  for  the 
Vienna  ct. -opera  ;  has  sung  in  the 
chief  capitals,  London,  and  1899, 
New  York. 

Van  Hal.     Vide  wanhal. 

Vanneo  (viin-na'-o),  Stefano,  b.  Re- 
canati,  Ancona,  1493  ;  monk  and 
writer. 

Van  Os  (van  os),  Albert,  earliest  known 
org.-builder  called  "A.  the  Great," 
at  Utrecht,  1120. 

Van  Rooy  (van  r5'-I),  Anton,  b. 
Rotterdam,  Jan.  12,  1870 ;  notable 
barytone  ;  pupil  of  Stockhausen  at 
Frankfort  ;  sang  in  oratorio  and  con- 
certs ;  later  at  Bayreuth,  1897  ;  then 
at  Berlin  ct. -opera  ;  sang  with  succ. 
London  (1898),  from  1898  in  New 
York  annually  ;  his  greatest  role  is 
"  Wotan." 

Van  Westerhout  (wes'-ter-howt),  Nic- 
colo  (of  Dutch  parents),  Mola  di  Bari, 
1862 — Naples,  1898  ;  dram,  compos- 
er. 

Varney  (var-ne),  (i)  P.  Jos.  Alphonse, 
Paris,  1811 — 1879;  conductor  and 
composer  of  operettas.  (2)  Louis, 
b.  Paris  (?) ;  son  and  pupil  of  above  ; 
lives  in  Paris,  and  has  since  1876 
prod,  over  30  operettas,  comic  operas, 
"  revues,"  etc. 

Vasconcellos  (vas-kon-sel'-los),  Joa- 
quim  de,  contemporary  Portuguese 
lexicographer  and  historian. 

Vasseur  (vas-sur),  L6on  (Felix  Aug. 
Jos.),  b.  Bapaume,  Pas-de-Calais, 
May  28,  1844;  studied  Ecole  Nieder- 
meyer  ;  from  1S70  organist  Versailles 
Cath.;  cond.  Folies-Bergeres  and  the 
Concerts  de  Paris  (1882)  ;  since  1872 
prod,  over  30  light  operas  ;  c.  also 
masses,  etc. 


774 


THE    MUSICAL    GUIDE 


Vaucorbeil  (v5-k6r-be  ),  Aug.  Eman- 
uel, Rouen,  1S21 — Paris,  1SS4;  18S0, 
dir.  the  Opera  ;   c.  comic-opera,  etc. 

Vaughan  (von),  Thos.,  Norwich,  1782 
—  liirmingham,  1843  ;   tenor. 

Vavrinecz   (vii -vrc-nets),   Mauritius, 

b.  Czegled,  Hungary,  July  18,  1858  ; 
studied  Pesth  Cons. ,  and  with  R. 
Volkmann;  cath.  cond.  at  Pesth  ;  c. 
4-act  opera  "A'aic/iJ^"  (rrague,  1895), 
succ.  i-act  opera  "  /Cosamum/a" 
(Frankfort-on-Main,  1895),  oratorio, 
5  masses,  a  symph.,  etc. 

Vecchi(i)  (vdk'-ke-(e) ),  (i)  Orazio, 
Modena,  1551  (?) — Feb.  19,  1605; 
noted  composer;  from  1596  maestro 
Modena  cath.  ;  his  "  mus. -comedy  " 
""Amjiparuasso,"  in  which  the  chorus 
joined  in  all  the  mus.,  even  the  mono- 
logues, appeared  the  same  year  as 
rERl's  (q.  V.)  ''  Dafiie" ;  c.  also 
madrigals,  etc.  (2)  Orfeo,  Milan,  ca. 
1540 — 1 613  ;  maestro,  and  composer. 

Veit  (vTt),^Wenzel  H.  (Vaclav  Jin- 
drich),  Repnic,  near  I.eitmeritz,  Bo- 
hemia, 1806 — Leitmeritz,  1S64  ;  com- 
poser. 

Velluti  (vel-loo'-te),Giov.  Bat.,  Mon- 
terone,  Ancona,  17S1 — San  Burson, 
1 86 1  ;  the  last  of  the  great  male  so- 
prani. 

Venatorini.     Vide  mysliweczek. 

Venosa,  Prince  of.     Vide  gesualdo. 

Ven'to,  (i)  Ivo  de,  b.  Spain;  ct. -or- 
ganist at  Munich  and  composer  (i 561- 
91).  (2)  Mattia,  Naples,  1739— 
I.ondon,  1777  ;  c.  operas. 

Venturelli  (ven-too-rel-le),  V.,  Man- 
tua, 1S51 — (suicide)  1895;  essayist 
and  dram,  composer. 

Venzano  (ven-tsii'-no),  Luigi,  Genoa, 
ca.  1S14 — 1878  ;  'cellist  and  teacher  ; 

c.  opera,  pop.  songs,  etc. 
Veracini  (va-ra-che'-ne),  (i)  A.,  vio- 
linist at  Florence  (1696).  (2)  Fran. 
Maria,  Florence,  ca.  1685 — near 
Pisa.  ca.  1750  ;  nephew  and  pupil  of 
above  ;  notable  violinist,  the  greatest 
of  his  time  :  composer. 

Verdelot  (vard-l6)  (Italianised,  Verde- 
lofto),  Philippe,  d.  before  1567  ; 
famous    Flemish    madrigal-composer 


and  singer  at  San  Marco,  Venice  ; 
between  1530-40  in  Florence. 
Verdi  (ver  -de),  (Fortunio)  Giuseppe 
(Fran.),  Le  Roncole,  near  Busseto, 
Duchy  of  Parma,  Oct.  9,  1813 — 
Milan,  Jan.  27,  1901  ;  eminent  Ital- 
ian opera  composer.  Son  of  an  inn- 
keeper and  grocer  ;  pupil,  and  at 
10  successor  of  the  village  organist, 
Baistrocchi,  for  three  years  pupil  of 
Provesi  at  Busseto  ;  1831  with  the 
aid  of  his  father's  friend,  Barezzi, 
he  went  to  Milan,  where  he  was  re- 
fused admission  to  the  Cons,  by  Ba- 
sili,  who  thought  him  lacking  in 
mus.  talent.  He  became  a  pupil  of 
Lavigna,  cembalist,  at  La  Scala  ; 
1833,  cond.  Philh.  Soc,  and  organ- 
ist at  Busseto  ;  1836  m.  Barezzi's 
daughter  Margherita.  1839,  his  o^i- 
trsi  '"  Ol'erto"  was  prod,  with  fair 
succ.  at  La  Scala,  Milan,  He  was 
commissioned  by  Merelli,  the  man- 
ager, to  write  three  operas,  one  every 
eight  months,  at  4,000  lire  ($800  or 
;^i6o)  apiece,  and  half  the  copy- 
right. The  first  was  a  comic  opera 
"  Un  Giorno  di  Regno,"  which  failed 
(1840),  doubtless  in  part  because  his 
two  children  and  wife  had  died  with- 
in three  months.  V.'s  combined  dis- 
tress drove  him  to  rescind  his  agree- 
ment and  renounce  composition  for 
over  a  year,  when  he  was  persuaded 
by  Merelli  to  set  the  opera  "'  A'ahuc- 
co"  {"  Nebuchadrezzar  "),  prod,  at  La 
Scala,  1S42,  with  great  applause,  the 
chief  role  being  taken  by  Giuseppina 
Strepponi  (1815-97),  whom  he  m.  in  j 
1844.  "/  Lojubardi  alia  pritna 
Crociata"  (La  Scala,  1843)  was  still 
more  succ.  and  is  still  played  in  Italy 
(in  Paris  as  ''Jerusalem").  ''Et 
nani''  (Venice,  1844)  was  prod.  baJ 
15  different  stages  in  9  months.  Sf 
unsucc.  works  followed,  incl.  "  I  due< 
Fosca  ri  "  (Komt  1S44),  "Macbeth''"' 
(Florence,  1847;  revised  Paris,  1865), 
and  •'  I  Masnadieti  '  (after  Schiller's  j 
'•Robbers"  London,  H.  M.  Th.J 
1847).  "  Lidsa  Miller"  (Naples,; 
1849)   ^^'^s  ■^^'^l^   received  and  is  still ! 


DICTIONARY   OF  MUSICIANS   775 


seppe 


sung  in  Italy.  "  5//^^//^  "  (Trieste, 
1850)  ;  later  as  "  Gtiglielmo  IVe ling- 
rode  " ;  also  with  another  libretto  as 
'\Arnoldo"  (1857),  was  three  timesa 
failure.  ''■  Rigolrtto"  c.  in  40  days 
(Venice)  (also  given  as  "  Viscardel- 
lo"),  began  a  three  years'  period  of 
universal  succ,  it  was  followed 
by  the  world-wide  successes  " // 
Trovatore"  (Rome,  1853)  and  "  La 
Traviafa"  {Venice  Th.,  1853;  also 
given  as  "  Fioletta"),  a  fiasco  at 
first  because  of  a  poor  cast;  ''  Les 
Vepres  Siciliennes "  (Paris  Opera, 
1855;  in  Italian  "/  Vespri  Sicili- 
ani";  also  given  as  '' Giovanna  di 
Guzman  ")  was  fairly  succ. ;  "  Simon 
Boccanegra "  (Venice,  1857.;  succ. 
revised,  Milan,  1881),  "  C/n  Ballo  in 
Maschera"  (Rome,  1859),  ''La  For- 
za  del  Destino"  (Petersburg,  1862), 
and  ''Don  Carlos"  (Paris,  Opera, 
1867),  made  no  deep  impression, 
though  they  served  as  a  schooling  and 
marked  a  gradual  broadening  from 
mere  Italian  lyricism  to  a  substantial 
harmony  and  orchestration.    ' '  A  ida  " 


(written  for  the  Khedive  of  Egypt) 
was  prod.  Cairo,  1871,  at  La  Scala, 
Milan,  1872,  and  has  had  everywhere 
a  great  succ.  The  Khedive  gave  him 
;^3,ooo  for  it.  His  "  Manzoni  Re- 
quiem "  (1874)  made  a  sensation  in 
Italy;  "  OUllo"  (Milan,  1887)  was  a 
work  worthy  of  its  composer,  and  in 
his  last  opera  "  Falstaff"  written  at 
the  age  of  eighty,  he  showed  not 
only  an  unimpaired  but  a  progressive 
and  novel  style.  Me  also  c.  2  symphs., 
6  pf. -concertos,  ''Inno  delle  Nazi- 
oni"  for  the  London  Exhibition 
(1862),  songs,  etc. 

In  I  Sg3  he  was  given  the  title"  Mar- 
chese  di  Busseto."  He  lived  at  his 
villa  Sant'  Agata,  near  Busseto.  His 
funeral  brought  100,000  witnesses, 
though  his  will  ordered  that  it  should 
be  simple  and  quiet.  He  left  the 
bulk  of  his  fortune  to  the  home  for 
aged  and  outworn  musicians. 

Biog.  bv  Gino  Monaldi  (only  in 
German,  t'ransl.  by  L.  Holthof,  Leip- 
zig, 1898) ;  Checchi,  1887  ;  Blanche 
Roosevelt  (London,  1887). 


ddisB 


V 


Giuseppe  Verdi. 

By  W.  J.    Henderson. 

ERDI  has  been  the  representative  Italian  opera  composer  of  his  time 
and  his  personal  development  in  art  is  that  of  his  country,  which  has 
followed  his  dominating  influence.  He  began  to  write  in  the  prev- 
alent style  of  the  old  Italian  school,  but  even  in  his  early  works,  which  had 
striking  resemblances  to  those  of  Donizetti  and  Bellini,  he  showed  a  rude 
vigour  not  possessed  by  either  of  them.  ^  This  vigour  came  conspicuously 
into  notice  in  his  ^'Erriani,^'  though  the  most  familiar  example  of  his  style 
in  this  period  of  his  development  is ' '  Rigoletto. ' '  The  early  works  show  fecun- 
dity of  melodic  invention,  but  a  close  adherence  to  the  elementary  dance 
rhythms  used  by  the  Neapolitan  school.  The  dramatic  element  and  the  virile 
power  of  the  man,  however,  continually  pressed  toward  the  front  till  in 
"A'ida,^'  in  which  the  Egyptian  subject  lured  him  away  from  conventions 
into  originality  of  colour,  he  entered  upon  a  new  field  and  established  himself 
as  a  new  individuality  in  music.  He  idealised  the  old  aria,  employed  all  the 
resources  of  modern  instrumentation  in  the  orchestral  part,  and  sought  for 


776 


THE    MUSICAL    GUIDE 


truthful  dramatic  expression  as  none  of  his  predecessors  had.  "Aula''''  has 
been  the  model  of  the  younger  Italian  school  and  its  influence  can  be  traced 
through  the  works  of  such  writers  as  Mascagni,  Leoncavallo,  and  Puccini. 
^  In  "0/^//(?"  Verdi  left  the  old  .Italian  patterns  still  further  behind  him,  yet 
without  ceasing  to  be  Italian  in  style  or  individual  in  ideas.  The  voice  parts 
are  dominant  and  essentially  melodious  at  all  times,  but  the  determination  of 
the  composer  to  be  faithful  to  the  spirit  of  the  text  is  more  manifest  than  ever 
before.  The  work  is  a  monument  of  genius.  In  his  "Fahtaff'"  Verdi 
produced  a  comic  opera  which  stands  next  to  Mozart's  "Nozze  di  Figaro  " 
and  Wagner's  *'i)/V  Mc'istersinger.''''  The  freshness  and  spontaneity  of  the 
score,  the  marvellous  eloquence  of  the  orchestral  details  and  the  infinite  sig- 
nificance of  the  recitative  make  this  work  one  of  the  masterpieces  of  modern 
times.  The  advance  of  Verdi  from  the  "drum  and  trumpet"  operas  of  his 
youth  to  the  highly  organised,  subtly  significant  and  opulent  scores  of  his  old 
age,  is  the  feature  of  his  artistic  career,  and  where  he  has  led,  Italy  has  fol- 
lowed. He  was  the  master  and  the  moulder  of  Italian  musical  thought  for 
half  a  cent\;ry. 


\in.J 


Verdonck',  Cornelius,  Turnhout,  Bel- 
gium, 1564 — Antwerp,  1625  ;  com- 
poser. 

Vere-Sapio  (vir-sa-pl-o),  Clemen- 
tine (Duthene)  de,  b.  Paris;  sopra- 
no ;  daughter  of  a  Belgian  nobleman, 
and  an  ICnglish-woman  ;  pupil  of 
Mme.  Albertini-Baucarde,  Florence  ; 
debut  there  at  16,  sang  at  leading 
theatres,  Europe,  later  in  concert, 
also  in  the  United  States  ;  1896,  she 
returned  to  opera;  1899,  toured  U.  S. 
with  an  opera  troupe  of  which  her 
husband,  Signor  Sapio,  was  mgr. ; 
1900-1901  at  Metropolitan,  N.  Y., 
and  Covent  Garden. 

Verhulst  (ver-hoolst'),  Jns.  (Josephus 
Herman),  The  Hague,  1816 — i8gi  ; 
cond.  ;  famous  composer  ;  pupil  of 
Volcke  at  the  Cons,  there,  later  R. 
mus.-dir.;  cond.  many  societies,  etc.; 
intimate  friend  of  Schumann ;  c. 
symphony,  3  overtures,  etc. 

Vernier  (vern-ya),  Jean  Aim6,  b. 
Paris,  1769  (?);  harpist  and  com- 
poser. 

Ver'non,  Jos.,  d.  South  Lambeth, 
1782  ;  male  soprano  ;  then  tenor  ; 
composer. 


V6ron  (va-ron),  D6sir6,  Paris,  179S— 
1867;  critic,  writer  and  manager  of 
the  Opera. 

Verovio  (va-r6'-vl-o),  Simone,  the 
hrst  copper-plate  mus. -printer,  Rome, 
ca.  1586 — 1604. 

Vertov'ski,  c.  the  first  Russian  opera 
''A skald's  Grave"  {Askoldova  Mo- 
gila),  based  on  folksongs. 

Vesque  von  Piittlingen  (vesk  fon 
pit'-llng-en),  Jn.,  Opole,  Poland, 
1S03 — Vienna,  1883  ;  pianist  of  Bel- 
gian parentage  ;  c.  6  operas ;  used 
pen-name  "  J.  Hoven. " 

Ves'trio,  Lucia  E.,  London,  1797 — 
Fulham,  1856  ;  opera-singer. 

Viadana  (ve-a-da'-nji),  Ludovico  (da) 
(rightly  L.  Grossi),  Viadana,  near 
Mantua,  1564 — Gualtieri,  1645; 
noted  church-composer  ;  maestro  at 
Mantua  cath.;  important  early  figure 
in  the  development  of  basso  continuo 
(v.  D.  D.). 

Vian'na  da  Mot'ta,  Jos6,  b.  Isle  of 
St.  Thomas,  Africa,  April  22,  1868  ; 
Portuguese  pianist  ;  st  "  Lisbon  and 
Scharwenka  Cons.,  Berlin;  later  with 
Schaffer,  Liszt  and  von  Btilow: 
toured  Europe;  lives  Paris, 


\\  iipl. 

\  i  hi 


I 


DICTIONARY  OF  MUSICIANS    777 


Vianesi  (ve-a-na -ze),  Auguste  Chas. 
Leonard  Frangois,  b.  Leghorn, 
Nov.  2,  1837;  studied  in  Paris  1859, 
cond.  Drury  Lane,  London  ;  then  at 
New  York,  Moscow  and  Peters- 
burg ;  12  years  cond.  at  Covent  Gar- 
den ;  also  in  other  cities  ;  18S7,  ist 
cond.  Gr.  Opera,  Paris  ;  cond.  New 
York,  1S91-92. 

Viard-Louis  (vt-ar-loo-e),  Jenny,  b. 
Carcassonne,  Sept.  29,  1831;  con- 
cert-pianist and  teacher,  London. 

Viardot-Garcia  (vl-ar'-do-gar-the'-ii), 
(i)  (Michelle  Fde.)  Pauline,  b. 
Paris,  July  18,  1821;  famous  mezzo-so- 
prano and  teacher  ;  d:wjghter  of  Man- 
uel Garcia  (q.v.),  studied  pf.  with  Vega 
at  Mexico  Cath.,  then  with  Meysen- 
berg  and  Liszt,  and  Reicha  (harm.)  ; 
and  singing  with  her  father  and 
mother ;  concert  debut,  Brussels, 
1837;  opera  debut,  London,  1839, 
engaged  by  Viardot,  dir.  Th.  Italien, 
Paris,  and  sang  there  until  1841, 
when  she  m.  him  and  made  Europe- 
an tours  with  him.  In  1849  she  cre- 
ated "Fides"  in  '^  Le  Prophete" 
Paris,  "  Sapho "  (Gounod's  opera), 
185 1 ;  1863,  retired  to  Baden-Baden; 
from  187 1  lived  in  Paris  as  teacher. 
Her  voice  had  the  remarkable  com- 
pass of  more  than  3  octaves  from  bass 
c-f".  Wrote  a  vocal  method  and  c. 
3  operas,  60  songs,  and  also  6  pes. 
for  pf.  and  vln.  Biogr.  by  La  Mara. 
(2)  Mme.  Louise  H^ritte  Viardot, 
b.  Paris,  Dec.  14,  1841;  daughter  of 
above  ;  singing-teacher  Hoch  Cons., 
Frankfort  (till  1886)  ;  then  est.  a 
sch.  at  Berlin  ;  c.  2  comic  operas,  a 
pf.-quartet,  etc.  (3)  Mme.  Chame- 
rot,  and  (4)  Marianne  V.,  daughters 
of  (i)  were  concert-singers.  (5)  Paul, 
b.  Courtavent,  July  20,  1857;  violin- 
ist ,  son  of  (i).  pupil  of  Leonard; 
1893,  temporary  cond.  Paris  Opera. 

Vicentino  (ve-chen-te'-no),  Nicola, 
Vicenza,  1511  —  Milan,  ca.  1576; 
conductor,  theorist  and  composer ; 
inv.  '  •  archiorgano. " 

Victorio.     Vide  vittoria. 

Vidal  (ve-dai),  (i)  B.,  d.  Paris,  1880  ; 


guitar-virtuoso,  teacher  and  com- 
poser. (2)  Jean  Jos,,  Soreze,  1789 
— Paris,  1867  ;  violinist.  (3)  Louis 
A.,  b.  Rouen,  July  10,  1820  ;  'cellist 
and  writer  ;  pupil  of  Franchomme  ; 
pub.  important  historical  works.  (4) 
Francois,  b.  Ai.x,  July  14,  1832 ; 
poet  and  writer.  (5)  Paul  Antonin, 
b.  Toulouse,  June  16,  1863  ;  pupil  of 
Paris  Cons.,  winning  first  Grand 
prix  de  Rome,  1881;  1894,  taught 
solfege  there  ;  from  1896,  cond.  at 
the  Opera  ;  prod.  3-act  lyric  fantasy 
"  Eros  "  (1892),  a  ballet  "  Za  Mala- 
detta"  (1893),  2  i-act  opereitas ; 
lyric  drama  "  Guernica"  (Op.  Com., 
1895);  orch.  suite,  "■  Les  mysteres 
d'Elfiisis,"  etc. 

Vierdank  (fer'-dank),  Jn.,  organist 
and  composer  at  Stralsund  1641. 

Vierling  (fer'-ling),  (i)  Jn.  Gf.,  Metz- 
els,  near  Meiningen,  1750 — Schmalk- 
den,    1813 ;    organist  and   composer. 

(2)  Jacob   v.,  1796 — 1867,  organist. 

(3)  Georg,  Frankenthal,  Palatinate, 
Sept.  5,  1820  —  "Wiesbaden,  June, 
1901  ;  son  and  pupil  of  above,  also 
of  Rinck  (org.),  Marx  (comp.);  1847, 
organist  at  Frankfort-on-Oder  ;  1852- 
53,  cond.  Liedertafel,  Mayence ; 
then  lived  in  Berlin,  founder  and  for 
years  cond.  Bach-verein ;  prof,  and 
R.  Mus.-Dir.  ;  c.  notable  secular 
oratorios,  "  Der  Raiib  der  Sabitie- 
rinnen"  (op.  =0),  ^'Alarichs  Tod" 
and  ^^  Konsiantin";  Psalm  137,  with 
orch.  ;  and  other  choral  works ;  a 
symph.;  5  overtures,  incl.  " /;« 
Friihling";  capriccio  for  pf.  with 
orch.,  etc. 

Vieuxtemps  (v'yu-tiin),  (i)  Henri,  Ver- 
viers,  Belgium,  Feb.  20,  1820 — Mus- 
tapha,  Algiers,  June  6,  1881  ;  emi- 
nent violinist  and  composer  ;  son  and 
pupi.l  of  a  piano-tuner  and  instr.- 
maker,  then  pupil  of  Lecloux,  with 
whom  he  toured  at  8  ;  then  pupil  of 
de  Beriot  (vln.),  Sechter  (harm.), 
Reicha  (comp.)  ;  he  toured  Europe 
with  great  succ,  and  three  times 
America  (1844,  1857  and  1870)  ;  1845, 
m.  Josephine  Eder,  a  Vienna  pianist ; 


778 


THE    MUSICAL    GUIDE 


1S46-52,  solo-violinist  to  the  Czar 
and  prof,  at  the  Petersburg  Cons.; 
1871-73,  prof,  at  the  Brussels  Cons.; 
then  paralysis  of  his  left  side  stopped 
his  playing.  He  c.  6  concertos,  sev- 
eral concertinos,  an  overture  on  the 
Belgian  national  hymn  (op.  41),  fantai- 
sie-caprice,  with  orch.;  fantaisies  on 
Slavic  themes,  '' Ilomage a  Paguiiitii," 
caprice,  sonata,  vars.  on  "  Yankee 
Doodle"  2  'cello-concertos,  a  grand 
solo  duo  for  vln.  and  'cello  (with  Ser- 
vais),  etc.  Biog.  by  Randoux  (1891). 
(2)  Jules  Jos.  Ernest,  Brussels, 
March  18,  1832— Belfast,  March  20, 
1896 ;  bro.  of  above  ;  solo-'cellist  It. 
Opera,  London;  also  in  Halle's  orch. 
at  Manchester. 

Vigand  (ve-ga-n5'),  Salvatore, 
Naples,  1769 — Milan,  1821  ;  ballet- 
dancer  and  succ.  composer  of  bal- 
lets. 

Viibac(k)  (vel-bak),(Alphonse  Chas.) 
Renaud  de,  Montpellier,  1829 — 
Paris,  1884  ;  pianist  and  organist;  c. 
comic  operas. 

Villanis  (vel-la'-nes),  Luigi  Alberto, 
b.  San  Mauro,  near  Turin,  June  20, 
1863;  LL.D.  Turin  Univ.,  1887, 
then  pupil  of  Thermignon,  and  Cra- 
vero  (comp.);  1890  prof,  of  mus. 
aesthetics  and  history,  Turin  Univ.; 
critic  and  writer. 

Villarosa  (vel-la-ro'-sa),  Carlantonio 
de  Rosa,  .Marchese  di,  Naples,  1762 
— 1847;  Royal  Historiographer,  1823, 
and  writer  on  music. 

Villars  (ve-yars),  Fran,  de.  He  Bour- 
bon, 1825 — Paris,  1879  ;  critic  and 
historian. 

Villebois  (ve'-yii-bwa),  Constantin 
Petrovitch,  Warsaw,  1S17— 1882  ; 
composer. 

Vil'loing,  Alex,  b.  Petersburg,  d.  there 
1878 ;  pf. -teacher  ;  wrote  method 
and  c.  pf.-pcs. 

Villoteau  (ve-y6-t6),  Guillaume  An- 
dr6,  Belleme,  1759 — Tours,  1S39  ; 
tenor  and  writer. 

Vincent  (van-safi),  (i)  Alex.  Jos.  Hy- 
dulphe,  Hesdin,  Pas  -  de  -  Calais, 
1797  —  Paris,    1868;    pub,    treatises 


claiming  that  the  Greeks  used  harm., 
etc. 

(fin'-tsent),  (2)  H.  Jos.,  Theilheim, 
nearWiirzburg,  Feb.  23,  18 19 — 1901; 
gave  up  theology  and  law  and  became 
a  tenor  in  theatres  at  Vienna  (1S49), 
Halle  and  Wlirzburg ;  from  1872, 
singing-teacher  and  conductor  ;  lived 
at  Czernowitz,  Bukowina  and  later  in 
Vienna ;  pub.  treatises  advocating 
the  "  Chroma  "  (v.  D.D.)  Theory;  c. 
operas,  operettas,  and  pop.  songs. 

(vln'-sent),  (3)  Chas.  John,  b. 
Houghton-le-Spring,  Durham,  Engl., 
Sept.  19,  1852  (son  and  pupil  of  (4) 
Chas.  J.,  organist  at  St.  Michael's); 
studied  Leipzig  Cons.;  Mus.  Doc. 
0.\on,  1885;  1883-91,  organist  Christ 
Ch.,  London;  ed.,  writer;  c.  over- 
ture "  The  Storm  ";  oratorio  ^'  Ruth" 
3  cantatas  with  orch.;  choral  fugue 
in  8  parts,  etc.  (5)  G.  Fr.,  b.  March 
27,  1S55  ;  bro.  of  above  ;  pupil  of 
Leipzig  Cons. ;  from  1882,  organist  at 
St.  Thomas's,  Sunderland,  also  cond. 
societies  there  ;  c.  operettas,  a  can- 
tata with  orch.  "  Sir  Humphrey  Gil- 
bert" etc. 

Vinci  (ven'-che),  (i)  Pietro,  b.  Nicosia, 
Sicily,  1540  ;  maestro  and  composer. 
(2)  Leonardo,  Strongoli,  Calabria, 
1690 — Naples,  1732;  maestro  and 
dram,  composer. 

Vi'ning,  Helen  Sherwood,  b.  Brook- 
lyn, N.  Y.,  July  4,  1855  ;  wrote  text- 
books, etc. 

Vin'ning,  Louisa,  Newton  (?),  Devon; 
harpist  and  singer  in  London  ;  m.  J. 
S.  C.  Heywood,  1865. 

Viola  (ve-6'-la),  (i)  Alfonso  della,  ct.- 
composer  at  Ferrara,  1541-63  to 
Ercole  II.  (2)  Fran.,  pupil  of  Wil- 
laert  ;  maestro  at  Ferrara,  and  com- 
poser, 1558-73- 

Viole  (fe'-6-le),  Rudolf,  Schochwitz, 
Mansfeld,  1815 — Berlin,  1867  ;  pia- 
nist and  composer. 

Viotta  (fe-6t'-ta),  Henri,  b.  Amster- 
dam, July  16,  1848  ;  studied  Cologne 
Cons.;  also  a  lawyer,  1883;  founder 
and  cond.,  Amsterdam  Wagner  Soc, 
etc.;     i88g,   ed.  ''  Maandblad    voof 


I 


I 


DICTIONARY  OF  MUSICIANS    779 


Muziek  "y  1896,  dir.  Cons,  at  The 
Hague  ;  publ.  a  "  Lexicon  der  Toon- 
kunst"  (1889). 

Viotti  (ve-6t'-te),  Giov.  Bat,,  Fonta- 
neto  da  P6,  Vercelli,  Italy,  May  23, 
1753 — London,  March  10  (?),  1S24  ; 
son  of  a  blacksmith ;  at  first  self- 
taught ,  then  ,  under  patronage  of  Prince 
della  Cisterna,  studied  with  Pugnani 
at  Turin  ;  soon  entered  the  ct. -orches- 
tra ;  1780  toured  with  Pugnani,  was 
invited  to  become  ct. -violinist  to 
Catherine  II.,  but  went  to  Paris,  then 
London,  playing  with  greatest  succ; 
1783  an  inferior  violinist  drew  a  larger 
audience,  and  in  disgust  he  retired 
from  concerts  and  became  a  teacher 
and  accompanist  to  Marie  Antoinette 
and  cond.  to  the  Prince  de  Soubise. 
Failing  to  be  dir.  of  the  Opera,  1787, 
he  joined  Leonard,  the  Queen's  hair- 
dresser, and  est.  It.  Opera,  1789; 
prospering  till  the  Revolution.  He 
went  to  London  as  a  violinist  and 
played  with  great  succ.  I795.  mgr- 
It.  Opera  and  dir.  Opera  Concerts 
there  ;  failing  he  went  into  the  wine- 
trade.  Later  returned  to  Paris,  and 
became  dir.  of  the  Opera,  1819-22, 
then  pensioned  with  6,000  francs. 
He  pub.  29  vln. -concertos  (the  first 
written  in  the  modern  sonata-form, 
and  supported  with  broadened  or- 
chestration). C.  also  2  Concertantes 
for  2  vlns.,  21  string-quartets,  51  vln.- 
duos,  18  sonatas,  etc.  Biogr.  by 
Fayolle  (Paris,  1810)  ;  Baillot  (1825), 
etc. 

Virdung  (fer'-doongk),  Sebastian, 
priest  and  organist  at  Basel,  15  n  ; 
writer  and  composer. 

Visetti  (ve-set'-te),  Alberto  Ant.,  b. 
Spalato,  Dalmatia,  May  13,  1846  ; 
pupil  of  Mazzucato,  Jvlilan  Cons., 
concert-pianist  at  Nice  ;  then  Paris, 
cond.  to  the  Empress  Eugenie  ;  on 
the  fall  of  the  Empire,  vocal  teacher 
in  the  R  C.  M.,  London;  pub.  a 
"  History  of  the  Art  of  Singing," 
and  translations. 

Vitali  (ve-ta'-le),  (i)  Filippo,  b.  Flor- 
ence ,  singer  and  composer,  163 1.   (2) 


Giov.  Bat.,  Cremona,  ca.  1644^ 
Modena,  Oct.  12,  i6g2  ;  2d  ct.-cond. 
and  composer  of  important  sonatas, 
ballets,  etc.  (3)  Tomaso,  b.  Bo- 
logna, middle  of  17th  cent.  ;  leader 
there,  and  c.  a  chaconne. 

Vitry  (ve-tre),  Philippe  De  (Philip- 
pus  di  Vitria'co),  b.  Vitry,  Pas-de- 
Calais  ;  d.  1 3 16,  as  Bishop  of  Meaux; 
theorist. 

Vittori  (vTt-to'-re),  Loreto,  Spoleto, 
ca.  1588 — Rome,  1670  ;  composer. 

Vittoria  (vTt-t5'-rI-a),  Tomaso  Ludo- 
vico  da  (rightly  Tomas  Luis  De 
Victoria),  Avila(?),  Spain,  ca.  1540 — 
Madrid,  (?)  ca.  160S;  went  to  Rome 
early;  1573  maestro  Collegium "Ger- 
manicum  ;  1575,  of  S.  ApoUinaris  ; 
friend  and  disciple  of  Palestrina ; 
1589-1602  vice  ct. -conductor,  Ma- 
drid ;  c.  notable  works  inch  a  re- 
quiem for  the  Empress  Maria,  1605. 

Vivaldi  (ve-val'-de),  Abbate  Ant.,  Ven- 
ice, ca.  1675- — 1743  ;  celebrated  vio- 
linist ;  from  17 13  dir.  Cons,  della 
Pieta  ;  c.  notable  vln. -concertos  and 
sonatas. 

Vivier  (vev-ya),  (i)  Albert  Jos.,  b. 
Huy,  Belgium,  Dec.  15,  1816  ;  pupil  of 
Fetis  ;  c.  opera  and  wrote  a  har- 
mony. (2)  Eugene  L^on,  b.  Ajac- 
cio,  182 1  ;  remarkable  horn-virtuo- 
so ;  he  always  refused  to  tell  how  he 
produced  three  or  four  notes  at  once, 
making  it  possible  to  play  the  parts 
for  three  horns  on  one  ;  pupil  of  Gal- 
lay,  then  joined  orch.  at  Paris  Opera  ; 
made  many  tours,  was  a  favourite  of 
Napoleon  III.,  then  retired  to  Nice  ; 
a  great  wit  and  a  composer  of  excel- 
lent songs.  (3)  Albert  Jos.,  b.  Huy, 
Belgium,  Dec.  3,  1816  ;  theorist  and 
composer. 

VIeeshouwer  (flas'-hoo-ver),  Albert 
de,  b.  Antwerp,  June  8,  1863  ;  pupil 
of  Tan  Blockx ;  prod.  2  operas, 
'' n&cole  dcs  Peres"  (1892)  and 
'"Zryni"  (Antwerp,  1895),  sympho- 
nic poem,  "De  wilde  fiiger"  etc. 

Vockerodt  (fok'-e-rot),  Gf.,  Miilhau- 
sen,  1665 — Gotha,  1727;  theorist. 

Vogel   (fogel),  (i)  Jn.  Chr.,  Nlirn. 


78o 


THE  MUSICAL  GUIDE 


berg,  1756 — Paris,  1788  ;  dram,  com- 
poser. (2)  L.,  flutist  and  composer. 
Paris,  1792 — 1798.  (3)  Fr.  Wm. 
Fd.,  b.  Havelberg,  Prussia,  Sept. 
9,  1807;  pupil  of  Birnbacli,  Berlin  ; 
toured  as  organist  ;  from  1852,  at 
Bergen,  Norway  ;  pub.  a  concertino 
for  org.  with  trombones;  symph., 
overture,  2  operettas,  etc.  (4)  (Chas. 
Louis)  Ad.,  Lille,  1808— Paris, 
1892  ;  violinist  and  dram,  composer. 
(5)  (Wm.j  Moritz,  b.  Sorgau,  near 
Freiburg,  Silesia,  July  9,  1846;  pian- 
ist; pupil  of  Leipzig  Cons.;  teacher, 
critic  and  conductor  of  choral  socs., 
Leipzig  ;  pub.  pf.  method,  c.  rondos, 
etc.  (6)  (Ad.)  Bd.,  Plauen,  Sa.\ony, 
1847  —  Leipzig,  i8g8  ;  journalist, 
writer  and  composer.  (7)  Emil,  1). 
Wriezen-on-Oder,  Jan.  21,  1859  ;  Dr. 
Phil.,  Berlin,  1887;  1883,  sent  to 
Italy  by  the  govt,  as  Haberl's  asst. 
in  studying  Palestrina's  works  ;  from 
1893,  lib.  Peters  Mus.  Library,  Leip- 
zig ;  pub.  monographs,  etc. 

Voggenhuber  (fog'-gen-hoo-ber),  Vil- 
ma  von  (Frau  V.  Krolop),  Pesth, 
1845 — Berlin  1888  ;  dram,  soprano 
at  Berlin  ct. -opera  1868-88. 

Vogl  (fokh'-'l),  (I)  Jn.  Michael,  Steyr, 
1763 — Vienna,  1840  ;  tenor  and  con- 
ductor (v.   FZ.   SCHUBERT).      (2)    Hcill- 

rich,  Au,  Munich,  Jan.  15,  1845 — 
on  the  stage,  Munich,  April  21,  1900; 
famous  tenor  ;  debut  Munich  ct. -op- 
era, 1865;  sang  there  thereafter; 
eminent  in  Wagnerian  roles  at  Bay- 
reuth  ;  prod,  an  opera  ''  Der  Fremd- 
liiig"  (Munich,  1899).  (3)  The- 
rese  (nee  Thoma),  Tutzing,  Lake  of 
Starnberg,  Nov.  12,  1845  ;  from 
1868,  wife  of  above,  and  like  him, 
eminent  in  Wagner  opera ;  dram, 
soprano  ;  pupil  of  Hauser  and  Merg- 
er, Munich  Cons.;  1S64,  Carlsruhe  ; 
1865-92,  Munich,  then  retired. 
Vogler  (fokh'-ler),  Georg  Jos.  ("Abb6 
Vogler  "),  Wiirzburg,  June  15,1749 
— Darmstadt,  May  6,1814;  famous 
organist  ;  theorist  and  composer;  pupil 
of  Padre  Martini  and  Vallotti  ;  took 
orders  at  Rome  ;    1786-99,  court-con- 


ductor Stockholm  ;  1807,  ct.-cond.  at 
Darmstadt  ;  he  was  eminent  as  a 
teacher  of  radical  methods ;  toured 
widely  as  a  concert  organist  with  his 
"orchestrion";  he  wrote  many  trea- 
tises ;  c.  10  operas,  a  symphony,  etc. 

Vogrich  (f5'-grlkh),  Max  (Wm. 
Carl),  b.  Szeben  (Hermannstadt), 
Transylvania,  Jan.  24,  1852  ;  pianist  : 
at  7  he  played  in  public,  then  pupil 
of  Leipzig  Cons.;  1870-78,  toured 
Europe,  Me.xico  and  South  America  ; 
then  U.  S.  with  Wilhelmj  ;  1882-86, 
in  Australia,  where  he  m. ;  since 
1886,  lives  in  New  York  ;  c.  3  grand 
operas  (te.xt  and  music)  incl.  "  JVanda" 
(Florence,  1875)  ;  c.  also  an  oratorio 
''  T/ie  Ca/>ti7'ity"  {18S4:  Met.  Op. 
1891);  2  cantatas,  Missa  Solemnis ; 
2  symphs.,  vln. -concerto,  etc. 

Vogt  (fokht),  (i)  Gustave,  Strass- 
burg,  1781 — Paris,  1879  ;  oboist, 
professor  and  composer.  (2)  Jn. 
(Jean),  Gross-Tinz,  near  Leignitz, 
1823 — Eberswalde,  1888;  pianist  and 
composer. 

Voigt  (foikht),  (i)  Jn.  G.  Hermann, 
Osterwieck,  Saxony,  1769 — 18 11;  or- 
ganist and  composer.  (2)  K.,  Ham- 
burg, 1808 — 1879  ;  conductor.  (3) 
Henriette  (nee  Kunze),  1809 — Oct. 
15,  1839  ;  distinguished  amateur  mu- 
sician at  Leipzig  ;  intimate  friend  of 
Schumann. 

Volckmar  (folk-mar),  Wm.  (Valen- 
tin), Hersfeld.  Cassel,  1812— Ilom- 
berg,  near  Cassel,  1887;  mus. -teach- 
er, organist,  writer  and  composer. 

Volkert  (fol'-kert),  Fz,,  Heimersdorf, 
Bohemia,  1767 — Vienna,  1S45  ;  or- 
ganist and  conductor ;  c.  over  100 
comic  operas,  Singspiele,  etc. 

Volkland  (folk'-lant),  Alfred,  b. 
Brunswick,  April  ID,  1841;  pupil 
Leipzig  Cons.;  ct. -pianist  at  Sonders- 
hausen  ;  from  1867,  ct.-cond.  there; 
1869-75,  cond.  Leipzig  Euterpe,  also 
co-founder  the  Bach-Verein ;  since 
1875,  cond.  at  Basel;  1889,  Dr. 
Phil.  //.  c:  (Basel  Univ.). 

Volkmann  (folk'-man),  (Fr.)  Robt., 
Lomrftatzsch,    Saxony,    April  6,  1815 


DICTIONARY  OF  MUSICIANS    781 


— Pesth,  Oct.  30,  1SS3  ;  notable 
composer  ;  son  and  pupil  of  a  cantor  ; 
studied  with  Friebel  (vln.  and  'cello), 
Anacker  (comp.)  and  K.  F.  Becker, 
at  Leipzig  ;  1839-42,  taught  mus.  at 
Prague ;  thereafter  lived  in  Pesth, 
excepting  1854-58,  Vienna  ;  for  years 
prof,  of  harm,  and  cpt.  at  the  Nat. 
Acad,  of  Mus.,  Prague  ;  c.  2  symphs. ; 
3  serenades  for  strings  ;  2  overtures, 
incl.  ''  Richard  III."  ;  concerto  for 
'cello,  Concertstiick  for  pf.  and 
orch.;  2  masses  with  orch. ;  Christmas 
Carol  of  the  12th  cent.;  old  German 
hymns  for  double  male  chorus  ;  6 
duets  on  old  German  poems  ;  2  wed- 
ding-songs ;  alto  solo  with  orch., 
''An  die  A^acht" ;  dram. -scene  for 
soprano  with  orch.,  "  Sappho" ;  pf.- 
pcs.  and  songs.  Biog.  by  Vogel 
(Leipzig,  1875). 

VoUhardt  (fol'-hart),  Emil  Rein- 
hardt,  b.  Seifersdorf,  vSaxony,  Oct. 
16,  1858;  pupil  of  Leipzig  Cons.; 
cantor  Marienkirche  and  cond.  at 
Zwickau  ;  c.  motets  and  songs. 

Vollweiler  (fol'-vT-ler),  K.,  Offenbach, 
1813  —  Heidelberg,  1848;  piano- 
teacher  and  composer. 

Volumier  (v5-lam-ya),  J.  Bapt.,  Spain, 
1677 — Dresden,  1720;  ct. -violinist 
and  ball-cond.,  Berlin  and  Dresden. 

Vonderheide  (fon'-der-hl'-de),  J.  Fr., 
b.  Cincinnati,  Feb.  28,  1857;  public 
singer  and  violinist  at  10  ;  at  17  he 
knew  nearly  all  instrs.  of  the  orch.; 
taught  3  years  in  Pittsburg  ;  studied 
voice-culture  and  piano  in  Cincinnati 
and  Europe ;  1882-84,  dir.  Buffalo 
Sch.  of  Mus.;  1885-91,  N.  Y.  Con- 
servatory. 

Vopelius  (fo-pa'-ll-oos),  Gf.,  llerwigs- 
dorf,  n.  Zittau,  1645 — Leipzig,  1715; 
cantor  and  composer. 

Voretzsch  (vo'-retsh),  Jns.  Felix,  b. 
Altkirchen,  July  17,  1S35  ;  pianist 
and  conductor. 

Voss,  (i)  (Vos'sius)  Gerhard  Jn., 
Heidelberg,  1577 — Amsterdam,  1649; 
writer  on  mus.  (2)  Isaak,  Leyden, 
1618 — Windsor,  Engl.,  16S9  ;  son  of 
above;  canon  and  writer.    (3)  Chas., 


Schmarsow,  Pomerania,  181 5 — Vero- 
na, 1882  ;  pianist  and  composer. 

Vo'wles  (volz),  W.  G.,  succ.  J.  Smith, 
org.-builder,  est.  Bristol,  1814. 

Vredemann  (fra'-de-man),  (i)  Jakob, 
teacher  and  composer,  Leuwarden, 
ca.  1600 — 1640.  (2)  Michael, 
teacher  and  theorist,  Arnheim,  1612. 

Vroye  (vrwa),  Th.  Jos.  De,  Villers-la- 
Ville,  Belgium,  1804 — Liege,  1873  ; 
canon  and  theorist. 

Vuillaume  (vwe-y5m),  family  of  French 
vln. -makers,  (i)  Claude  (1771  — 
1834);  had  4  sons  who  followed  him, 
the  most  famous  (2)  Jean  Baptiste, 
Mirecourt,  Dept.  of  Vosges,  France, 
Oct.  7,  1798 — Paris,  March  19,  1879; 
1821-25,  in  partnership  with  Lete  ; 
he  was  v.  succ.  and  a  remarkable 
imitator  of  Stradivari;  inv.  185 1, 
"octobasse"  (v.  D.  D.);  1855,  a  larger 
viola  "  contre-alto"  ;  in  1S67  a  mute, 
the  "  pedale  sourdine"  ;  also  a  ma- 
chine for  manufacturing  gut-strings 
of  unvaried  thickness,  etc.  His 
brothers  were  :  (3)  Nicolas  (1800 — 
1871),  (4)  Nicolas  Fran.  (1802— 
1S76),  and(5)  Claude  Fran.  (b.  1807), 
also  an  org.-builder.  (6)  Sebastian 
(1835 — 1875),  vln. -maker. 

Vulpius  (fool  -pl-oos),  Melchior,  Wa- 
sungen,  ca.  1560 — Weimar,  1616  ; 
cantor  and  composer. 


/// 


Wach  (vakh),  K.  Gf.  Wm.,  Lobau, 
1755  —  Leipzig,  1833  ;  double-bass 
player. 

Wachs  (wash),  Paul,  b.  Paris,  Sept. 
19,  185 1  ;  pianist,  pupil  of  Paris 
Cons.;  won  ist  prize  for  organ,  1872; 
c.  pf. -pieces. 

Wachsmann  (vakhs'-man),  Jn.  Ja- 
cob, early  igth  cent,  mus.-director, 
Magdeburg  Cath.;  composer,  writer 
of  methods,  etc. 

Wachtel  (vakh'-tel),  (i)  Theodor, 
Hamburg,  1S23 — Frankfort-on-Main, 
1893  ;  noted  tenor  ;  son  and  successor 
of  a  livery-stable  keeper,  then  "dis- 
covered ";  studied   with    Frl.  Grand- 


782 


THE    MUSICAL    GUIDE 


jean.     His   son    (2)  Th.  (d.  Dessau, 
1875)  was  for  a  time  a  tenor. 

Wachter  (vakh'-ter),  Ernst,  b.  Muhl- 
hausen,  May  19,  1S72  ;  bass;  studied 
with  iiis  father  and  Goldberg  ;  1894, 
Dresden  opera;  from  1896  Bayreuth, 
as  "  Fasolt,"  etc. 

Wade,  Jos.  Augustine,  b.  Dublin — 
d.  London,  1845  ;  violinist,  conduct- 
or and  composer. 

Waelput  (val'-poot),  Hendrik,  Ghent, 
1845 — 1885  ;  cond.,  professor  and 
dram,  composer. 

Waelrant  (wal'-rant),  Hubert,  Ton- 
gerloo,  Brabant,  ca.  1517 — Antwerp, 
1595;  a  mus.-pub.  and  teacher;  in- 
troduced "  Bocedisation  "  (v.  D.D.) ; 
c.  motets,  etc. 

Wagenseil  (va'-gen-zil),  (i)  Jn. 
Chp.,  Niirnberg,  1633  —  Altdorf, 
170S  ;  writer.  (2)  G.  Chp.,  Vienna, 
1715 — 1777  ;  teacher  and  composer. 

Wagner  (vakh'-ner),(i)  Gotthard,  Er- 
ding,  1697 — I?enedictine  monastery, 
Tegernsee,  1739;  composer.  (2) 
G.  Gf.,  Miihlberg,  Sa.xony,  169S— 
Plauen,  1760;  cantor  and  composer. 
(3)  Jn.  Joachim,  iSth  cent,  org.- 
builder  at  Berlin.  (4)  Bros.  Jn.  and 
(5)  Michael,  org. -builders  at  Schmie- 
defeld,  i8th  cent.  (6)  Two  bros.  Chr. 
Salomon  and  (7)  Jn.  GI.,  harpsi- 
chord-makers Dresden,  1774.  (8) 
K.  Jakob,  Darmstadt,  1772 — 1S22  ; 
horn-virtuoso,  concert-conductor  ;  c. 
operas.  (9)  Ernst  David,  Dram- 
burg,  Pomerania,  1806 — Berlin,  1S83; 
cantor,  organist,  mus. -director  and 
composer  ;  pub.  essays. 

(10)  (Wm.)  Richard,  Leipzig, 
May  22,  1813 — (of  eyrsipelas)  Venice, 
Feb.  13,  1883  ;  eminent  opera  com- 
poser ;  son  of  a  clerk  in  the  city 
police-court,  who  died  when  W.  was 
six  months  old ;  the  mother  m.  an 
actor  and  playwright,  Ludwig  Geyer 
of  Dresden.  W.  attended  the  Dres- 
den Kreuzschule  until  1827 ;  he 
transl.  12  books  of  the  Odyssey,  and 
at  14  wrote  a  bombastic  and  bloody 
Shakespearean  tragedy;  1S27,  he 
studied  at  the    Nikolai  Gymnasium, 


Leipzig,  where  the  family  lived  while 
his  sister  Rosalie  was  engaged  at  the 
City  Theatre  there.  Wagner  was 
impelled  music-ward  by  hearing  a 
Beethoven  symph.  and  took  up 
Logir's  "Thoroughbass."  He  then 
studied  theory  with  the  organist  Gott- 
lieb M tiller  and  c.  a  string-quartet,  a 
sonata  and  an  aria.  1830,  after  ma- 
triculation at  Leipzig  Univ.,  he 
studied  six  months  with  Th.  Weinlig 
(comp.)  and  c.  a  pf. -sonata,  and  a  4- 
hand  polonaise.  He  studied  Beetho- 
ven's symphs.  very  thoroughly.  At 
19  he  c.  a  symph.  in  4  movements, 
prod,  at  the  Gewandhaus,  Leipzig, 
1833.  He  wrote  the  libretto  for  an 
opera,  "  Die  Hochzeit"  an  intro- 
duction, septet,  and  a  chorus  1832, 
but  his  sister  Rosalie  thought  it  im- 
moral and  he  gave  it  up  ;  1833  his 
brother  Albert,  stage-manager  and 
singer  at  the  Wurzburg  Theatre  in- 
vited him  to  be  chorusm.  there.  He 
c.  a  romantic  opera  in  3  acts  "  Die 
Feeii"  to  his  own  libretto  (after  "  La 
Donna  serpentc,"  by  Gozzi)  ;  it  was 
accepted  but  never  performed,  by  the 
Leipzig  th.-dir.  Ringelhardt  (given  at 
Munich,  188S).  1834,  he  became 
cond.  at  the  Magdeburg  Th.  Here 
he  c.  (text  and  music)  "  Das  Liehes- 
verbot  (after  Shakespeare's  '' Measttre 
for  Measure''),  performed  by  a  bank- 
rupt troupe,  1836.  Th.-cond.  at 
Konigsberg,  and  m.  (1836)  an  ac- 
tress Wilhelmine  Planer,  who  d.  1866, 
after  they  had  separated  in  1861. 

He  c.  an  overture  "  Rule  Britan- 
7tia."  1837  cond.  Riga  opera.  Moved 
by  Meyerbeer's  triumphs  at  the  Gr. 
Ope'ra  at  Paris,  W.  went  there,  July, 
1839,  by  sea.  The  voyage  lasted  3^- 
weeks  and  was  very  stormy  ;  the  ex- 
perience suggested  to  him  the  opera 
"  Flying  Dutchman. "  Meyerbeer 
gave  him  letters  to  musicians  and 
Rubs.  in  Paris  ;  here  he  suffered  pov- 
erty and  supported  himself  by  song- 
writing,  arranging  dances  for  piano 
and  cornet,  preparing  the  pf.-score 
of  Halevy's  ''  Reine  de  C/iypre,"  and 


DICTIONARY  OF  MUSICIANS    783 


writing  articles.  His  operas  were 
scornfully  rejected  and  he  could  get 
no  hearing  till  the  v.  succ.  "  Kienzi  " 
was  prod.,  Dresden,  1842,  and  '' Z>er 
Fliegende  Hollander^''  Jan.  2,  1843. 
The  novelties  in  this  work  provoked 
a  furious  opposition  that  never  ceased. 
1843-49  hs  ^^'^^  cond.  of  Dresden 
Opera,  also  cond.  Dresden  Lieder- 
tafel,  for  which  he  wrote  a  biblical 
scene,  "Z>(7J-  Liehesmahl  der  Apostel" 
for  3  choirs,  a  cappella,  later  with  full 
orch.  ""  Tannhiiuser"  was  prod., 
Dresden,  1845,  with  succ.  in  spite  of 
bitter  opposition.  In  1S48  "  Lohen- 
grin "  was  finished  ;  but  the  mgr.  of 
the  Opera  did  not  care  to  risk  the 
work.  He  now  wrote  out  a  little 
sketch  "  Die  Nibehmgen,  IVeltge- 
schichte  aus  der  Sage  "/  a  prose  study 
on  ''Der  Niebelungen-Mythus  a  Is 
Entwurf  zu  einem  Drama"  (1848), 
and  a  3-act  drama  with  Prologue, 
written  in  alliterative  verse,  "  Sieg- 
fried's Tod,"  preparations  for  the 
great  work  to  follow.  A  rashly  ex- 
pressed sympathy  with  the  revolution- 
ary cause  (1849)  made  flight  neces- 
sary ;  he  went  to  Weimar  with  Liszt, 
but  had  to  go  on  to  Paris  to  escape  the 
order  for  his  arrest.  1849  he  pro- 
ceeded to  Zurich,  were  he  wrote  a 
series  of  remarkable  essays  :  "  Die 
Kunst  und  die  Revolution"  (1849), 
"  Das  Kunstwerk  der  Zukiinft" 
"  Kunst  und  Klitna"  "  Das  Juden- 
ikum  in  der  Musik"  (1850),  "  Oper 
und  Drama"  ''  Erittneriingen  an 
Spontini"  a  prose  drama  "  Wieland 
der  Schmiedt,"  and  the  3  poems  of  the 
Niebelungen  trilogy  (privately  printed 
1853).  ihe  music  of  ''Das  Rhein- 
gold"  was  finished  1854,  "Die  Wal- 
kiire"  1856.  He  cond.  orch.  concerts 
with  much  succ,  lectured  on  the 
mus.  drama,  prod.  "  Tannhduser " 
(Zurich,  1855) ;  1855  he  cond.  8  con- 
certs of  the  London  Philh.  Soc.  1857 
he  left  "  5/ t'^o-y";7></"  unfinished  and  c. 
"  Tristan  und  Isolde."  i860  he  gave 
concerts  of  his  own  works,  winning 
many  enthusiastic  enemies  and  some 


valuable  friends.  The  French  Empe- 
ror ordered  "  Tannhduser"  to  be 
prod,  at  the  Gr.  Opera,  March  13, 
1 861.  It  provoked  such  an  elaborate 
and  violent  opposition  (for  omitting 
the  ballet)  that  it  was  withdrawn  after 
the  third  performance. 

W.  was  now  permitted  to  return 
to  Germany  ;  "  Tristan  "  was  accept- 
ed at  the  Vienna  ct. -opera,  but  after 
57  rehearsals  the  singers  declared  it 
impossible  to  learn.  In  1863,  he 
pub.  text  of  the  " Nibelung  Ring" 
despairing  of  ever  completing  the 
mus.  When  his  financial  state  was 
most  desperate.  King  Ludvvig  II.  of 
Bavaria  (1864)  invited  him  to  Mu- 
nich and  summoned  von  Btilow  as 
cond.  to  prod.  "  Tristan  ttnd  Isolde" 
(June  ID,  1865) ;  but  opposition  was 
so  bitter  that  W.  settled  at  Trieb- 
schen.  Lucerne,  and  completed  the 
scores  of  "Die  Meistersinger"  (prod. 
Munich,  1868)  and  "Der  Ring  des 
N^ibelungen"  "Siegfried  "  (1869)  and 
" Gdfterdd>nniernng  "  (1874). 

1870  he  m.  Cosima,  the  divorced 
wife  of  von  Billow  and  natural 
daughter  of  Liszt.  Since  his  death 
she  has  had  charge  of  the  Bayreuth 
Festivals.  Though  King  Ludwig's 
scheme  for  a  special  Wagner  Thea- 
tre in  Munich  was  given  up,  there 
were  by  this  enough  Wagner-lovers 
and  societies  throughout  the  world, 
to  subscribe  funds  for  a  theatre  at 
Bayreuth,  where  the  corner-stone  was 
laid  in  1872,  on  his  60th  birthday. 
In  August,  1876,  complete  perform- 
ances of  "Der  Ring  des  A^ibehingen  " 
were  given  there  under  most  splendid 
auspices,  but  with  a  deficit  $37,500, 
paid  off  by  a  partially  succ.  festival 
in  London,  1S77,  and  by  the  setting 
aside  of  the  royalties  from  perform- 
ances at  Munich.  He  now  set  to 
work  on  the  " Bilhnenweihfestspiel" 
(Stage  -  consecrating  -  festival  -  play). 
"Parsifal"  finished,  and  prod,  in 
1882.  The  same  year  ill-health  sent 
him  to  Venice,  where  he  d.  suddenly. 
His  writings    (extravagantly  praised 


784 


THE  MUSICAL  GUIDE 


and  condemned)  are  pub.  in  various 
eds.  There  is  an  English  transla- 
tion in  8  volumes,  by  Wm.  Ashton 
Ellis.  Besides  his  operas  and  the 
other  works  mentioned  he  c.  a  symph. 
(1832)  ;  6  overtures,  incl.  ''Konzert- 
oiivertilre  ziemlich  ftigirt"  "  Polo- 
nia,"  '"Columbus  "  "'Rule  Britan- 
nia"; '' New  Year  s  Cantata" ;  incid. 
mus.  to  Gleich's  farce  ^'Der  Berg- 
geist"  (Magdeburg,  1836);  '' Hul- 
di^ungsinarsch"  (1864,  finished  by 
Raff);  "  Siegfried  Idyll"  (187^0,  for 
his  son  then  a  year  old),  "  Kaiser- 
marsch  "  (1870),  "  Festival  March  " 
(for  the  Centennial  E.xposition  Phil- 
adelphia, 1876),  "  Gelegenheits-Can- 
tata  "  (for  unveiling  a  statue  of  King 
Friedrich,  August,  1843),  "  Grtiss  an 
den  Kiniig"  (1843,  pf.),  ".4«  Weber  s 
Grabe"  (Funeral  March  for  wind- 
instrs.  on  motives  from  Weber's  ''  Eu- 
ryanthe"  and  double  quartet  for 
voices,  1844).  For  Pf.:  sonata  ;  po- 
lonaise, for  four  hands  ;  fantaisie,".-^/- 


buinsonate,  fiir  Frau  Mathilde  We- 
sendonck  "  (1853)  ;  ''Ankunft  bei  den 
Sch-ivarzen  Schwanen"  (1861);  "iim 
A  Ibumblatt  fiir  Fiir s tin  Metternich  " 
(1861),  "-Albumblatt  fur  Frau  Betty 
Schott"  (1875).  Songs:  "  Carna- 
valslied"  from  ''Das  Liebesverbot" 
(1835-36);  "■Dors,  man  enfant" 
"  Mignonne"  "Attente"  (1839-40), 
"Lesdeux  Grenadiers  "  (1839);  "Der 
Tannenbaum"  (1840);  "  Kraftlied- 
chen"  (\%-]\\"Funf  Gedichte ;"  I, 
"  Der  Engel" ;  2,  " Stehe  still";  3, 
"/;«  Treibhaus" ;  ^,  "■  Sckinerzen" ; 
5,  "Trdume"  (1862). 

Biog.  by  C.  F.  CUasenapp  (1876) ; 
F.  Hueffer(i88i);  R.  Pohl  (1883); 
W.  Tappert  (1883)  ;  H.  v.  Wolzoger. 
(1883)  ;  Ad.  Jullien  (1886) ;  H.  T. 
Finck  (1893)  ;  H.  S.  Chamberlain 
(1897);  E.  Dannreuther,  F.  Prager 
(1893);  G.  Kobbe ;  Glasenapp  and 
Ellis  (1900).  There  are  many  trea- 
tises on  his  works.  His  letters  have 
also  been  published  in  various  forms. 


Wagner. 

By   Henry  T.    Finck. 

WHEN  Richard  Wagner  was  living  as  a  political  remgee  in  Switzer- 
land, at  the  age  of  thirty-six,  he  elaborated  his  theory  of  the  "art- 
work of  the  future"  in  a  long  essay.  Reduced  to  one  sentence, 
this  theory  was,  that  music,  poetry,  painting,  sculpture,  and  architecture  had 
run  their  course  as  separate  arts,  and  that  the  art-work  of  the  fliture  was  to 
be  a  combination  of  them.  At  a  later  period  he  tried  to  make  Beethoven  re- 
sponsible for  this  theory,  so  far  at  least  as  the  union  of  poetry  and  music  is 
concerned.  Beethoven,  he  argued,  wrote  his  first  eight  symphonies  for  in- 
struments alone,  but  when  he  composed  the  Ninth,  the  greatest  of  them  all, 
he  reached  a  point  in  the  last  movement,  where  the  orchestra  no  longer  suf- 
ficed for  his  purposes,  so  he  called  in  the  aid  of  the  human  voice  and  poetry 
— Schiller's  "Ode  to  Joy.''^  This  symphony  thus  became  "the  gospel  of 
the  art- work  of  the  future";  and  beyond  it,  Wagner  maintained,  progress 
was  possible  only  in  the  direction  of  the  genuine  music-drama;  "  the  key  to 
which  was  thus  forged  bv  Beethoven."  And  when  the  corner-stone  for  the 
Bayreuth  Theatre — in  which  the  "art-work  of  the  future"   was  to  be  pre- 


DICTIONARY  OF  MUSICIANS    785 


sen 


ted  to  the  world — was  laid,  Wagner  significantly  made  it  the  occasion  for 
the  performance  of  this  epoch-making  Ninth  Symphony.  \  Undoubtedly  it 
was  a  stroke  of  genius  on  the  part  of  Wagner  thus  to  turn  the  tables  on  his 
enemies who  had  decried  him  as  a  heretic  and  a  foe  to  music — by  claim- 
ing their  very  idol  as  the  sire  of  his  new  doctrine.  In  truth,  however,  it  is 
not  at  all  probable  that  Beethoven  had  in  mind  any  such  purpose  as  Wagner 
imputes  to  him.  There  is  no  reference  to  anything  of  the  kind  among  the 
biographic  documents,  whereas,  it  is  known,  on  the  other  hand,  that  Bee- 
thoven had  been  intending  nearly  all  his  life  to  set  to  music  Schiller's  "  Ode 
to  Jo'^y  According  to  Czerny,  he  subsequently  even  pronounced  this  ex- 
periment of  incorporating  the  Ode  in  his  symphony  a  mistake  {Missgrif). 
The  voice,  in  truth,  was  never  congenial  to  him.  "  Songs  I  do  not  like  to 
write,"  he  said  to  Rochlitz,  in  1822,  the  very  time  when  he  was  at  work 
on  the  "Ninth  Symphony.''  In  both  this  work  and  the  "  Miss  a  Solennis,''^ 
of  the  same  period,  Beethoven,  moreover,  uses  the  human  voice  like  an  in- 
strument, and  it  is  probable  that  in  each  case  his  object  in  employing  it  was 
not  so  much  to  secure  an  alliance  with  poetry  as  to  increase  the  power  of  his 
musical  forces,  and  to  enlarge  the  variety  of  tone-colours  by  adding  to  the 
orchestra  the  human  voice,  alone,  concerted,  and  in  massive  choral  combina- 
tion. ^  Wagner's  musical  pedigree  must  therefore  be  sought  elsewhere. 
His  ancestry  might  be  traced  back  as  far  as  Peri  and  the  other  originators  of 
Italian  opera  who  (strange  as  it  may  seem  to  us  who  know  only  the  later 
Italian  opera  which  Wagner  reviled)  represented  a  protest  in  favor  of  poetry 
against  the  tyranny  of  music  in  the  marriage  of  these  arts.  Wagner's  whole 
art  was  such  a  protest,  and  his  more  immediate  progenitor  in  this  respect  was 
Gluck,  who  found  that  Italian  opera  had  gradually  become  ridiculous  through 
the  "  vanity  of  singers  and  the  unwise  compliance  of  composers  ;  "  and  who, 
therefore,  endeavoured  to  reduce  operatic  music  to  its  proper  function  ;  that  of 
seconding  the  poetry  and  deepening  the  feeling  it  arouses.  Gluck' s  idea  that 
the  relation  of  poetry  to  music  was  much  the  same  as  that  of  a  sketch  to  the 
colour,  "which  animates  their  figures  without  altering  their  outlines  "  was  cor- 
dially endorsed  and  adopted  by  Wagner.  ^  The  next  step  in  the  evolution 
of  Wagnerism  is  represented  by  Weber,  his  indebtedness  to  whom  Wagner 
frankly  acknowledged  in  several  places.  He  declared  that  the  last  scenes  in 
Weber's  "Euryanthe''  realised  the  ideal  of  musico-dramatic  art,  as  here  the 
orchestra  "  interpenetrates  the  recitatives  as  the  blood  does  the  veins  of  the 
body,"  What  Weber  himself  wrote  about  this  opera  :  "  'Euryanthe'  is  a 
purely  dramatic  work,  which  depends  for  its  success  solely  on  the  co-opera- 
tion of  the  sister  arts,  and  is  certain  to  lose  its  effect  if  deprived  of  their  as- 
sistance," shows  that  his  ideal  was  the  same  as  Wagner's.  Had  he  lived 
longer,  and  had  he  possessed  Wagner's  pugnacity  and  iron  will,  he  might 
50 


786  THE    MUSICAL    GUIDE 

have  been  the  man  to  annihilate  the  old-fashioned  opera  and  triumphantly  es- 
taWish  the  modern  music<drama.  He  even  made  use  of  leading  motives  [vide 
D.  D.].  His  early  opera  '^Abu  Hassan  "  has  a  melody  which  is  afterwards 
repeated  in  a  reminiscent  way.  The  ''Freyschiitz''  has  eleven  recurring 
melodies,  and  "  Euryanthe  "  has  eight.  ^  While  the  germs  and  main 
principles  of  Wagnerism  may  thus  be  found  in  Peri,  Monteverde,  Gluck,  and 
Weber,  it  remained  for  Wagner's  genius  to  develop  and  apply  them.  Gluck's 
operas  were  still  far  from  being  perfect  works  of  art.  To  cite  Wagner's 
own  words  :  "  In  Gluck's  operas  we  find  the  aria,  the  recitative,  the  ballet 
still  placed  side  by  side  without  any  connection  ;  ' '  while  opera  in  general 
remained  after  him,  as  before,  a  mere  variety  show,  with  here  a  pretty  tune, 
there  a  graceful  skip  of  a  dancer  or  a  brilliant  feat  of  vocalisation,  here  a  daz- 
zling scenic  effect,  there  a  volcanic  outburst  of  the  orchestra,  and  the  whole 
without  artistic  coherence.  If  a  painter  put  on  a  canvas  a  number  of  human 
figures  and  diverse  objects  totally  unrelated  to  each  other,  no  one  would  call 
it  a  work  of  art,  however  well  done  each  figure  might  be  in  itself.  The 
opera  before  Wagner  was  such  a  canvas.  He  was  the  first  who  made  a  gen- 
uine picture  of  it — an  art-work  organically  united  in  all  its  parts.  He  did 
this  by  means  of  the  leading  motives — the  typical  melodies  and  charac- 
teristic harmonies  which  accompany  each  of  the  dramatis  pcrson^e  throughout 
the  score,  just  as  their  social  and  moral  character  accompanies  them,  with 
such  modifications  as  the  situation  calls  for.  Weber  had  used  leading  motives 
as  we  have  seen,  but  only  in  an  elementary  way.  It  remained  for  Wagner 
to  make  them  the  very  framework  of  the  music-drama.  He  thus  taught 
music  to  speak  a  definite  language,  so  that  we  can  almost  tell  by  listening  to 
the  orchestra  alone  what  is  going  on  on  the  stage.  ^  His  whole  aim  and 
desire  was  to  make  the  drama  impressive  and  intelligible.  For  this  reason  he 
discarded  the  tuneful  style  of  vocalism  in  vogue  in  Italian  opera  and  developed 
a  new  vocal  style — a  sort  of  melodious  declamation  or  "speech-song." 
This  led  to  the  ridiculous  accusation  that  there  was  "  no  melody  "  in  his 
operas,  whereas  the  orchestral  score  usually  bubbles  over  with  melodies — often 
two  or  more  at  a  time.  After  the  singers  had  begun  to  master  the  new  vocal 
style,  it  was  found,  moreover,  that  an  artist  like  Lilli  Lehmann  or  Jean  de 
Reszkecan  make  this  speech-song  sound  smooth,  and  melodious,  too — as  smooth 
and  melodious  as  the  bel  canto  of  Rossini  and  Mozart.  And  after  the  singers 
had  learned  how  to  act,  and  to  enunciate  distinctly,  opera-goers  learned  that 
Wagner  had  written  stage- works  which  were  quite  as  impressive  poetically  as 
they  were  musically.  He  had  an  immense  advantage  over  all  other  com- 
posers in  being  able  to  write  his  own  poems.  His  best  ten  operas — "  The 
Fl-^ing  Dutchman,''  "  Tannhduser,''  "Lohengrin,''  "  Rheingold,'* 
"Walkiire,"  "Siegfried,"  "Gotterddmmerung,"  "Tristan,"    "  Meister- 


DICTIONARY  OF  MUSICIANS   787 

singer,'"  and  "  ParsifaP'' — apart  from  the  music,  rank  among  the  best  plays 
ever  written  in  Germahy  ;  though  to  be  sure  they  must  not  be  judged  apart 
from  the  music  any  more  than  the  music  must  be  judged  apart  from  the  poems. 
The  ludicrous  opinions  on  these  works  formerly  expressed  by  so  many  pro- 
fessional musicians  and  critics  were  due  chiefly  to  the  fact  that  they  did  not 
bear  this  in  mind,  though  Wagner  protested  on  every  possible  occasion  that 
he  must  not  be  judged  from  the  stand-point  of  the  separate  arts,  but  of  the 
combined  arts.  The  greatest  defects  in  the  present-day  performances  oi  his 
operas  is  owing  to  this,  that  few  stage-managers  have  yet  learned  that  he 
expects  them  to  be  artistic,  too,  familiar  with  every  detail  of  the  work,  so  that 
they  can  show  how  every  incident  on  the  stage  is  mirrored  and  emphasised 
in  the  orchestral  score.  There  is  much  delightful  pantomimic  music  in  these 
operas,  the  meaning  of  which  is  lost  if  the  stage-manager  is  a  bungler,  and  the 
singers  poor  actors.  ^  With  all  these  reforms  and  innovations,  Wagner 
never  could  have  become  the  most  commanding  figure  in  the  modern  music- 
world  had  he  not  been  endowed  at  the  same  time  with  the  faculty  for  creat- 
ing an  extraordinary  abundance  of  ideas,  melodic  and  harmonic.  Wilhelm 
Tappert  has  truly  observed  that  there  is  more  melody  in  Wagner's  "  Meis- 
ter singer'"  than  in  all  the  operas  of  the  melodious  Mozart.  In  the  field  of 
harmony  and  modulation  Wagner  was  an  innovator  of  unprecedented  origi- 
nality. There  can  be  no  tragic  expression  without  discord,  and  he  was  the 
greatest  of  all  masters  of  discord — the  musical  tragedian  par  excellence.  In 
orchestration,  too — the  art  of  clothing  his  ideas  in  beautiflil  garbs  ot  various 
colours — he  was  without  a  rival.  ^|  As  Schubert  influenced  all  song-writers 
after  him,  Chopin  all  the  pianoforte-composers,  and  Beethoven  all  the  sym- 
phonists,  so  Wagner  has  cast  his  spell  on  every  writer  for  the  stage.  ♦'  Wag- 
ner is  the  oxygen,  the  atmosphere  which  modern  opera  breathes,"  writes 
Ferdinand  Pfohl  ;  and  he  hardly  exaggerates  when  he  adds  that  "  modern 
opera,  apart  from  Wagner's  art  is  an  empty  word,  a  phantom.  It  does  not 
exist. ' '  The  minor  composers  of  all  countries  have  been  indulging  for  nearly 
half  a  century  in  a  very  bacchanal  of  plagiarism  at  his  expense,  while  even  the 
greatest  of  living  masters — Dvorak,  Grieg,  Saint-Saens,  Richard  Strauss-— 
have  honestly  profited  by  his  example  in  various  branches  of  music.  Rubin- 
stein committed  suicide  by  trying  to  swim  against  the  current.  The  German 
school  of  opera,  the  French,  and  even  the  Italian  have  followed  Wagner  in 
abandoning  colorature  song  and  elaborate  arias,  in  giving  greater  coherence 
to  their  scores,  and  in  showing  a  decent  regard  for  their  texts.  In  these 
respects  even  Verdi,  greatest  of  the  Italians,  has  in  his  last  period,  paid  homage 
to  Wagner's  genius. 


788 


THE    MUSICAL    GUIDE 


(ii)  Siegfried,  b.  Triebschen, 
Lucerne,  June  6,  1S69;  only  son 
of  above  ;  attended  a  polyteclinic 
sell.,  but  took  up  mus.  as  pupil  of 
Kniese  and  Humperdinck ;  since 
1893,  a  concert-cond.  in  Germany, 
Austria,  Italy  and  England  ;  he  con- 
ducts with  his  left  hand;  lives  at  Bay- 
reuth  ;  cond.  at  the  Festivals  ;  c.  a 
symph.  poem  "  Sf/insiec/ii"  {Sch'Mcr), 
text  and  music  of  mod.  succ.  comic- 
romantic  opera  " Der  Bdrenhauter" 
(Munich  Ct.  Th.,  iSgg),  unsucc, 
'' Herzog  IViUfang"  (1901).  (12) 
(Jachmann  -  Wagner),  Johanna, 
near  Hanover,  Oct.  13,  1828 — Wiirz- 
burg,  Oct.  16,  1S94  ;  niece  of  (10)  ; 
dram,  soprano;  created  "Elizabeth," 
1845  ;  m.  a  judge  Jachmann.  (13) 
Paul  Emil,  b.  Neise,  June  28;  teach- 
er at  Paderborn  ;  c.  operettas,  orch.- 
pcs.,  etc. 

Wain  Wright,  (i)  J.,  d.  176S  ;  organ- 
ist, Manchester.  (2)  Robt.,  174S — 
1782  ;  son  of  above  ;  organist  and 
composer,  Liverpool.  (3)  Richard, 
1758 — 1825  ;  bro.  and  succ.  of  above. 
(4)  Wm.,  d.1797;  double-bass  vir- 
tuoso and  singer  ;  bro.  of  above. 

Waissel  (vTs'-sel),  (Waisse  lius) 
Matthias,  b.  Bartenstein,  Prussia ; 
lutenist  and  composer  at  Frankfort, 
1573- 

Walcker  (val'-ker),  (i)  Eberhard  Fr., 
Cannstadt,  1794 — Lud\vigsburg,iS72; 
son  of  a  skilled  org. -builder  ;  himself 
a  noted  org. -builder ;  succeeded  by 
his  five  sons,  (2)  H.  (b.  Oct.  10, 
1828),  (3)  Fr.  (b.  Sept.  17,  1829),  (4) 
K.  (b.  March  6,  1845),  (5)  Paul  (b. 
May  31,  1846),  and  (6)  Eberhard  (b. 
April  8,  1850). 

Waldersee  (viil-der-za),  Paul,  Count 
von,  b.  Potsdam,  Sept.  3,  1831;  a 
Prussian  officer  from  1S48-71,  then 
took  up  mus. ;  co-editor  of  Beethoven 
and  Mozart. 

Wa'ley,  Simon,  London,  1827 — 1875  ; 
pianist  and  composer. 

Walkeley  (\v6k'-li),  Antony,  1672 — 
1717(18)  ;   Engl.  org.   and  composer. 

Walker  (w6k'-er),  (i;   Jos.    Cooper, 


Dublin,  1760  —  St.-Valery,  France, 
1810;  writer.  (2)  Jos.  and  Sons, 
org.  -  builders,  London.  (3)  Fr. 
Edw.,  b.  Marylebone,  London,  Jan. 
17.  1835 ;  tenor ;  chorister  Chapel 
Royal;  prof,  of  singing,  R.  A.  M.; 
1S83.  cond.  Brixton  Philh.  Soc.  (4) 
Edith,  b.  New  York  ;  contralto ; 
studied  Dresden  Cons,  with  Orgeni ; 
engaged  at  the  Vienna  opera  for  4 
years  as  ist  alto  ;  sings  also  in  con- 
cert. 

Wallace,  Wm.  Vincent,  Waterford, 
Ireland,  June  i,  1814 — Chateau  de 
Bages,  Haute  Garonne,  Oct.  12, 
18C5  ;  violinist ;  wandered  over  the 
world  ;  c.  very  pop.  pf.-pcs.  and  c.  6 
operas  includ.  the  very  succ.  '''Mari- 
/(7«a  "  (London,  1845);  and  "  Lur- 
line"  (do.  i860). 

Wallaschek  (val'-la-shek),  Richard, 
lecturer  at  Lemburg  Univ.;  pub. 
1 886,  valuable  treatise  ''.'Estheiik 
dcr  Toukiinst." 

Wallenstein  (val'-len-shtTn),  Martin, 
Frankfort-on-Main,  1843 — 1896  ;  pi- 
anist ;■  c.  comic  opera. 

Wallerstein  (val'-ler-shtm),  Anton, 
Dresden,  18 13 — Geneva,  1892  ;  vio- 
linist and  composer. 

Wall'is,  J.,  Ashford,  Kent,  1616— 
London,   1703  ;   acoustician. 

Walliser  (val'-ll-zer),  Chp,  Thos., 
Strassburg.  1568 — 1648;  mus.-dir., 
theorist  and  composer. 

Wallner  (val'-ner),  Leopold,  b.  Kiev, 
Russia,  Nov.  27,  1S47  ;  writer  and 
mus. -teacher  in  Brussels. 

Wallnofer  (val'-na-f^r).  Ad.,  b.  Vien- 
na, April  26,  1854;  pupil  of  Wald- 
miiUer,  Krenn  and  Dessoff  (comp.), 
Rokitansky  (singing) ;  barytone  at 
Vienna  ;  1882,  with  Neumann's 
troupe;  1897-98,  N.  Y.;  c.  succ. 
op.  " Eddv stone  "{Vx2i%Vi^,  1889),  etc. 

Walmisley  (wamz'-ll),  (i)  Thos. 
Forbes,  London,  1783 — 1866;  or- 
ganist and  composer.  (2)  Thos. 
Attwood,  London,  1814 — Hastings, 
1856  ;  son  of  above  ;  professor  and 
composer. 

Wa'lond,  (i)  Wm.,  organist  and  com- 


I 


DICTIONARY  OF  MUSICIANS   789 


poser,  Oxford,  1759.  (2)  Wm,,  d. 
1836  ;  son  of  above  ;  organist,  Chi- 
chester, 1775. 

Walsh,  John,  d.  London,  1736  ;  mus.- 
publisher. 

Walter  (vril'-ter),  (i)  Ignaz,  Rado- 
witz,  Boliemia,  1759 — Ratisbon,  ca. 
1830  ;  tenor  and  composer.  (2)  Ju- 
liane  (nee  Roberts),  wife  of  above  ; 
a  singer.  (3)  G.  Anton,  b.  Ger- 
many ;  pupil,  R.  Kreutzer ;  1792, 
opera  conductor  at  Rouen  ;  compos- 
er. (4)  Albert,  b.  Coblentz  ;  from 
1795,  clarinettist  and  composer  in 
Paris.  (5)  Aug.,  Stuttgart,  1821 — 
Basel,  Jan.  22,  1896  ;  mus. -director 
and  composer.  (6)  Jos.,  Neuberg- 
on-Danube,  1S33  —  Munich,  1875; 
vin. -teacher.  (7)  Gustav,  b.  Bilin, 
Bohemia,  Feb.  11,  1836;  tenor; 
pupil  of  Prague  Cons.  ;  debut  in 
Brunn,  1856-87,  principal  lyric  tenor 
at  Vienna  ct. -opera.  (S)  Behno,  Mu- 
nich, June  17,  1847 — Oct.  23,  1901  ; 
bro.  and  successor  of  above  ;  violin- 
ist ;  pupil  of  Munich  Cons.  ;  from 
1863  member  of  the  ct.-orch.  (q) 
(wol'-ter),  Wm.  H.,  b.  Newark,  N. 
J.,  July  I,  1825  ;  organist  as  a  boy  ; 
from  1856,  organist  Columbia  Coll., 
N.  v.;  Mus.  Doc,  1864;  c.  2  masses. 
(10)  Geo.  Wm.,  New  York,  b.  Dec. 
16,  1851;  son  and  pupil  of  (9),  also 
pupil  of  J.  K.  Paine  (Boston),  S.  P. 
Warren  (New  York) ;  1.  Washing- 
ton since  1869.  (11)  K.,  b.  Crans- 
berg,  Taunus,  Oct.  27,  1862  ;  pupil 
of  Meister  and  Schmetz  ;  later  Ratis- 
bon Sch.  for  Church-mus.  ;  then 
teacher  and  organist  at  Biebrich-on- 
Rhine  ;  from  1893,  mus. -teacher  at 
Montsbaur  Seminary  ;  wrote  essays  ; 
c.  motets,  a  prize  triple  fugue,  etc. 
(12)  Fr.  Wm.,  b.  Mannheim,  Sept. 
3,  1870;  Dr.  Phil.,  Heidelberg, 
1892  ;  lives  in  Mannheim  as  writer 
and  critic. 

Walther  von  der  Vogelweide  (vjil'- 
ter  fon  dgr  fo'-gel-vT-de),  in  the  Ty- 
rol (?),  ca.  1 160 — Wurzburg,  after 
1227;  the  chief  Minnesinger  and 
lyric  poet  of  medieval  Germany. 


Walther  (val'-ter),  (i)  Jn.,  Thuringia, 
1496  —  Torgau,  1570;  singer  and 
composer  ;  ct. -conductor.  (V.  mar- 
tin LUTHER.)  (2)  Jn.  Jakob,  b. 
Witterda,  near  Erfurt,  1650 ;  ct.- 
musician,    publisher    and    composer. 

(3)  Jn.    Gf.,    Erfurt,  1684— Weimar, 
174S  ;   organist,  writer  and  composer. 

(4)  Jn.    Chp.,    Weimar,    1715 — 71; 
organist  and  composer. 

Walzel  (vel'-tsel),  Camillo,  Magde- 
burg, 1829 — Vienna,  1895  ;  librettist, 
(pseud.  F.  Zell). 

Wambach  (vam'-bakh),  Emile  (X.), 
b.  Arlon,  Luxembourg,  Nov.  26,  1S54; 
pupil  of  Antwerp  Cons.;  c.  symph. 
poem,  ''Aan  de  hoorden  van  de 
Schelde"  orch.  i  fantasias,  Flemish 
drama  "A'athaiis  PaiabeV ;  2  ora- 
torios ,  a  hymn  for  chorus  and  orch., 
etc. 

Wangemann  (vang'-e-man).  Otto,  b. 
Loitz-on-the-Peene,  Jan.  9,  1848  ; 
pupil  of  G.  Fliigel,  Stettin  and  Fr. 
Kiel  at  Berlin  ;  since  1878,  organist 
and  singing-teacher  Demmin  Gym- 
nasium ;   wrote  org.  treatise. 

Wanhal  (Van  Hal)  (van -hiil),  Jn. 
Bapt.,  Neu-Nechanitz,  Bohemia, 
1739 — \'ienna,  1813  ;  composer. 

Wanski  (van'-shki),  (i)  Jn.  Nepo- 
muk,  b.  ca.  1800  (?);  son  of  (2)  Jan 
(a  pop.  Polish  song-composer)  ;  vio- 
linist ;  pupil  of  Baillot  ;  toured  wide- 
ly, then  lived  at  Aix  ;  wrote  a  vln. 
method  and  c.  etudes,  etc. 

Ward,  (i)  J.,  d.  before  1641  ;  English 
composer.  (2)  J.  Chas.,  b.  Upper 
Clapton,  London,  March  27,  1835  ; 
1846,  soloist  on  the  concertina  ;  since 
1852,  organist  at  several  London 
churches ;  c.  a  motet,  and  a  Sanctus 
for  double-choir ;  cantata  "  The 
Wood";  "^  Psahn  of  Life,'  with 
orch.;  orch.  fugue  on  '^The  Sailors 
Hornpipe'''  etc. 

Warlamoff  (var'-la-mof),  Alex.  Jego- 
rovitch,  Moscow,  18 10 — 1849  ;  sing- 
ing-teacher and  composer 

Warnots  (var-no),  (i)  Jean  Arnold, 
(1801 — 1861).  (2)  Henri,  Brussels, 
1832 — 1893  ;    opera-tenor  ;    son    and 


790 


THE    MUSICAL    GUIDE 


pupil  of  above ;  c.  operetta.  His 
daughter  and  pupil  (3)  Elly,  b. 
Liege,  1862  ;  soprano  ;  debut,  Brus- 
sels, 1879;  sang  there,  then  at  Flor- 
ence, Paris  Op. -Com.,  etc. 

Warren,  (i)  Jos.,  London,  1804 — 
Kent,  188 1 ;  organist,  pianist,  violin- 
ist, composer  and  writer.  (2)  G. 
Wm.,  Albany,  N.  Y. ,  Aug.  17, 
1828 — New  York,  1902  ;  self-taught 
organist ;  from  1870,  organist  St. 
Thomas's  Ch.,  New  York;  prof. 
Columbia  Univ.;  c.  church-mus.  (3) 
Samuel  Prowse,  b.  Montreal,  Can- 
ada, Feb.  18,  1841;  organist;  pupil 
of  Haupt,  Gv.  Schumann  (pf.)  and 
Wieprecht  (instr.) ;  1S65-67,  organ- 
ist of  All  Souls'  Ch.,  New  York; 
later  at  Trinity  Ch. ;  c.  church-mus., 
org.-pcs.,  etc.  Richard  Henry,  Al- 
bany, N.  Y.,  Sept.  17,  1859;  son  and 
pupil  of  (2),  also  studied  abroad ; 
from  1886  org.  at  St.  Bartholomew's, 
N.  Y.;  founder  and  cond.  of  church 
choral  soc,  which  gave  many  im- 
portant works  their  first  hearing ; 
Parker's  "Horn  Novissiina"  was 
written  for  this  society.  C.  anthems, 
services,  a  comic  opera,  songs,  etc. 

Wartel  (var-tgl),  (1)  Pierre  Fran., 
Versailles,  1806 — Paris,  1S62  ;  tenor. 
(2)  Atala  Tli^rese  (nee  Adrien),b. 
Paris,  July  2,  1814  ;  wife  of  above; 
1831-3S,  prof,  at  Paris  Cons.;  c.  pf.- 
studies,  etc.  (3)  Emil,  son  of  above  ; 
sang  for  years  Th.  Lyrique,  then 
founded  a  sch. 

Wasielewski  (va-ze-lef'-shki),  Jos. 
W.  von,  Gross  -  Leesen,  Danzig, 
1822 — Sondershausen,  1S96  ;  violin- 
ist, conductor,  critic,  composer,  and 
important  historical  writer. 

Wassermann  (vas  -ser-man),  H.  Jos., 
Schwarzbach,  near  Fulda,  179I — 
Richen,  n.  Basel,  1838  ;  violinist  and 
composer. 

'Wassmann  (vas'-man),  K.,  vln.- 
teacher,  Carlsruhe  Cons.;  pub.  tech- 
nical works. 

Wat'son,  (i)  Thos.,  Eng.  composer, 
1590.  (2)  Wm.  Michael,  New- 
castle-on-Tyne,    1840 — E.    Dulwich, 


London,  1889  ;  teacher  and  compos- 
er under  pen-name  Jules  Favre.  (3) 
John  Jay,  Gloucester,  Mass.,  Sept. 
23,  1830 — Boston,  Aug.  5,  1902; 
very  succ.  vt.  and  cond. 

Webb,  (i)  Daniel,  Taunton,  1735 — 
Bath,  1815;  writer.  (2)  G.  Jas., 
Rushmore  Lodge,  near  Salisbury, 
Engl.,  1803— Orange,  N.  J.,  1887; 
organist  and  editor,  (3)  Frank 
Rush,  b.  Covington,  Indiana,  Oct. 
8,  1851;  pupil  of  N.  E.  Cons.,  Bos- 
ton ;  organist ;  since  1883,  teacher 
at  Staunton,  Va.;  c.  200  pes.  for 
military  bands,  etc. 

Webbe  (web),  (i)  Samuel,  Sr.,  Min- 
orca,1740 —  London,  1816;  ed.  colls., 
etc.  (2)  Samuel,  Jr.,  London,  1770 
— 1S43  ;  son  of  above  ;  writer  and 
composer. 

Weber    (va-ber),    (i)     Fridolin    (b. 
Zelli,    1733 — d.    1764),   and  his  bro. 
(2)  Fz.  Anton  (b.  1734  ?),  were  vio- 
linists in  the  orch.  of  the  Elector  K. 
Theodor        Fz.     became     cond.    of 
Eutin  town  orch.     His  four  daughters 
were  (3)  Josepha  (d.  1820),  soprano  ; 
m.  the  violinist  Hofer,  17S9,  later  m. 
a  bass,  Meyer.     For  her    Mozart  c. 
"The     Queen    of     the    Night"    in 
the    ''Magic   Flute."     (4)  Aloysia, 
1750 — Salzburg,  1839.    Mozart's  first 
love  ;  she  m.  an  actor,  Lange,  1780, 
and   toured   as  a  singer.     (5)  Con-    j 
stanze,   Zell,  1763— Salzburg,  1842,    i 
Mozart's    wife     (1782);      1809,     m.    ) 
Nissen.      (6)    Sophie,     i764^Salz-   i 
burg,  1843  ;  m.  the  tenor  Ilaibl.     (7)    j 
Fr.   Aug.,    Heilbronn,    1753 — 1806;    I 
physician  and  c.      (8)  Bd.   Anselm,    j 
Mannheim,    April   18,    1766 — Berlin,    i 
March  23,1821;  pianist,  conductorand   , 
dram,  composer.     (9)  (Fr.)  Dionys,   t 
Welchau,    Bohemia,    Oct.    9,  1766 — 
Prague,  Dec.   25,  1842  ;    dir.  Prague   ! 
Cons.  ;    c.    operas,    etc.       (10)    Gf.,   J 
theorist  and   composer,    Freinsheim,   [ 
near    Mannheim,    1779 — Kreuznach,  I 
Sept.  21,  1839  ;  amateur  pianist,  flut-  i 
ist  and  'cellist,  also  cond.;  wrote  es-  \ 
says   and    valuable     treatises ;    c.    3 
masses,  a  requiem  and  a  Te  Deura 


I 


DICTIONARY   OF  MUSICIANS    79' 


with  orch.  and  pf. -sonata,  (ii)  Fri- 
dolin  (II.),  b.  1761;  son  of  (2),  and 
step-broth,  of  (12)  ;  pupil  of  Haydn  ; 
singer  and  mus. -director. 

(12)  K.  Maria  (Fr.  Ernst),  Frei- 
herr  von,  Eutin,  Oldenburg,  Dec. 
18,  1786 — (of  consumption)  London, 
June  5,  1826  ;  son  of  the  second  wife 
of  (2)  and  cousin,  by  marriage,  of 
Mozart ;  the  founder  of  German 
national  opera  (Wagner  shows  his  in- 
fluence deeply),  and  of  the  Romantic 
Sch.;  perhaps  the  most  widely  influ- 
ential German  composer  of  the  cent. 
More  important,  in  cold  fact,  as  a 
path-finder,  and  an  influence,  than 
as  an  artistic  individuality  ;  he  was 
also  a  notable  pianist  (he  could 
stretch  a  I2th),  and  a  pioneer  in 
modern  pianistic  composition.  At 
first  a  pupil  of  his  step-bro.  (11). 
His  mother,  Genoveva  (d.  1798,  of 
consumption),  was  a  dram,  singer, 
and  the  family  led  a  wandering  life. 
At  10  he  became  pf. -pupil  of  J.  P. 
Heuschkel.  As  a  chorister  in  the 
cathedral  at  Salzburg,.  1797,  he  had 
gratuitous  lessons  in  comp.  from  Mi- 
chael Haydn,  to  whom  he  dedicated 
his  first  published  comps. ,  si.x  f ughet- 
tas  (179S).  1798-1800,  at  Munich, 
he  studied  singing  with  Valesi,  and 
comp.  with  Kalcher.  At  12  he  c.  an 
opera  (the  MS.  lost  or  burned).  He 
also  appeared  as  concert-pianist.  He 
met  Aloys  Senefelder,  the  inv.  of 
lithography,  and  engraved  his  own 
op.  2,  1800,  and  made  improvements 
in  the  process.  At  13  he  c.  and  prod, 
with  succ.  the  opera  "Das  IVald- 
vtddchen"'  (Freiberg,  also  played  at 
Chemnitz,  Prague,  Vienna  and  St. 
Petersburg).  In  1801,  he  c.  a  third 
opera  "  Peter  Schmoll  und  seine 
A^«f///'a;-«"  (Augsburg,  1803?);  1803, 
in  Vienna,  he  became  a  pupil  of  Abbe 
Vogler.  1804,  cond.  Breslau  City 
Th.;  resigned  1S06  ;  supported  him- 
self by  lessons,  then  mus.-intendant 
to  Duke  Eugen  of  WUrtemberg  ; 
1807,  private  secretary  to  Duke  Lud- 
wig  at  Stuttgart,  and  mus. -master  to 


his  children.  In  a  turmoil  of  intrigue 
and  dissipation  he  forgot  his  art,  until 
he  became  involved  in  a  quarrel  lead- 
ing to  his  banishment  in  1810.  This 
sobered  him  and  awoke  his  better 
self.  Going  to  Mannheim,  he  prod, 
his  first  symph. ;  then  rejoined  Abbe 
Vogler,  at  Darmstadt.  His  opera 
'' Si /viuia"  was  prod.  (Frankfort-on- 
Main,  1810),  and  ''Adu  Hassau,"  a 
comic  Singspiel  (Munich,  181 1).  He 
made  a  concert-tour  to  various  cities. 
1813,  cond.  of  the  Landstandisches 
Th.  at  Prague,  where  he  reorganised 
the  opera,  and  won  such  note  that  in 
1 8 16  the  King  of  Saxony  called  him 
to  Dresden  to  reorganise  the  Royal 
Opera.  At  20  he  began  "  Dei-  Frei- 
schiitz"  but  gave  it  up  till  later 
(the  incid.  mus.  to  Wolff's  ''  Precio- 
sa"  took  3  weeks).  In  1817,  he  m. 
the  singer  Karoline  Brandt,  a  mem- 
ber of  his  company  to  whom  he 
had  long  been  engaged.  They 
toured  together  as  pianist  and  singer. 
"/?('/'  Freischiitz"  was  prod,  with 
tremendous  succ,  Berlin,  1821  ;  its 
strong  nationalism  provoking  a  frenzy 
of  admiration.  But  '' Euryanthe'" 
(Vienna,  1823)  had  much  less  succ. 
1824,  he  was  commissioned  to  write 
''Oberon"  for  Covent  Garden,  Lon- 
don, but  consumption  delayed  its 
completion ;  it  was  prod.  (London, 
1826)  with  much  succ.  He  lived 
only  eight  weeks  longer ;  his  body 
was  taken  to  the  family  vault  at  Dres- 
den. [See  also  pages  785  and  786.] 

Dr.'XMatic  Works  :  Besides  the 
operas  already  mentioned  he  c.  "  P/i- 
bezahV  (begun  1804,  not  completed); 
"'Die  Drei  Pintos''  (completed  by 
G.  Mahler,  written  and  prod.  Leip- 
zig, 1888).  Incid.  mus.  to  Schiller's 
''  Turandoi"  Milliner's  '' Konig  Yn- 
gurd"  Gehe's  ''Heinrich  IV"  and 
Houwald's  ''Der  Leuchtthurm."  C. 
also  cantatas,  incl.  ''  Der  erste  Ton  " 
(1808)  ;  and  "  Kampf  laid  Sieg'"  (on 
the  battle  of  Waterloo),  with  orch. 
(1S15);  '■'■  Natur  und  Lieie,"  1S18  ; 
hymn,    " /«  seiner   Ordnung  sckaff 


792 


THE    MUSICAL    GUIDE 


der  Herr"  with  orch.;  (iSl2),  2 
masses  and  2  offertories,  with  orch. ; 
some  ver)'  pop.  songs,  four  scenes 
and  arias  for  soprano  with  orch.;  2 
scenes  and  arias  for  tenor,  chorus 
and  orch.;  19  part-songs,  some  very 
pop.;  and  children's  songs  ;  6  canons 
a  3-4 ;  duets  (op.  31)  ;  2  symphs. 
(both  in  C)  ;  Jubel-Ouverture  ;  2 
clarinet-concertos  ;  bassoon-concerto; 
adagio  and  rondo  ungarese  for  bas- 
soon with  orch.;  variations  for  many 
instrs.;  chamber-mus.;  2  pf. -concer- 
tos, Concertstuck  with  orch.,  10  so- 
natas, a  4-hand  sonata,  the  famous 
waltz  "Aiifforderiing  ziim  Tanze" 
{"Invitation  to  the  Dance"),  op.  65  ; 
12  Allemandes ;  6  Ecossaises ;  18 
"  Valses  favorites  de  timpdratrice  de 
France" ;  several  sets  of  Variations, 
etc.  The  so-called  "  Weber  s  Last 
Waltz  "  ( Thought  or  Fareruell)  was 
written  by  Reissiger ;  a  MS.  copy 
of  it  being  found  in  W.'s  papers. 
Biog.  by  Barbedette  (Paris,  1862, 
Leipzig,  IS64-68)'  Jahns  (Leipzig, 
1873)  ;  Carl  v.  Weber  (W.'s  grand- 
son) pub.  his  beautiful  letters  to  his 
wife  (1886);  Th.  Hell  (1S28).  An 
almost  ideal  biog.  is  that  of  W.'s  son 
the  Baron  Max  Maria  von  W.  (in  3 
vols.,  1866-6S). 

(13)  Edmund  von,  Hildesheim, 
1786 — Wurzburg,  1828  ;  mus. -direc- 
tor and  composer.  (14)  Ernst  H., 
Wittenburg,  June  24,  1795 — Leipzig, 
Jan.,  1878,  with  his  brother  (15) 
Wm.  Ed.  (1804— 1891),  prof,  at 
Gottingen  ;  writer  on  acoustics,  etc. 
(16)  Fz.,  Cologne.  1805— 1876  ;  or- 
ganist, conductor  and  composer.  (17) 
Eduard  W.,  town-musician,  Frank- 
enberg.  (18)  K.  H.,  b.  Franken- 
berg,  Aug.  9,  1S34  ;  son  of  above  ; 
pupil  of  Leipzig  Cons.,  1S66-70 ; 
from  1S77.  dir.  Imp.  Russian  Mus. 
Soc.  at  Saratov ;  pub.  a  pf. -method. 
(19)  G.  Victor,  b.  Ober-Erlenbach, 
Upper  Hesse,  Feb.  25,  1838  ;  pupil 
of  Schrems,  Ratisbon  ;  took  orders  ; 
since  1866,  cond.  at  Mayence  Cath., 
expert  and  writer   on    org. -building ; 


composer.     (20)  Gustav,   Miinchen- 

buchsee,  Switzerland,  1845 — Zurich, 
1887;  organist,  conductor  and  com- 
poser. (21)  Miroslaw,  b.  Prague, 
Nov.  9,  1854  ;  violinist  ;  pupil  of  his 
father  ;  at  10  played  before  the  Aus- 
trian Emperor,  and  toured  ;  pupil  of 
Blazek,  Prague  ;  also  of  the  Cons. ; 
Konzertmeister,  royal  orch.  at  Wies- 
baden, and  2nd  cond.  at  the  opera 
(resigned,  1S93) ;  1889,  R.  Mus.- 
Dir.  C.  incid.  mus.  to  ballet  ''Die 
Rheinnixe"  (Wiesbaden,  1SS4),  2 
string  quartets  (the  2nd  taking  prize 
at  Petersburg,  1891),  etc.  (22)  Con- 
stantine  Otto,  Germany,  1847  (?) — 
New  Orleans,  La.,  Nov.  13,  1901; 
pupil  Leipzig  Cons.;  from  i860  in 
New  Orleans  as  org.,  dir.,  teacher 
and  composer. 

Web  ster,  Jos.  Philbrick,  Manches- 
ter, N.  H.,  1819— Elkhorn,  Wis., 
1875  ;  composer. 

Weckerlin  (vek-er-lan),  Jean  Bapt. 
Th.,  b.  Gebweiller,  Alsatia,  Nov.  9, 
1S21;  entered  his  father's  business  of 
cotton-dyeing;  in  1844,  studied  sing- 
ing with  Ponchard  and  comp.  with  Ha- 
levy  at  the  Paris  Cons.,  prod,  heroic 
choral  symph.  ''Roland"  1S47;  gave 
mus. -lessons  ;  1853,  prod.  succ.  i-act 
opera,  '  'L  Organiste  dans  Vembarras" 
(100  performances,  Th.-Lyrique), 
followed  by  several  privately  per- 
formed operettas,  2  comic  operas  in 
Alsatian  dialect,  i-act  opera  "Aprh 
Fontenot"  (Th.-Lyrique,  1877); 
1869,  asst.-libr.  Paris  Cons.;  1876, 
libr.;  wrote  bibliogr.  and  other  ar- 
ticles and  treatises,  and  ed.  valuable 
colls.  C.  "  Symphonie  de  la  foret" 
an  oratorio  "Le Jugement  Dernier" 
2  cantatas,  incl.  "Paix,  Charity, 
Grandeur"  (Opera,  1866);  the  ode- 
symphonie  " Les  Poemes  de  la  Mer,'" 
etc. 

Weelkes  (weks),  Thos.,  organist 
Chichester  Cathedral  ;  c.  notable 
madrigals,  etc.,  1597. 

Wegeler  (va'-ge-ler),  Fz.  Gerhard, 
Bonn,  1765 — Koblenz,  1848,  physi 
cian  and  biographer  of  Beethoven. 


_tlj_ 


DICTIONARY  OF  MUSICIANS  793 


Wedekind  (va'-de-kint),  Erica,  b. 
Hanover,  Nov.  13,  1S72  ;  soprano  ; 
pupil  of  Dresden  Cons,  and  Fr.  Or- 
geni  ;  debut  Dresden  ct. -opera,  1894, 
sang-  there  5  years,  then  toured  widely 
in  concert  and  opera ;  1898,  m.  Herr 
Oschwafd. 

Wegelius  (va-ga'-U-oos),  Martin,  b. 
Helsingfors,  Nov.  10,  1846  ;  pupil  of 
Bibl,  Vienna,  and  I-lichter  and  Paul, 
Leipzig  :  1878,  opera  cond.  and  dir. 
of  the  Cons,  at  Helsingfors ;  pub. 
te.xt-books  ;  c.  overture  ^'Daniel 
Hjort" ;  a  ballade  with  orch;  "  Mig- 
)ion  "  for  sopr.  with  orch.,  etc. 

Wehle  (va'-le),  K.,  Prague,  1825— 
Paris,  1SS3  ;  pianist  and  composer. 

Weichler  (vikh'-ler),  Maximilian, 
flutist,  Gewandhaus  orch.,  Leipzig; 
pub.  a  flute  text-book  (1S97). 

Weidenbach  (v! -den-bakh),  Jns.,  b. 
Dresden,  Nov.  29,  1847  ;  pupil  of 
Leipzig  Cons.;  since  1873  pf. -teacher 
there. 

Weidt  (vlt),  K.,  b.  Bern,  March  7, 
1857;  1889  cond.  at  Klagenfurt;  lives 
in  Heidelberg  ;  c.  male  choruses. 

Weigl  (vTkh'-'l),  (i)  Jos.,  Eisenstadt, 
Hungary,  17G6 — Vienna,  1846  ;  ct.- 
conductor  and  dram,  composer.  (2) 
Taddaus,  Vienna,  1774  (?)  — 1844; 
bro.  of  above  ;  c.  operettas. 

Weinberger  (vln'-berkh-er),  (i)  K. 
Fr.,  b.  Wallerstein,  1883  ;  teacher 
and  cath.  cond.  at  Wiirzburg.  (2) 
Kad.  b.  Vienna,  April  3,  1861;  lives 
there  ;  c.  g  succ.  operettas,  incl. 
*' Die  Ulatten"  (Vienna,  1891), 
'"  Lachende  Erbett"  (1S92),  "'Die 
Bliii!ie?!-Mary"  {yh..,  1897),  ''Adam 
und  Eva"  (ib.,  189S). 

Weingartner  (vTn'-gart-ner)  (Paul) 
Felix,  b.  Zara,  Dalmatia,  June  2, 
1863  ;  notable  conductor  ;  pupil  of 
W.  A.  Remy;  later  of  Leipzig  Cons., 
winning  Mozart  prize  ;  friend  of 
Liszt  at  Weimar,  where  his  opera 
"  Sakimtala  "  was  prod.  1884  ;  until 
iSSg,  theatre  cond.  at  Konigsberg, 
Danzig,  and  Hamburg,  Mannheim  ; 
1891-97,   2nd  cond.  Berlin  ct. -opera, 

j     also   cond.    symph     concerts   at    the 


Royal  orch.;  from  1S98  lives  in  Mu- 
nich as  cond.  Kaim  concerts  as  well 
as  the  R.  Orch.  Berlin  ;  wrote 
treatises  "  Uher  das  Dirigieren''  (Ber- 
lin, 1896),  etc.  C.  operas  "  .Sfl/C'//;?- 
tal  "  (1884),  "  Malawika  "  (Munich, 
1S86),  "Genesius"  (Berlin,  1893), 
withdrawn  by  the  author  because  of 
press  attacks  and  revived  with  succ. 
at  Mannheim  and  elsewhere  ;  "  Ores- 
ies"  (Berlin,  June  15,  1902);  c.  a 
symph.  ;  symph.  poems  "  Konig 
"Das    Gejilde   der  Seligen," 


Lear 

etc. 


Weinlig  (or  Weinlich)  (vTn'-llkh),  (i) 
Chr.  Ehregott,  Dresden,  1743— 
1S13  ;  organist  and  composer.  (2) 
(Chr.)  Th.,  Dresden,  1780 — Leipzig, 
1S42  ;  nephew  and  pupil  of  above  ; 
cantor,  theorist  and  composer. 

Weinwurm  (vla'-voorm),  Rudolf,  b. 
Schaidldorf  -  on  -  the  -  Thaja,  Lower 
Austria,  April  3,  1835  ;  chorister,  ct.- 
chapel,  Vienna  ;  1858,  studied  law 
and  founded  the  Univ.  Gesangverein; 
mus.-dir. ;  iS8o  mus.-dir.  of  the  Univ. ; 
pub.  treatises  and  composer. 

Weinzierl  (vln-tserl).  Max,  Ritter 
von,  Bergstadl,  Bohemia,  1841  — 
Modling.  near  Vienna,  189S  ;  con- 
ductor and  dram,  composer. 

Weis  (vTs),  Karl,  notable  contempo- 
rary composer  ;  prod,  with  succ.  2- 
act  opera  ''The  Polish  Jew"  (Berhn, 
1902);  comic  opera  "77/6-  T^viiis" 
(Frankfort,  1903  ?). 

Weisheimer  (vIs'-hT-mer),  Wende- 
lin,  b.  Osthofen,  Alsatia,  1836;  pupil 
of  Leipzig  Cons.;  1S66,  theatre-cond. 
at  Wiirzburg,  later  Mayence;  teacher 
at  Strassburg ;  wrote  essays  ;  c. 
grand  opera  "  T/ieodor  Korner" 
(Munich,  1872),  and  "  Meisier  Mar- 
tin und  seine  Gesellen"  (Carlsruhe, 
1879). 

Weiss  (vis),  (i)  K.,  Miihlhausen,  ca. 
1738 — London,  1795  ;  composer.  (2) 
K.,  b.  1777,  son  and  pupil  of  above  ; 
writer  and  composer.  (3)  K.,  bro. 
of  above  ;  prod,  the  opera  "  Tivelfth 
Night"  (Prague,  1892).  (4)  Fz., 
Silesia,   1778 — Vienna,   1830  ;    viola- 


794 


THE    MUSICAL    GUIDE 


virtuoso  and  composer.  (5)  Julius, 
b.  Berlin,  July  iq,  1814  ;  violinist  ; 
pupil  of  Henning ;  teacher,  writer 
and  critic ;  pub.  instructive  works 
for  vln.  (6)  Amalie.  Vide  amalie 
JOACHIM.  (7)  Josef,  b.  Kaschau, 
Hungar)',  Nov.  5,  1S64  ;  pf. -virtu- 
oso ;  c.  a  concerto,  etc. 

Weissbeck  (vls'-bek),  Jn,  Michael, 
Unterlaimbach,  Swabia,  1756 — 1S08; 
cantor  and  organist  ;  writer  of  satiri- 
cal pamphlets  ;  composer. 

Weist-Hill,  H.,  b.  London,  1830; 
violinist;  pupil  R.  A.  M.;  cond.  va- 
rious concerts  with  much  hospitality 
to  novelties  ;  1880  principal  Guild- 
hall Sch. 

Weitzmann  (vTts'-man),  K.  Fr.,  Ber- 
lin, iSoS — 1880  ;  eminent  theorist ;  c. 
operas,  etc.;  wrote  valuable  treatises. 

Welch,  J.  Bacon,  b.  Northampton  , 
1839  ;  prominent  Engl,  singing-teach- 
er. 

Welcker  von  Gontershausen  (vel- 
k6r  fon  gon'-ters-how-zen),  H.,  Gont- 
ershausen. Hesse,  181 1 — Darmstadt, 
1S73  ;  ct.-pf. -maker  and  writer. 

Weldon,  (i)  J.,  Chichester,  Engl., 
1676 — London,  1736  ;  organist  and 
composer.  (2)  Georgina,  b.  Clap- 
ham,  May  24,  1837  ;  singer  and 
composer. 

Wels  (vels),  Chas.,  b.  Prague,  Aug. 
24,  1825,  pupil  of  Tomaschek;  1847, 
ct. -pianist;  1849,  New  York  as  con- 
cert-pianist and  teacher  ;  c.  concert- 
overture  and  suite  for  orch.;  a  pf.- 
concerto,  etc. 

Welsh  (i)  Thomas,  Wells,  Somerset, 
1770 — Brighton,  1S48;  bass  and  sing- 
ing-teacher. (2)  Mary  Anne  (nee 
Wilson),  1802— 1867  ;  wife  and  pu- 
pil of  above ;  v.  succ.  soprano,  earn- 
ing /■lo.ooo  ($50,000)  the  first  year 
of  her  short  career. 

Wenck  (venk),  Aug.  H.,  violinist  ; 
pupil  of  G.  Benda  ;  lived  in  Paris 
(1786),  and  Amsterdam  (1806)  ;  inv. 
a  metronome  ;  c.  pf.rsonatas,  etc. 

Wenckel  (venk'-el),  Jn.  Fr,  Wm,, 
Niedergebra,  1734 — Ulzen,  1792  ; 
organist  and  composer. 


Wendling  (vent'-ling),  (i)  Jn.  Bapt., 

from  1754  -  1800  flutist  in  Mann- 
heim ;  band  composer.  His  wife  (2] 
Dorothea  (nee  Spurni),  Stuttgart 
1737 — Munich,  1809,  was  a  singer 
(3)  K.,  d.  1794  ;  violinist  in  Mann 
heim  band.  His  wife  (4)  Augustf 
Elizabethe,  was   a  singer.     (5)  K. 

b.  Frankenthal,  Rhine  Palatinate 
Nov.  14,  1857  ;  pianist  ;  pupil  Leip 
zigCons. ;  performer  on  Janko  key 
board  ;  teacher  of  it  from  1887  a' 
Leipzig  Cons.;  ct. -pianist  to  Princ( 
of  Waldeck. 

Wendt  (vent),  (i)  Jn.  Gl.  (Amadeus) 
Leipzig,  1783 — Gottingen,  1836.  (2 
Ernst  Ad.,  Schwiebus,  Prussia 
1806 — Neuwied,  1850;  composer.  (3 
Ed.,  Berlin,  1S07— Magdeburg,  1890 
violinist  and  composer. 

Wennerberg(ven'-ner-berkh),Gunnar 
Linkoping,  Sweden,  18 17  —  (?); 
poet,  critic,  statesman,  and  composer' 

c.  an  oratorio  and  pop.  psalms  am; 
songs. 

Wenzel  (ven'-tsel),  (i)  Ernst  Fd.j 
Walddorf,  near  Lobau,  1S08 — BacI 
Kosen,  1880;  pf. -teacher  and  writeii 
(2)  Leopold,  b.  Naples,  Jan.  23 
1S47  ;  pupil  of  the  Cons.  S.  Pietro  : 
Majella ;  at  13  toured  as  violinist 
1866  joined  Metra's  orch.  at  Mai 
seilles  ;  1S71,  conductor  ;  later  cond^ 
of  the  Alcazar,  Paris  ;  1883,  Londor' 
from  1889  cond.  at  the  Empire  Th. 
prod,  operettas,  many  ballets,  etc.     ; 

Werbecke,  Gaspar  van.     Vide  gas! 

PAR.  , 

Werckmeister  ( vSrk '- mi  -  sht^r ; - 
Ands.,  Beneckenstein,  1645 — Halt; 
erstadt,  1706 ;  organist,  importarl 
theorist  and  composer. 

Werkenthin  (vir'-ken-ten),  Alberi 
b.  Berlin,  March  6,  1842  ;  pianist 
pupil  of  von  Billow,  Weitzmann,  U 
rich  and  Stern  ;  pub.  a  method  ;  <■ 
pf.-pcs.  and  songs. 

Wermann  (vir'-man),  Fr.  Oskar,  I 
Neic'ien,  near  Trebsen,  Saxon; 
April  30,  1840  ;  pianist  and  organis 
pupil  of  Leipzig  Cons.;  1868,  teach* 
R.    Seminary,   Dresden  ;   1876,  mu: 


DICTIONARY  OF  MUSICIANS  795 


j'l  Bap 


dir.    3    churches  and    cantor   at    the 
Kreuzschule    there;    c.     ''  Rffo7tna- 
—^  tions-Caiitate,"  mass  in  8  parts,  etc. 

SVerneburg  (var'-ne-boorkh),  Jn.  Fr. 
Chr.,  Gymnasium  teacher  at  W'eimar; 
theorist  and  composer,  1796. 

Werner  (var-ner),  (i)  Georgius  Jos., 
i6q5 — Eisenstadt,  1766  ;  conductor 
and  composer.  (2)  Jn,  Gottlob, 
Hoyer,  Saxony,  1777 — Merseburg, 
1822;  organist,  mus. -director,  teacher 
and  composer.  (3)  H.,  near  Erfurt, 
1800 — Brunswick,  1833  ;  composer. 
(4)  K.,  Breslau,  1822 — 18S4  ;  organ- 
ist. {5)  K.  Ludwig,  b.  Mannheim, 
Sept.  8,  1862  ;  pupil  of  Haniein  and 
Fischer  ;  organist  at  Baden-Baden. 
(6)  Josef,  b.  Wurzburg,  June  25, 
1837 ;  'cellist  ;  pupil  of  the  Cons, 
there ;  teacher  Munich  School  of 
Music;  pub.  a  method  ;  c.  pes.  for 
'cello,  etc. 

iVerstovski  (ver-shtof'-shkt),  Alexei 
Nikolajevitch,  Moscow,  1799 — 
1862  ;  dram,  composer. 

IVert  (vart),  Jacob  van,  b.    Nether- 
lands,    1536 — Mantua,     1596;     con- 
ductor and  composer. 
'""liV^ry     (va-re),     Nicolas     Lambert, 

W.:         XJ....  T  ;,' ,»o„        i>„„j_ 


;^  Wile 


hiaiia 


to  Pa 

imaileE 

fi 


0111  poi! 


jstFI 


Huy,      near     Liege,      1789 — Bande, 
Luxembourg,     1867  ;      solo-violinist, 

F'   teacher  and  composer. 
A^esembeck.     Vide  hurbure  de  \v. 

,  iVes'ley,  (i)  Chas.,  Bristol,  Engl., 
Dec.  II,  1757 — London,  May  23, 
1834;  nephew  of  the  evangelist  John 
W. ;  teacher,  organist  and  composer. 
(2)  Samuel,  Bristol,  Engl.,  1766 — 
London,  1837;  bro.  and  pupil  of 
above  ;  organist  and  composer.  (3) 
Samuel  Sebastian,  London,  Aug. 
24,  1810 — Gloucester,  April  19,1876; 

I!   son  of  above  ;  organist. 

■  iVessel  (ves'-sel),  Chr.  R.,   Bremesia, 

1797 — Eastbourne,    1885;  mus.-pub- 

(lisher,  London. 
|Wesselack  (ves'-se-lak),  Jn.  G.,  Sat- 
i   telpeilestein.  Upper   Palatinate,  1828 
— Ratisbon,    1866  ;     editor  and  com- 
poser. 
iVessely  (ves'-se-le),  (i)  Jn.,   Frauen- 

■  burg,     Bohemia,     1762 — Ballenstedt, 


1814  ;  violinist  ;  c.  comic  operas.    (2) 
(K.)    Bd.,    Berlin,    1 768— Potsdam, 
1826  ;  dram,  composer. 
West,   J.  Ebenezer,   b.  South  Hack- 
ney, London,  Dec.  7,  1863  ;  concert- 
organist  and  pianist  ;  pupil  of  Bridge 
and  Prout,  R.  A.  M.;    since  1891,  or- 
ganist  S.  Hackney   Parish  Ch.;  c.  2 
cantatas  ;  Psalm  130  ;  services,  etc. 
West  brook,    Wm.    Jos.,    London, 
1S31 — Sydenham,     1894  ;      organist, 
conductor  and  composer. 
West'lake,  Fr.,  Romsey,  Hampshire, 

1840 — London,  1898  ;  composer. 
Westmeyer       (vesht'-mT-er),      Wm., 
Iburg,  near  Osnabriick,  1832 — Bonn, 
1880 ;    c.  operas. 
Westmoreland,    J.   Fane,    Earl  of, 
London,     17S4  —  Apthorpe      House, 
1S59;  dram,  composer. 
Westphal     (veshi'-fal),    Rudolf    (G. 
Hn.),    Oberkirchen,     Lippe-Schaum- 
burg,       1826 — Stadthagen,       1892; 
writer. 
West'rop,  H.  J.,  Lawenham,  SufTolk, 
1812 — 1879  ;  pianist,  violinist,  singer, 
organist  and  composer . 
Wetzler  (vets'-ler),  Hermann  Hans, 
b.  Frankfort-on-Main,  Sept.  8,  1870; 
pupil    of    Frau    Schumann    (pf.),    B. 
Scholz    (comp.),    Ivan   Knorr   (cpt.), 
H.    Heerman  (vln.),    and    Humper- 
dinck    (orchestration)  ;      1893,     New 
York,  as  pianist  and  teacher;  asst.- 
org.    Trinity    Ch.;    from   1902  cond. 
his  own  symphony  orch. 
Wexschall  (vex'-shal),  Fr.  Forkild- 
son,  Copenhagen,   1798 — 1845  ;    pu- 
pil of  Spohr,  teacher  and  solo-violin- 
ist in  royal  band. 
Weyrauch  (vl'-rowkh),  Aug.  H.  von, 
composer  of  whom   nothing  is  known 
except   that  he  c.  and  pub.  1824  the 
song  ''Adieu"  wrongly  attributed   to 
Schubert  from  1840. 
Weyse  (vl'-ze),  Chp.  Ernst  Fr.,  Al- 
tona,      1774 — Copenhagen,      1842; 
dram,   composer. 
Wheat'stone,   Chas.,    inv.  the    con- 
certina, 1829. 
Whelp'ley,    Benj.  Lincoln,  b.  East- 
port,  Maine,  U.  S.  A.,  Oct.  23,  1865  ; 


796 


THE  MUSICAL  GUIDE 


studied  with  B.  J.  Lang,  etc.,  at 
Boston,  1890  in  Paris  ;  lives  in  Bos- 
ton as  teacher  and  composer. 

Whistling  (wist  -ling),  K.  Fr.,  boolt- 
seller  and  lexicographer  in  Leipzig. 

Whit'aker,  J.,  1776 — 1847  ;  organist 
antl  composer,  London. 

White,  (i)  Robt.,  d.  Westminster, 
Nov.  7  (11  ?),  1574;  organist  at  Ely 
Cath.  (1562-67) ;  noted  in  his  day  as 
organist  and  composer.  Often  con- 
fused with  (2)  Wm.  (c.  fantasias  or 
"  fancies"  for  org.,  etc.)  and  (3)  Rev. 
Matthew,  Mus.  Doc.  1629;  c.  an- 
thems and  catches.  (4)  Alice  Mary, 
Meadows  (nee  Smith),  1S39 — i>S4; 
pupil  of  Bennett,  and  Macfarren,  Lon- 
don; c.  symphs.,  cantatas,  etc.  (5)  J., 
W.  Springfield,  Mass.,  March  12, 
1855 — Bad  Neuheim,  Germany,  July 
18,  1902  ;  pupil  of  Dudley  Buck  ;  then 
of  Haupt  (org.  and  cpt.),l\heinberger; 
gave  org. -concerts  in  various  Oerman 
cities  ;  1S87-96,  organist,  New  York  ; 
from  1897  lived  in  Munich  ;  pub.  Missa 
Soleninis  ;  O  salutaris  ;  c.  an  oratorio 
'•'•Alpha  ami  Oi/W'^a"  etc.  (6)  Maude 
Val6rie,  b.  of  English  parents, 
Dieppe,  June  23,  1S55  ;  pupil  of  O. 
May  and  W.  S.  Rockstro,  and  of  R. 
A.  M,,  Mendelssohn  Scholar,  1879, 
also  studied  in  Vienna  ;  now  lives  in 
London  ;  c.  mass  (1S88) ;  14  pf.-pcs.; 
'' Pictures  from  Abroad"  and  pop. 
songs,  etc. 

White'hill,  Clarence,  b.  America; 
bass;  debut  in  "  Roiiii'o  ct  Juliette''' 
Brussels,  1S99  ;  engaged  for  Paris  Op. 
Com. ;  1900  at  Met.  Op. ,  N.  Y. 

Whi  ting,  (i)  G.  Elbridge,  b.  Hollis- 
ton,  Mass.,  Sept.  14,  1S42  ;  organist  at 
Worcester  when  13  :  later  at  Hart- 
ford, Conn,  (where  he  founded  the 
Beethoven  Soc);  later  organist  in  vari- 
ous Boston  churches  ;  studied  with  G. 
W.  Morgan,  New  York,  and  Best, 
Liverpool  ;  Haupt  and  Radecke,  Ber- 
lin ;  till  1879,  teacher  at  the  N.  E. 
Cons.,  Boston  ;  then  till  1882,  at  the 
Cincinnati  Coll.  of  Mus.;  since  at 
the  N.  E.  Cons.;  c.  masses  with 
orch.    and    organ    (1872),    cantatas. 


ballade  with  orch.,  ''  Henry  of  Na- 
varre"  pf. -concerto,  etc.  (2)  Arthur 
Battelle,  b.  Cambridge,  Mass.,  June 
20,  1861  ;  nephew  of  above  ;  pf. -pu- 
pil of  W.  H.  Sherwood  ;  debut  at  19, 
Boston  ;  studied  with  Chadwick  and 
J.  C.  D.  Parker  ;  then  with  Rhein- 
berger,  in  .Munich  ;  lived  in  Boston, 
now  New  York,  as  teacher  of  pf.  and 
comp. ;  c.  fantasy  with  orch.,  con- 
cert-overture, concert-etude,  church- 
service,  concerto,  song  cycles,  etc. 

Whit'more,  Chas.  S.,  Colchester, 
1S05 — 1877  ;  amateur  Engl,  com- 
]50ser. 

Whitney,  Samuel  Brenton,  b.  Wood- 
stock, Vermont,  June  4,  1S42  ;  or- 
ganist ;  pupil  of  Chas.  Wells  and  J. 
K.  Paine  ;  since  1871,  organist,  Ch. 
of  the  Advent,  Boston  ;  conductor  of 
church-choir  festivals ;  org.-jjrof. 
and  lecturer,  Boston  U.  and  N.  E. 
Cons.;  c.  anthems,  org. -sonatas,  etc. 

Whyt'horne  (or  Whitehorne),Thos., 
b.   1528  ;    Engl,  composer. 

Wiborg  (ve'-borkh),  Elisa,  b.  Kra- 
gero,  Norway  ;  soprano ;  studied 
with  Natalie  Hanisch  and  Erau  Har- 
lacher ;  engaged  at  Schwerin,  then 
other  cities;  sang  "Elisabeth"  at' 
Bayreuth  ;  1900  at  Stuttgart  ct.-, 
theatre. 

Wichmann  (vikh'-mrin),  Hermann,  b.j 
Berlin,  Oct.  24,  1824  ;  studied  at  R.; 
Akademie  ;  also  with  Taubert,  Men- 
delssohn and  .Spohr  ;  then  lived  inj 
Berlin  ;  c.  svmphs.,  sonatas,  etc. 

Wichtl  (vIkhV-'l),  G.,  Trostberg,  Ba- 
varia, 1S05 — Bunzlau,  Silesia,  1877: 
violinist,  conductor  and  dram,  com- 
poser. 

Wickede  (vik'-e-de),  Fr.  von,  b.  Do- 
mitz-on-Elbe,  July  28,  1S34 ;  arm}[ 
officer,  then  post-office  official  ;  pu 
pil  of  J.  V^ieth  ;  lived  in  Munich  ;  c 
opera  ''  Iiigo"  overture  "  Per  asperc 
lid  astra"  (1S75),  songs,  etc. 

Widmann  (vet'-man),  "(i)  Erasmusi 
poet-laureate,  organist  and  conductoi 
at  Weikersheim  ;  publisher  and  comp 
poser  (1607).  (2)  Benedikt,  b' 
Brauntlingen,  March  5,  1S20;  recto 


DICTIONARY   OF  MUSICIANS    797 


Artliiii 

■-..Jim 
;  if 


\y.  Of 


JhDsJ 

;,  K 


Irisn' 


at  Frankfort  ;  theorist  and  composer. 
(3)  Jos.  Victor,  b.  Nennowitz,  Mo- 
ravia, Feb.  20,  1842  ;  at  3  taken  to 
Switzerland  ;  _\vrote  librettos  and 
biog.  of  Brahms. 

Widor  (ve-dor),  Chas.  (M.),  b.  Lyons, 
Feb.  22,  1S45  ;  distinguished  organ- 
ist ;  son  of  an  Alsatian  of  Hungarian 
descent  (organist  at  Lyons)  ;  studied 
with  Lemniens  (org.)  and  Fetis 
(comp.),  Brussels ;  at  15  organist 
at  St.  Franfois,  Lyons,  and  since 
i86g,  organist  at  St.  Sulpice,  Paris  ; 
1890,  teacher  at  the  Paris  Cons.; 
from  i8g6  prof,  of  cpt.,  fugue  and 
comp.;  critic  (under  pen-name  "  Au- 
letes  ")  and  dir.  of  the  soc.  "La  Con- 
cordia," c.  V.  succ.  ballet  "Za  A'orri- 
gane"  (Opera,  1880);  music  to 
''Conte  d'Avril"  (Odeon,  1885); 
"  Les  Jacobites"  (Odeon,  1885)  ;  un- 
succ.  lyric  drama  ''  Alaitre  Ainbros" 
(Op. -Com.,  May  6,  1S96) ;  3  panto- 
mimes; a  mass  for  2  choirs  and  2  orgs. ; 
Psalm  112,  with  orch.  and  org.;  "Za 
nuit  de  Walpurgis"  for  chorus  and 
orch.;  2  symphs.;  10  org.  symphs. 
incl.  ''Gotique"  a  concerto  for  vln., 
'cello,  and  pf.,  org. -sonatas,  etc. 

Wieck  (vek),  (i)  Fr.,  Pretzsch,  near 
Torgau,  1785 — Loschwitz,  near  Dres- 
den, 1873  ;  est.  a  pf. -factory  and  li- 
brary at  Leipzig  ;  eminent  pf. -teach- 
er ;  also  singing-teacher  and  compos- 
er; teacher  also  of  his  daughter  (2) 
Clara.  (Vide  Schumann.)  (3)  AI- 
win,  Leipzig,  1821 — 1885  ;  son  of 
(i) ;  pupil  of  David  ;  violinist  at  St. 
Petersburg  ;  later  pf. -teacher  at  Dres- 
den. (4)  Marie,  b.  Leipzig,  Jan. 
17.  1S35  ;  pianist ;  daughter  of  (i)  ; 
played  in  public  at  8  ;  1858,  ct. -pian- 
ist to  the  Prince  of  Hohenzollern ; 
toured  ;  est.  a  sch.  in  Dresden. 

Wiedemann  (ve'-de-man),  Ernst  Jn., 
Hohengiersdorf,  Silesia,  1797 — Pots- 
dam, 1873 ;  organist,  teacher  and 
composer. 

Wiederkehr  (ve'-der-kar),  Jacob  Chr. 
Michael,  Strassburg,  1739 — Paris, 
1823  ;  'cellist,  bassoonist,  tambourin- 
ist  and  composer. 


Wiegand  (ve'-gant),  Josef  Anton  H., 

Frankisch-Crumbach  in  the  Oden- 
wald,  1842 — Frankfort,  1899  ;  bass. 

Wielhorski.     Vide  wilhokski. 

Wiener  (ve'-ner),  Wm.,  Prague,  1838; 
violinist  and  leader. 

Wieniawski  (v'ya-ne-af'-shkl),  (i)  H., 
Lublin,  Poland',  July  10,  1835— Mos- 
cow, March3l,  iSSo  ;  eminent  violin- 
ist and  composer  ;  debut,  at  Peters- 
burg, at  13  ;  studied  with  Clavel  and 
Massart,  and  Colet  (harmony)  Paris 
Cons.;  won  ist  vln. -prize,  1846;  i860, 
solo-violinist  to  Czar,  and  1862-67, 
teacher  at  the  Petersburg  Cons.; 
1875-77,  vln. -prof.  Brussels  Cons, 
(vice  Vieuxtemps)  ;  toured  widely, 
1872  U<  S.  with  Rubinstein ;  c.  2 
concertos,  etc.  (2)  Jos.,  b.  Lublin, 
May  23,  1837;  famous  pianist  ;  at  10 
pupil  of  Paris  Cons.;  at  13  toured 
with  his  brother,  then  studied  with 
Marx  at  Berlin  ;  1866,  teacher  at  the 
Moscow  Cons.;  est.  a  pf.-sch,  of  his 
own  ;  later  teacher  in  Brussels  Cons. ; 
c.  2  overtures,  suite  romantique  for 
orch.,  pf. -concerto,  etc. 

Wieprecht  (ve'-prekht),  Fr.  Wm., 
Aschersleben,  1802 — Berlin,  1S72  ; 
famous  trombonist  and  violinist ;  inv. 
the  bass  tuba  (1835). 

Wi6trovetz  (ve-a-tr6-vetsh),  Ga- 
briele,  b.  Laibach,  Jan.  13,  1S69 ; 
violinist;  pupil  of  Joachim  andWirth. 
Toured  and  lives  in  Berlin.  ^ 

Wihan  (ve'-han),  Hans  (Hanus),  b. 
Politz,  near  Braunau,  June  5,  1S55  ; 
'cellist ;  pupil  of  Prague  Cons.;  1873, 
prof,  of  'cello,  Mozarteum,  Salzburg  ; 
1877-80,  chamber-virtuoso  to  Prince 
Schwarzburg-  Sondershausen  ;  1880, 
1st  solo-'celHst  Munich  ct.-orch.; 
1S88,  prof,  at  Prague  Cons.,  a  mem- 
ber "  Bohemian  String  Quartet." 

Wihtol  (ve'-tol),  Jos,,  b.  Wolmar, 
Livonia.  1863  ;  studied  at  Mitau ; 
then  with  Johansen  (harm.)  and 
Rimsky-Korsakov  (comp.  and  instru- 
mentation) Petersburg  Cons.;  since 
1886,  prof,  of  harm,  there;  c.  "  Z.z 
fete  Ligho'"  symph.  picture,  "-'Dram- 
atic  "  overture,  etc. 


798 


THE    MUSICAL    GUIDE 


Wilbye  (wll'-bl),  J.;  lutenist  and  teach- 
er, London,  1598  ;  most  brilliant  com- 
poser of  madrigals. 

Wild  (velt),  Fz,,  Niederhollabrunn, 
Lower  Austria,  1792— Oberdobling, 
near  Vienna,  i860;   tenor. 

Wilder  (vel-dar),  Jerome  Albert  Vic- 
tor van,  Wettern,  near  Ghent,  1S35 
— Paris,  1892  ;  writer  and  translator. 

Wilhelm  (vel'-helm),  K.,  Schmalkal- 
den,  1815 — 1873;  "  R.  Prussian  Mus. 
Dir.";  c.  ''Die  Wacht  am  Rhein," 
etc. 

Wilhelm  von  Hirsau  (fon  her'-zow), 
d.  June  4,  1091;  abbott  and  theorist 
at  Hirsau,  Schwarz-wald. 

Wilhelmj  (vel-hel-me),  ^(i)  Aug. 
(Emil  Daniel  Fd.),  b'.  Usingen, 
Nassau,  Sept.  21,  1845  ;  eminent  vio- 
linist ;  pupil  of  Fischer  at  Wies- 
baden ;  played  in  public  at  8  ;  at  16 
recommended  to  David  by  Liszt  as  a 
young  Paganini  ;  he  studied  1861-64, 
with  David  (vln.),  Hauptmann  and 
Richter,  Leipzig  Cons.;  1862,  the 
Gewandhaus ;  1S64,  studied  with 
Raff  at  Frankfort ;  from  1865,  toured 
the  world  ;  1S76,  leader  of  Bayreuth 
orch. ;  lived  for  years  at  Biebrich-on- 
Rhine,  where  he  est.  (with  R.  Nie- 
mann) a  "  Hochschule  ■'  for  vln.; 
1886,  lived  at  Blasewitz,  near  Dres- 
den ;  1S94,  head-prof.  Guildhall  Sch. , 
London  ;  1895,  he  m.  the  pianist 
Miss  Mausch  ;  c.  "■' Hochzeits-Can- 
tate"  with  orch.,  vln. -pes.,  etc.  His 
son  (2)  Anton,  i8g8,  vln. -prof,  at 
Belfast  Cons.  (3)  Maria  (nee  Gas- 
tell),  b.  Mayence,  July  27,  1856; 
sister-in-law  of  (i) ;  concert-soprano, 
pupil  of  Viardot-Garcia. 
Wilhem  (rightly  Bocquillon)  (vel-an 
or  bok-e-yoh)',  Guillaume  Louis, 
Paris,  1 77 1  — 1842  ;  dir. -gen.  ot  all 
Paris  schools  ;  founder  of  the  great 
system  of  popular  singing  societies  or 
"  Orpheonistes "  (v.  D.  D.);  pub. 
many  treatises  on  his  method  of 
"  mutual  instruction  "  and  a  10- vol. 
coll.  of  comps. 
Wi(e)lh6rski  (vel-hor'-shkT),  (i)  Count 
Matv6i  Jurjevitch,  Volhynia,  1787 


—  Petersburg  (?),  1S63  ;  'cellist. 
His  brother  (2)  Count  Michail  Jur- 
jevitch, Volhynia,  1788 — Moscow, 
1S56  ;  composer. 
Wilke  (vel'-ke).  Chr.  Fr.  Gl.,  Span- 
dai,  1769 — Treuenbrietzen,  1848; 
organist  and  govt,  expert  on  org.- 
building. 
Willaert  (wll'-lart)  (Wigliar'dus, 
Vigliar,  Vuigliart),  Adrian  (called 
Adriano),  Flanders,  ca.  14S0  — 
Venice,  1562  ;  eminent  composer  and 
teacher ;  called  the  founder  of  the 
Venetian  Sch.;  a  very  prolific  com- 
poser ;  pupil  of  Mouton  and  Jos- 
quin  Despres ;  1516  at  Rome,  later 
at  Ferrara  ;  then  mus.  to  the  King 
of  Bohemia  ;  Dec.  12,  1527,  maestro 
at  San  Marco,  Venice,  where  he  or- 
ganised a  famous  sch.;  c.  5  masses, 
many  motets,  psalms,  madrigals, etc. ; 
the  first  to  write  for  two  choirs. 
Willent-Bordogni  (ve-yjih  -  bor-don- 
ye),  Jean  Bapt.  Jos.,  Douai,  i8og— 
Paris,  1852  ;  bussoon-virtuoso,  teach- 
er, writer  and  dram,  composer.  1834 
m.  the  daughter  of  Bordogni. 
Williams,  \i)  G.  E.,  1784— 1819; 
organist  and  composer.  (2)  Anna, 
b.  London  ;  debut,  1872  ;  soprano. 
Also  two  sisters  b.  at  Bitterley, 
England.  (3)  Anne  (b.  18 18),  so- 
prano and  (4)  Martha,  b.  1853,  con- 
tralto. 
Willing  (vTl-Ung),  (i)  Jn.  L.,  Kuhn- 
dorf,  1755 — Nordhausen,  1805  ;  or- 
ganist and  composer.  (2)  (wll'-llng) 
Chr.  Edwin,  b.  London,  Feb.  28, 
1830 ;  organist  various  London 
churches,  conductor  and  teacher. 
Willis,  (i)  H.,  b.  England,  April  27, 
1821;  prominent  org. -builder  and  im- 
prover. (2)  Richard  Storrs,  Bos- 
ton, Mass.,  Feb.  10,  18 19— Detroit, 
May  7,  1900  ;  bro.  of  N.  P.  Willis 
the'poet ;  critic  and  editor  in  N.  Y., 
later  Detroit  ;  composer. 
Willman,  (i)  Thos.  Lindsay,  d. 
Engl.,  1840;  famous  clarinettist.  (2) 
(vll'-man),  Maximilian,  b.  Forcht- 
enberg,  near  Wiirzburg,  1S12; 'cel- 
list.    (3)  ,  oldest  daughter  of 


LeiDCf 


DICTIONARY  OF  MUSICIANS   799 


oscoi 


above  ;  pianist.  (4)  Magdelena,  d. 
1801  ;  famous  soprano  ;  her  brother, 
(5)  K.,  violinist.  (6)  iMme.  Tribolet 
2nd  wife  of  (i),  d.  1812;  opera-singer. 
(7)  Caroline,  debut,  181 1;  daugliter 
of  (6)  ;  pianist  and  singer. 

Willmers  (vll -mers),  H.  Rudolf, 
Berlin,  1821 — Vienna,  1878  ;  pianist 
and  composer. 

Wil'ly,  J.  L.,  London,  1812— 1885  ; 
violinist. 

Wilm  (vllm),  Nicolai  von,  b.  Riga, 
March  4,  1834 ;  pianist ;  studied 
Leipzig  Cons.;  1857,  2nd  cond.  Riga 
City  Th.  ;  then  Petersburg,  i860; 
teacher  of  pf.  and  theory  Imp.  Nico- 
lai Inst.;  1875,  Dresden;  1878, 
Wiesbaden ;  c.  pop.  string-sextet, 
'cello  and  vln. -sonatas,  male-cho- 
ruses, etc. 

Wilms  (vtlms),  Jan  Willem,  Witz- 
helden,  Schwarzburg-Sondershausen, 
1772 — Amsterdam,  1S47;  teacher  and 
org. -composer. 

Wilsing  (vll'-zing),  Daniel  Fr.  Ed., 
b.  Horde,  near  Dortmund,  Oct.  21, 
1809;  1829-34,  organist  in  Wesel, 
then  Berlin;  c.  oratorio  ''Jesus 
Christus"  in  2  parts  (Bonn,  1889)  ; 
a  Ue  profundis  a  16  (gold  medal  for 
Art,  Berlin) ;  pf.-sonata,  etc. 

Wil'son,  (i)  J.,  Faversham,  Kent, 
1594 — London,  1673  ;  famous  luten- 
ist  and  composer.  (2)  J.,  Edin- 
burgh, 1800 — (of  cholera)  Quebec, 
1849  ;  tenor.  (3)  Mary  Ann,  1802  ; 
pupil  of  Thos.  Welsh  (q.  v.). 

Winderstein  (vln'-d^r-shtin),  Hans 
(Wm.  Gv.),  b.  Liineburg,  Oct.  29, 
1S56 ;  violinist ;  pupil  of  Leipzig 
Cons.;  also  playing  in  Gewandhaus 
Orch.;  1880-84,  leader  in  Baron  von 
Derwies'  orch.  at  Nice ;  till  1887, 
vln. -teacher  at  Winterthur  (Switzer- 
land) Cons.,  then  cond.  at  NUrnberg; 
i89>-96,  dir.  Philh.  Orch.,  at  Mu- 
nich, and  at  the  Kaim  Concerts ; 
1896,  organised  and  conducted  the 
"Winderstein  Orch.";  1898,  cond. 
Leipzig  Singakademie  ;  c.  Trauer- 
marsch,  Valse-Caprice  and  Standchen 
for  orch. ;  orch.  suite,  etc. 


Winding  (vin'-ding),  Aug.  (Henrik) 

b.  Taaro  (Laaland),  Denmark,  March 
24,  1825  ;  pianist  ;  pupil  of  Reinecke, 
Ree,  Dreyschock  and  Cade ;  dir. 
and  prof.  Copenhagen  Cons. ;  c.  vln.- 
concerto,  sonatas,  etc. 
Wing'ham,  Thos.,  London,  1846 — 
1893  ;  organist  and  composer. 

Winkel  (vlnk'-el),  Dietrich  Niko- 
laus,  Amsterdam,  ca.  1780 — 1826; 
a  mechanician;  inv.  the  "  compo- 
nium "  and  "metronome,"  which 
later  Malzel  (q.  v.)  appropriated. 

Winkelmann  (vlnk'-gl-man),  Her- 
mann, b.  Brunswick,  1845;  tenor; 
pupil  of  Koch  at  Hanover ;  debut 
Sondershausen,  1875  ;  sang  at  Alten- 
burg,  Darmstadt  and  Hamburg ; 
then  at  ct. -opera,  Vienna ;  1882, 
created  "  Parsifal  "  at  Bayreuth. 

Winn,  (i)  Wm.,  Bramham,  Yorkshire, 
May  8,  1828  ;  bass  and  teacher.  (2) 
Florence,  1857,  daughter  of  above ; 
contralto. 

Winner,  Septimus,  Philadelphia, 
1826 — Nov.  23,  1902  ;  writer  of  pop. 
songs  and  methods  ;  said  to  have 
written  200  technical  books  on  instru- 
ments and  to  have  c.  and  arranged 
over  2,000  pes.  for  vln.  and  piano  ; 
also  wrote  for  Graham's  Mag., when 
Poe  was  editor.  His  songs  include 
'■'Listen  to  the  Mocking  Bird"  and 
"  Give  us  Back  our  old  Commander"; 
founder  of  Musical  Fund  Soc. 

Winogradsky  (ve  -  no  -  grat'  -  shkT), 
Alex.,  b.  Kiev,  Russia,  Aug.  3  (new 
style),  1854;  noted  cond.;  pupil  of 
Soloviev,  Petersb.  Cons.;  1884-86,  dir. 
Imp.  Sch.  of  Mus.  at  Saratov  ;  since 
1888,  of  Imp.  Soc.  of  Mus.  at  Kiev; 
in  Paris,  1894,  he  cond.  Russian  pro- 
grammes at  the  concerts  "  d'Har- 
court  "  and  "  Colonne,"  1896. 

Winter  (vTn'-ter),  Peter  von,  Mann- 
heim, 1754 — Munich,  1825  ;  studied 
with  Abbe  Vogler,  but  mainly  self- 
taught  ;  violinist  and  ct. -conductor  ; 
composer  of  v.  succ.  operas,  38  in 
all  ;  c.  9  symphs.  incl.  "Die  Schlacht" 
and  much  church-mus. 

Winterberger     (vln'  -  t^r  -  berkh  -  ^r). 


8oo 


THE    MUSICAL    GUIDE 


Alex.,    b.  Weimar,    Aug.    14,  1834  ; 
pianist ;    pupil  of  Leipzig  Cons,  and 
of  Liszt.     1861,  pf.-prof.   at    Peters- 
burg Cons. ;   1S72,   lived  in  Leipzig; 
c.  pf.-pcs.  and  songs. 
Winterfeld  (vin'-ter-felt).  K.  G.  Aug. 
Vivigens  von,  Berlin,  1784 — 1852  ; 
libr.  and  writer  of  valuable  historical 
works. 
Wippern  (  vTp'-pern),   Louise    (Har- 
riers-Wippern),     Hildeshiem     (or 
Biickeburg),     1835(7)—  Gorhersdorf, 
Silesia,  187S  ;  operatic  singer. 
Wirth   (vert),    Emanuel,    b.    Luditz, 
Bohemia,    Oct.    18,    1842  ;    vioHnist  ; 
pupil    of    Prague     Cons.,     1S64-77 ; 
teacher    at    Rotterdam    Cons.,    and 
orch. -leader  ;  then  via. -player  in  the 
Joachim  Quartet,   Berlin,    and    vln.- 
prof.  at  the  Hochschule  ;  Royal  Prof. 
Wise,    Michael,    England,   '164S  ?— 
in    a    street    brawl,  Salisbury,   1687 ; 
tenor  and  notable  early  composer  of 
anthems,  etc. 
Wit    (vet),    Paul    de,   b.    Maesticht, 
Jan.  4,  1852  ;    'cellist    and  viola   da 
gambist  ;  coll.  of  ancient  instrs. 
Witasek  (ve'-ta-shek),  Jn.  Nepomuk 
Aug.,       Horzin,      Bohemia,     1771— 
Prague,    1S39 ;    conductor,     director 
and  pianist. 
Witek      (ve'-tek),     Anton  ;     concert- 
master  and  soloist,  Berlin  Philh.  orch., 
igo2. 
With  erspoon,      Herbert,     b.    New 
Haven,     Conn.  ;    notable  basso  can- 
tante  ;  graduated  Yale  Univ     pupil  of 
J.    W.    Hall,    N.   Y.,  and    DubuUe, 
Paris  ;   sang  in  opera.  Castle   Square 
Co.,  N.  Y.,  and  with  Boston  Symph. 
and   other   orchs.  throughout   U.  S.; 
V.  succ.  debut  in  recital,  N.  Y. ,  1902. 
Witt  (vlt),  (i)  Fr.,  Halten-Bergstetten, 
1771 — Wlirzburg,       1837;      violinist, 
conductor  and  dram,  composer.     (2) 
Julius,    b.     Konigsburg,     Jan.     14, 
18 19  ;  singing-teacher   there,  and    c. 
pop.    male    choruses.     (3)    Theodor 
de,    Wesel,    1823— (of    consumption) 
Rome,  1855  ;  organist  and  composer. 
(4)  Wm.,  Hamburg,  1826 — London, 
1900 ;    violinist    and   publisher.      (5) 


Fz.,  Walderbach,  Bavaria,  1834— 
Schatzhofen,  1888;  editor  and  writer. 
(6)  Jos.  von,  Prague,  1843 — Berlin, 
18S7  ;  tenor. 

Witte  (vit'-te),  (i)  Chr.  Gl.  Fr.,  d. 
1873  ;  org. -builder.  (2)  G.  H.,  b. 
Utrecht,  Nov.  16,  1843;  son  of  above; 
pupil  of  R.  Mus.  Sch.  at  The  Hague, 
then  of  Leipzig  Cons.;  teacher  in 
Leipzig  till  1867,  then  in  Alsatia,  1871; 
cond.  at  Essen,  1882;  R.  Mus.  Dir.; 
c.  pf. -quartet  (prize  at  Florence), 
grand  Elegv  for  vln.  and  orch.,  etc. 

Wittekopf  (vlt'-te-kopf),  Rudolf,  b. 
Berlin,  Dec.  11,  1863  ;  studied  Stern 
Cons.;  debut,  Ai.\,i8S8;  sang  Leipzig, 
1889-96;  later  in  other  cities,  incl. 
London  in  the  "  Nihehingcn  Ring." 

Wittich  (vit'-tlkh),  Marie,  b.  Giessen, 
May  27,  1868  ;  soprano ;  studied 
with  Frau  Otto-Ubridy;  sung  various 
cities  ;   1901  Dresden  ct. -opera. 

Wohlfahrt  (vol'-fart),  (i)  H.,  Koss- 
nitz,  near  Apolda,  1797 — Connewitz, 
1883;  noted  teacher,  writer  and  com- 
poser. His  sons  (2)  Fz.,  Frauen- 
priesnitz,  1S33 — Gohlis,  18S4.  (3) 
Robt.,  b.  Weimar,  Dec.  31,  1826; 
violinist,  teacher  and  writer  of  text- 
books. 

Woika  (voi'-koo),  Petresou,  b.  Rou- 
mania,  1885  (?)  ;  violinist  ;  pupil  of 
Barmas,  Stern  Cons.,  Berlin,  for  5 
vears. 

Woldemar  (v61-du-mar)  (rightly  Mi- 
chel), Orleans,  1750 — Clermont-Fer- 
rand, 1S16;  conductor  and  composer; 
wrote  methods;  inv.  a  mus. -stenogra- 
phy "  Tableau  me'lotachigraphiqiie" 
and  mus. -correspondence  ''  Notogra- 
phie." 
Wolf  (volf),  (i)  Ernst  Wm.,  Gross- 
heringen,  1735 — Weimar,  1792  ;  ct.- 
conductor;  c.  42  pf. -sonatas.  (2)  G. 
Fr.,  Hainrode,  1762— Wernigerode, 
1814;  conductor,  theorist  and  com- 
poser. (3)  Fd.,  Vienna,  1796 — 1866  ; 
writer.  (4)  L.,  Frankfort-on-Main, 
1804 — Vienna,  1859;  pianist,  violin- 
ist and  composer.  (5)  Max,  Mora- 
via, 1840 — Vienna,  1SS6  ;  c.  operet- 
■    tas.     (6)  Wm.,  b.  Breslau,  April  22, 


I, 


DICTIONARY  OF  MUSICIANS    801 


1838 :  pupil  of  Kullak,  teacher  of 
mus. -history,  Berlin,  also  writer  and 
composer.  (7)  Hugo,  Vienna,  March 
13,  i860 — 1902  ;  composer  ;  already 
there  is  in  Berlin  a  II.  W.-verein  ;  at 
5  studied  vln.  and  piano  with  his 
father;  at  8  studied  at  Vienna  Cons. ; 
prod.  succ.  comic  opera  "  Der  Cor- 
regidor  "  (Mannheim,  i8g6)  ;  c.  cho- 
ric  works  with  orch.  ''Die  Chri st- 
riae ht"  and  ''Der  Fenerreiter" ; 
male  choruses  and  about  500  songs, 
many  of  them  importantly  original. 

Wolff  (volf),  (i).  Vide  wolf  (4).  (2) 
Edouard,  Warsaw,  i8r6— Paris, 1880; 
pianist  and  composer.  (3)  Auguste 
Desire  Bd.,  Paris,  1821 — 18S7;  pia- 
nist, pf. -teacher  and  maker  ;  head  of 
firm  "  Pleyel- Wolff."  (4)  Hermann, 
Cologne,  1845 — Feb.  3,  igo2  ;  pupil 
of  Fz.  KroU  and  Wurst  ;  editor,  con- 
cert-agent and  mgr.  at  Berlin  ;  c.  pf.- 
pcs.  and  songs. 

Wdlf(f  )1  (velf-'l)(Woelfel,  Woelfle), 
Jos.,  Salzburg,  1772 — London,  1S12; 
composer;  his  enormous  hands  and 
great  contrapuntal  skill  made  him  a 
pf. -virtuoso  whose  rivalry  with  Bee- 
thoven divided  Vienna  into  factions  ; 
but  the  rivals  had  mutual  respect  and 
W.  dedicated  his  op.  6  to  B.;  c.  light 
operas  (1795-98). 

Wolfram  (vol'-fram),  (i)  Jn.  Chr., 
d.  1835;  organist  and  writer  at  Gold- 
bach,  near  Gotha.  (2)  Jos.  Maria, 
Dobrzan,  Bohemia,  1789 — -Teplitz, 
1839;  conductor  and  dram,  composer. 

Wolfrum  (vol'-froom),  Philipp,  b. 
Schwarzenbach  -  am  -Wald,  Bavaria, 
Dec.  17,  1855;  pupil  Munich  Sch.  of 
Mus.;  mus.-dir.  Heidelberg  Univ.; 
Dr.  Phil.  h.  c.  (Leipzig,  1S91);  c. 
"  Grosses  Halleluja"  and  other  cho- 
ruses, pf.-pcs.,  etc. 

Wollanck  (vol'-lank),  Fr.,  Berlin,  1782 
— 1831;  amateur  composer  of  anopera. 

Wollenhaupt  (vol'-len-howpt),  H. 
Ad.,  Schkeuditz,  near  Leipzig,  1827 
— New  York,  1863;  pianist,  teacher 
and  composer;  from  1845  in  New 
York. 

WoUick  (vol'-lTk)  (Volli'cius,  Bolli'- 


cius),  Nicolas,  b.  Bar-le-Duc; 
teacher  and  writer  at   Metz,  1 501-12. 

Wolzogen  (und  Neuhaus)  (v6i'-ts6- 
%^\\  oont  noi-hows),  (i)  K.  Aug. 
Alfred,  Freiherr  von,  Frankfort, 
1833 — San  Remo,  1883;  writer.  (2) 
Hans  (Paul),  Freiherr  von,  b.  Pots- 
dam, 1848;  son  of  above;  lived  as 
writer  at  Potsdam  till  1877.  Wagner 
made  him  editor  of  the  "Baireuther 
Blatter  r 

Wonneger  (or  Vuonnegger  (v6n'-ne- 
ger) ),  Jn.  L.,  friend  of  Glarean  ; 
pub.  an  epitome  of  G.'s  "  Dodeka- 
chordon  "  (1557). 

Wood,  (i)  Mrs.  Mary  Ann.  Vide 
p.vroN.  (2)  Henry  J.,  b.  London, 
1869;  prominent  cond.;  pupil  of  his 
father ;  at  10  an  organist  ;  18S3-S5, 
gave  org. -recitals ;  then  st.  at  R. 
A.  M.  with  Prout  and  others;  then 
cond.  societies;  1891-92,  Carl  Rosa 
Op.  Co.;  1894,  Marie  Roze  Co.; 
1895-1902,  Queens  Hall  Prom.  Con- 
certs, London.  C.  oratorio  "Doro- 
thea" (1889).  operettas,  masses, 
songs,  etc.;  wrote  treatise  on  singing  ; 
1900,  cond.  a  concert  in  Paris.  Flis 
wife,  (3)  a  Russian,  is  a  singer,  debut 
London,  1900.  (4)  Mary  Knight, 
b.  Easthampton,  Mass.,  April  7, 
1S57;  pianist;  pupil  of  B.  J.  Lang, 
A.  R.  Parsons,  J.  H.  Cornell,  and 
H.  H.  IIuss  ;  lived  in  New  York;  pub. 
about  30  songs,  many  very  popular. 

Woodman,  Raymond  Huntington, 
b.  Brooklyn,  N.  Y.,  Jan.  18,  1861  ; 
pf. -pupil  of  his  father,  of  Dudley 
Buck,  and  Cesar  Franck ;  1S75-79, 
asst. -organist  to  his  father,  at  Flush- 
ing, L.  I.;  1894-97,  mus. -editor 
"  N.  Y.  Evangelist";  since  1880, 
organist  First  Presb.  Ch.,  Brooklyn  ; 
since  1889.  head  of  org.-dept.  Metr. 
Coll.  of  Mus.,  N.  Y.,  etc.  ;  c.  pf.- 
and  org. -pes.,  etc. 

Woolf,  Benj.  Edw.,  London,  Feb., 
1836 — Boston,  Feb.,  1901  ;  at  3 
taken  to  America  by  his  father 
who  taught  him  various  instrs. ; 
studied  with  G.  R.  Bristow  (org.)  ; 
cond.  theatre-orchs.  in  various  cities  ; 


802 


THE    MUSICAL    GUIDE 


critic  Boston  "  Globe"  later  "  Sat. 
Evening  Gazette ";  prod,  operatic 
comedietta,  comic  operas  "  Pounce 
6r»  Cf."  (Boston,  i^%'>,),''  Westward 
Ho!"  (Boston,  1S94),  overture  to 
"  Comedy  of  Errors"  (1SS7),  etc. 

Wormser  (vorm-zar),  Andr^  (AI- 
phonse  Toussaint),  b.  Paris,  Nov, 
I,  1S51;  pupil  of  Marmontel  (pf.)  and 
Bazin,  Paris  Cons,  taking  ist  pf.- 
prize,  1872 ;  Grand  prix  de  Rome, 
1875  ;  lives  in  Paris  ;  c.  the  operas- 
comique  ''^  Adele  de  Ponthieu"  (Aix- 
les-Bains,  1877),  "■  Rivoli"  (Paris, 
1896);  V.  succ.  pantomime  '^  L En- 
fant Prodigue"  (Paris,  1890,  Lon- 
don, 1891,  New  York,  1893);  panto- 
mime ''  L'Idifal"  (London,  1896); 
ballet,  ''  LEtoile"  (Paris,  1897),  etc. 

Worgan,  (i)  Jas.,  d.  1753;  Engl,  or- 
ganist. (2)  J.,  d.  1794;  bro,  and 
succ.  of  above;  also  composer. 

Work,  H.  Clay,  Middletown,  Conn., 
1832 — Hartford,  18S4;  c.  "  Grand- 
father's Clock"  "  Marching  through 
Georgia"  and  other  pop.  songs. 

Wof  ton,  (i)  Wm.,  org. -builder,  15th 
cent.,  Engl.  (2)  Wm.  B.,  Torquay, 
Sept.  6,1832;  bassoonist,  saxophonist, 
oboist. 

Wouters  (voo'-tars),  (Fran.)  Adolphe, 
b.  Brussels,  May  28,  1841;  pupil,  and 
since  187 1,  pf.-prof.  at  the  Cons.; 
1886,  organist  Notre-Dame  de  Finis- 
tere,  and  cond.  at  Saint-Nicolas  ;  c.  3 
masses  solennelles  (under  pseud. 
"Don  Adolfo "),  a  grand  Te 
Deum,  overture,  etc. 

Woycke  (voi-ke),  Eugen  (Adalbert), 
b.  Danzig,  June  19,  1843  ;  pianist ; 
pupil  Leipzig  Cons.;  lived  in  Edin- 
burgh as  teacher  ;  pub.  7  pf. -sonatas. 
He  married  in  1S71,  (2)  Emily 
Drechsler  (nee  Hamilton),  concert- 
violinist,  playing  in  public  since  11. 
(3)  Victor,  b.  Edinburgh,  1872  ;  son 
and  pupil  of  above  ;  debut  as  violin- 
ist, 1S89;  1S92,  teacher  at  the  Nat. 
Cons.,  New  York. 

Woyrsch  (voirsh),  Felix  von,  b.Trop- 
pau,  Austrian  Silesia,  Oct.  8,  1S60; 
studied    with    A.    Chevallier,    Ham- 


burg, but  mainly  self-taught ;  since 
1895,  organist  and  conductor  at  Al- 
tona  ;  c.  4  comic  operas  incl.  succ. 
"  Wikingerfahrt"  {^ixxxAi&x^,  1896), 
4  choral  works  with  orch. ;  symph.; 
symph.  prologue  to  ''Divina  Co/nme- 
dia"  etc. 

Wranitzky  (fra-net'-shkl),  (i)  Paul, 
Neureusch,  Moravia,  1756 — Vienna, 
1808;  violinist,  conductor  and  dram, 
composer.  (2)  Anton,  Neureusch, 
1761 — Vienna,  1819  ;  violinist;  bro. 
and  pupil  of  above  ;  conductor  and 
composer. 

Wrede  (vra'-de),  Hanover,  182S — 
Frankfort-on-the-Oder,  1899;  pian- 
ist, conductor,  singing-teacher  and 
composer. 

Wright'on,  W.  T.,  1816— Tunbridge 
Wells,  1880 ;  English  song-com- 
poser. 

Wiierst  (vii'-grst),  Richard  (Fd.), 
Berlin,  1S24 — 1881;  teacher,  critic 
and  dram,  composer. 

Wiillner  (vll-ner),  (i)  Fz.,  Mun- 
ster,  Jan.  28,  1832 — Cologne,  Sept. 
8,  1902  ;  noted  conductor ;  studied 
Mtinster,  later  at  Berlin,  Brussels,  Co- 
logne, Bremen,  Hanover  and  Leip- 
zig, and  gave  concerts  as  pian- 
ist;  1854,  pf. -teacher  Munich  Cons.; 
1858,  town  mus.-dir.  at  Aix-la- 
Chapelle;  1861,  "  R.  Mus.  -  Dir." 
1864,  18S2,  1886  and  1890  he 
conducted  the  Lower  Rhine  Mus. 
Fest.  ;  cond.  the  ct. -chapel,  Mu- 
nich ;  1867,  dir.  choral  classes  in 
the  Sch.  of  Mus.;  in  1869,  cond. 
ct. -opera  and  the  Acad.  Concerts 
(vice  von  Bulow),  giving  Wagner's 
' ' Rheingold"  and  ' '  IVa Ikiire ' '  their 
first  hearing.  1870,  ist  ct.-cond., 
R.  Prof.  1875 ;  in  1877,  ct.-cond. 
at  Dresden,  and  artistic  dir.  of 
the  Cons.;  1883-84,  cond.  Berlin 
Philh.;  1884,  dir.  Cologne  Cons.; 
was  Dr.  Phil.  Leipzig  U.;  c.  cantata 
'^Heinrich  der  Finkler"  with  orch. 
(ist  prize,  Aix-la-Chapelle  "  Lieder- 
tafel "  1864);  new  arrangement 
(with  added  recitatives)  of  von  We- 
ber's   '"Oheron";     Psalm    125,    with 


i 


DICTIONARY  OF  MUSICIANS   803 


orch.;  Miserere  and  Stabat  Mater, 
for  double  chorus,  masses,  chamber- 
mus.,  etc.  (2)  Ludwig,  b.  Miin- 
ster,  Aug.  19,  1858  ;  son  of  above  ; 
Dr.  phil.,  then  studied  Cologne  Cons. ; 
1888,  dir.  a  church  choir ;  became 
an  actor  in  spite  of  a  vocal  impedi- 
ment, then  a  tenor  singer  in  concert, 
also  in  opera  (as  "  Tannhauser," 
etc.). 

Wunderlich  (voon'-der-likh),  Jn.  G., 
Bayreuth,  1755 — Paris,  1819  ;  flute- 
virtuoso  and  prof.  Paris  Cons.  ;  also 
composer. 

Wurfel  (viir'-f^l),  Wm.,  Planian,  Bo- 
hemia, 1791 — Vienna,  1852  ;  pianist, 
prof.,  conductor  and  dram,  composer. 

Wurm  (voorm),  (i)  Wm.,  b.  Bruns- 
wick, 1826  ;  virtuoso  on  the  cornet-a- 
pistons  ;  from  1847,  lived  in  Pe- 
tersburg, from  1862  teacher  at  the 
Cons.,  and  from  i86g  bandm. -in- 
chief  of  the  Russian  Guards  ;  c.  cor- 
net-pcs.  (2)  Marie,  b.  Southamp- 
ton, Engl.,  May  18,  i860;  pianist; 
pupil  of  Pruckner  and  Stark,  Anna 
Mehlig,  Mary  Krebs,  Jos.  Wieniaws- 
ki.  Raff  and  Frau  Schumann  ;  1884, 
won  the  Mendelssohn  Scholarship ; 
studied  with  Stanford,  Sullivan, 
Bridge  and  Reinecke ;  played  with 
succ.  Leipzig,  Berlin,  etc.;  c.  an 
overture;  a  pf. -concerto  ;  sonatas, 
etc. 

Wylde  (wild),  H.,  Bushy,  Hertford- 
shire, 1822 — London,  1890;  pianist, 
organist  and  teacher. 

Wy'man,  Addison  P.,  Cornish,  N.  H. 
(U.  S.  A.),  1832  —  Washington, 
Penn.,  1872  ;  teacher  of  vln.  and  com- 
poser. 

Wynne  (win),  Sarah  E.,  b.  Holy- 
well, Huntingdon,  March  11,  1842; 
singer,  held  Westmoreland  scholar- 
ship R.  A.  M.  ;  debut,  London,  1862  ; 
m.  Aviet  Agabeg,  1875,  and  since 
then  teacher. 

Wyns  (vens),  Charlotte  F^licie,  b. 
of  Flemish  parents,  Paris,  Jan.  11, 
1868;  mezzo-sopr. ;  pupil  Paris  Cons. , 
taking  in  1S92  3  first  prizes,  singing, 
opera  and  opera  comique  ;    engaged 


at  the  opera,  but  debuted  Op.  Com. 
as  '"Mignou" J  later  at  Th.  de  la 
Monnaie,  Brussels,  returning  to  Op. 
Com.  in  1899  ;  m.  Ed.  de  Bruijn. 
1899. 
Wyszkowski.     Vide  hofman.  c. 


X 

Xanrof  (ksah-rof)  (rightly  Leon  Four- 
neau),  b.  Paris,  Dec.  9,  1867  ;  lawyer, 
critic  and  amateur  composer  of  songs 
for  Yvette  Guilbert,  also  of  light 
stage-pcs. 

Xylander  (rightly  Holtzmann)  (kse'- 
lant-er  or  holts-man),  Wm.,  Augs- 
burg, 1532  —  Heidelberg,  1576; 
writer. 

Xyndas  (ksen'-das),  Spiridion,  Corfu, 
1812 — (in  poverty)  Athens,  1896; 
Greek  composer  of  succ.  ballad-op- 
eras. 


Yonge  (yiing).     Vide  young. 

Yost  (yost),  Michel,  Paris,  1754 — 
1786;  celebrated  clarinettist  and 
composer. 

Young,  (i)  (or  Yonge),  Nicholas,  b. 
Lewes,  Sussex  ;  d.  1619  ;  pub.  "J/«- 
sica  Transalpina, "  colls,  of  Italian 
madrigals,  1597.  (2)  Rev.  Mat- 
thew, Roscommon,  1750 — 1800  ; 
acoustician.  (3)  Thos.,  Canter- 
bury, 1809 — Walmouth,  1872  ;  the 
last  prominent  male  altoist.  (4)  J. 
Matthew  Wilson,  Durham,  Engl., 
1S22 — W.  Norwood,  1897  ;  organist 
and  composer. 

Yradier  (e-radh'-I-ar),  Sebastian,  b. 
Vittoria,  1865  ;  Spanish  song-com- 
poser. 

Yriarte  (e-rt-ar'-te),  Don  Tomas  de, 
Teneriffe,  ca.  1750 — Santa  Maria, 
near  Cadiz,  1791;  writer. 

Ysaye  (e-sl'-yii),  Eugene,  b.  Liege, 
July  16,  1858 ;  prominent  violinist, 
son  and  pupil  of  a  cond.  and  violin- 
ist, then  pupil  of  Liege  Cons.,  and  of 


8o4 


THE  MUSICAL  GUIDE 


Wieniawski  and  Vieuxtemps ;  later 
with  govt. -stipend  studied  in  Paris  ; 
till  1 88 1,  leader  in  Bilse's  orch.,  Ber- 
lin, since  has  made  v.  succ.  tours 
throughout  Europe  and  N.  America  ; 
from  1 886,  head  prof,  of  vln.  Brus- 
sels Cons.,  and  leader  "  Ysaye  Quar- 
tet"; 1893,  Chev.  of  the  Legion  of 
Honour  ;  his  quartet  played  in  Lon- 
don 1900-01;  c.  6  vln. -concertos  ; 
variations  on  a  theme  by  Paganini ; 
Poeme  elegiaque  for  vln.  with  orch. 
(or  pf.),  etc. 

Yussupoff  (yoos'-soo-pof).  Prince  Ni- 
colai,  b.  Petersburg,  1S27  ;  vio- 
linist ;  pupil  of  Vieuxtemps ;  writer 
of  treatises,  and  c.  a  programme- 
symph.  ''Gonzalvo  de  Cordova,"  with 
vln.  obbligato ;  "Concerto  syinpho- 
niqne''  for  vln.,  etc. 

Yzac  (e'-zak).     Vide  ISAAC. 


Zabalza  y  Olaso  (tha-bal'-tha  e  6-la'- 
s6),  Don  Damaso,  Irurita,  Navarre, 
1833 — Madrid,  1894  ;  pianist  and 
teacher ;  prof.  Madrid  Cons. ;  c. 
studies. 

Zabel  (tsa'-bSl),  Karl,  Berlin,  1822— 
Brunswick,  Aug.  19,  1883 ;  cond. 
and  composer. 

Zacconi  (tsak-ko'-ne),  Ludovico,  b. 
Pesaro,  1540 — ca.  1600;  monk  and 
important  theorist. 

Zacharia  (tsak-ji-re'-a),  Eduard,  b. 
Hoizappeler-Hiitte,  Nassau,  June  2, 
1828;  pastor  at  Mazsayn;  inv. 
"  Kunstpedal  "  (v.  D.D.). 

Zachau  (tsakh'-ow),  (i)  Peter,  town- 
musician,  Lubeck,  composer  for  viola 
da  gamba,  1693.  (2)  Fr.  Wm., 
Leipzig,  1663 — Halle,  1712;  Han- 
del's teacher  ;  organist  and  composer. 

Zajic  (za'-yech),  Florian,  b.  Un- 
hoscht,  Bohemia,  May  4,  1853;  vio- 
linist ;  son  of  poor  parents;  on  a 
stipend  studied  at  Prague  Cons.; 
member  theatre-orch.,  Augsburg; 
1 88 1,  leader  at  Mannheim  and  Strass- 
burg;    1889,     at     Hamburg ;    1891, 


teacher  Stern  Cons.,  Berlin;  later  at 
Klindworth-Scharwenka  Cons.  ;  has 
toured  widely  and  was  made  cham- 
ber-virtuoso 18S5  and  given  Russian 
order  of  Stanislas. 
Zamminer  (tsam'-me-ner),  Fr.,  Darm- 
stadt, 1818  (?) — Giessen,  1856;  acous- 
tician. 
Zanardini  (tsa-nar-de'-ne),  Angelo, 
Venice,  1820 — Milan,  1S93;  c.  opera, 
also  writer  and  translator  of  libretti. 
Zandt  van  (fiin-tsant),  Marie,  b. 
New  York,  Oct.  8,  1861  (daughter 
of  (2)  Jeanie  van  Z.,  singer  formerly 
in  Royal  and  Carl  Rosa  Compa- 
nies); pupil  of  Lamperti,  Milan;  de- 
but, Turin,  1879  ;  sang  in  London, 
then  from  1S80  at  Op. -Com.,  Paris, 
with  great  succ;  18S4,  temporary 
loss  of  voice  due  to  prostration 
brought  on  her  such  violent  criticism 
that  she  took  a  leave  of  absence  and 
sang  with  succ.  at  St.  Petersburg, 
etc.;  on  her  return,  1885,  she  met  the 
same  opposition  and  sang  thereafter 
in  England,  etc.;  compass  «-/'". 

Zanettini.     Vide  giankttini. 

Zang  (tsang),  Jn.  H.,  Zella  St.  Blasii, 
1733 — Mainstockheim,  1811;  cantor; 
pianist. 

Zange  (tsang'-e)  (Zang'ius),  Nico- 
laus,  d.  Berlin,  before  1620;  con- 
ductor and  composer. 

Zani  de  Ferranti  (dsa-ne  da  fer-ran'- 
te),  Marco  Aurelio,  Bologna,  1800 
— Pisa,  1878;  guitar-virtuoso. 

Zanobi.     Vide  gagi.iano. 

Zarate  (thji-ra'-te),  Eleodoro  Ortiz 
de,  b.  Valparaiso,  Dec.  29,  1865 ; 
pupil  of  Collegio  di  San  Luis  there ; 
1885  won  1st  govt,  prize,  and  studied 
Milan  Cons,  with  Saladino;  won  prize 
1886,  for  opera  "  Giovanna  la  Paz- 
sa "/  studied  in  Italy;  1895,  prod, 
the  first  Chilian  opera,  the  succ.  "Z(Z 
Fioraia  de  Litgano  "  (Santiago,  Chili, 
Nov.  10). 

Zaremba  (tsa-ram'-ba),  Nicolai  Ivan- 
ovitch  de,  1824 — Petersburg,  1879: 
teacher. 

Zarembski  (tsa-remp'-shkt),  Jules  de, 
Shitomir,    Russian    Poland,     1854— 


larliM 
Zarid 


Zanyck 


i 


DICTIONARY  OF  MUSICIANS    805 


18S5;  pianist,  pf.-prof.  and  com- 
poser. 
Zarlino  (dsar-le'-no),  Gioseffo  (called 
Zarlinus  Clodiensis),  Chioggia, 
March  22,  1517 — Venice,  Feb.  14, 
1590;  eminent  theorist,  conductor 
and  composer  ;  a  Franciscan  monk  ; 
pupil  of  Willaert  at  Venice;  from 
1565  cond.  at  San  Marco,  also  chap- 
lain at  San  Severo  ;  his  comps.  are 
almost  all  lost;  he  was  commissioned 
by  the  Republic  to  write  mus.  in  cel- 
ebration of  Lepanto,  a  mass  for  the 
plague  of  1577  and  in  welcome  of 
Henri  III.,  1574,  on  which  occasion 
he  also  c.  a  dram,  work  "  Orfeo"; 
his  theoretical  ability  is  shown  by  the 
great  work  '"  Instituzioni  harmo- 
nic he"  {iSS?>). 
Zarzycki  (zar-zek'-e),  Alex,  Lem- 
berg,  Austrian  Poland,  183 1 — War- 
saw, 1895;  pianist,  conductor  and 
dram,  composer. 
Zav(e)rtal  (tsa'-ver-tal),  Bohemian 
family,  (i)  Josef  R.,  b.  Folep,  Nov. 
5,  iSiq;  horn-player  and  leader.  (2) 
Wenceslas  H.,  Polep,  Aug.  31, 
182 1 ;  clarinettist  and  composer.  (3) 
Ladislas,  b.  Milan,  Sept.  29,  1S49  ; 
son  of  above;  conductor;  1871  t.  at 
Glasgow,  1 88 1  at  Woolwich;  prod, 
operas  "  Una  notte  a  Firenze"  and 
"  Afyrrha"  both  at  Prague,  1886. 
Zaytz  (dsa'-ets),  Giovanni  von,  b. 
Fiume,  1834;  pupil  of  Lauro  Rossi, 
Milan  Cons.;  since  1870  theatre-con- 
ductor and  singing-teacher  at  the 
Cons,  at  Agram;  c.  the  first  Croa- 
tian opera  '"Nicola  Subic  Zrinjski" 
(1876),  also  20  German  Singspiele, 
masses,  etc. 
Zeckwer  (tsek'-var),  Richard,  b. 
Stendal,  Prussia,  April  30,  1850;  pian- 
ist; pupil  Leipzig  Cons.;  from  1870 
organist  at  Philadelphia,  U.  S.  A.  ; 
1870  teacher  Phila.  mus.  acad.;  since 
1876  director,  composer. 
Zeelandia  (tsa-lan'-dl-a),  Henricus 
de,  Netherland  theorist  and  composer 
ca.  1400. 
Zeldenrust  (tsel -den-roost),  Eduard, 
b.  Amsterdam,  June  5,  1865;  pianist; 


pupil  of  Robert  Collin  ;  at  13  entered 
Cologne  Cons,  under  Fd.  von  Heller 
for  5  yrs. ;   then  studied   with  Kwast 
and  Gernsheim  in  Rotterdam  ;  later 
with  Marmontel,  Paris  Cons.;  toured 
Europe  and  America. 
Zelenka     (ze-len'-ka),   Jan   Dismas, 
Lannowicz,     Bohemia,     1679 — Dres- 
^  den,  1745;  conductor  and  composer. 
Zelenski  (zhe-len-shkl),   Ladislas,  b. 
on  the  family  estate  Gradkowice,  Ga- 
Hcia,  July  6,  1837;  pupil   of    iNlirecki 
at    Cracow,    Krejci   at    Prague,    and 
Damcke    at    Paris;  prof,    of  comp., 
later  din,  Warsaw  Cons.;  c.  a  symph., 
2  cantatas,  etc.  for  orch.;  succ.  opera 
"  Goplaua  "  (Cracow,  1S96),  etc. 
Zell,  F.     Vide  walzel. 
Zellner    (tsel'-ner),    (i;    Ld.    Alex., 
Agram,  1823 — Vienna,  1894;  son  and 
pupil  of  an  organist ;   editor,  profes- 
sor, writer  and  composer.  (2)  Julius, 
Vienna,  1832 — Wurzzuschlag,  Styria, 
1900  ;  c.  2  symphs.,  etc. 
Zelter    (tsel'-ter),    Karl   Fr.,    Berlin, 
Dec.  II,  1758 — May  15,  1832;  son  of 
a  mason;  studied  with  Kirnberger  and 
Fasch,  to  whom  he  was  assistant  and 
1800  successor  as  cond.   of  the  Sing- 
akademie ;       1809    he    founded    the 
"  Liedertafel  "  from  which  grew  the 
great    "  Deutscher   Sangerbund  "    of 
50,000    members,    for    which    he    c. 
famous  male  choruses;   1819,  founder 
and    dir.    R.    Inst,  for   church-mus.  ; 
friend  of  Goethe,  whose  songs  he  set; 
c.  also  oratorios,  etc. 
Zemlinsky  (zem-lln'-shkt),  Alex.,  b. 
of  PoHsh  parents,  Vienna,  1S77;  pu- 
pil  of    Fuchs,    Vienna    Cons.;    took 
"  Gesellschaft     der     Musikfreunde" 
prize  with  a  symph.  1897;  his  opera 
"  Sarenia"  took   a   2nd  prize,  1894, 
and    was   prod,  with    succ,  Munich, 
1897. 
Zenger  (ts^ng'-er),  Max,  b.  Munich, 
Feb.   2,    1837  ;  pupil    of   Stark,    and 
Leipzig  Cons.;  i860,  cond.  at  Ratis- 
bon;   1869    mus.-dir.  Munich   ct, -op- 
era;  1878-85,  Munich  Oratorio  Soc, 
etc.;  Dr.    Phil.    h.  c,  1897;  c.  3    op- 
eras;   succ.  oratorio   '' Kain"    (after 


8o6 


THE    MUSICAL    GUIDE 


Byron,  Munich,  1867),  cantatas  with 
orch.,  "  tragic  "  symph.,  etc. 

Zenta.     Vide  augusta  holmes. 

Zeretelev.     Vide  l.vwrowskaja. 

Zerr  (ts^r),  Anna,  Baden-Baden,  1822 
— on  her  estate,  near  Oberkirch,  1S81; 
singer. 

Zerrahn  (tser-ran'),  K.,  b.  Malchow, 
Mecl^lenburg,  July  28,  1826;  distin- 
guished conductor;  studied  with  Fr. 
Weber  and  at  Hanover  and  Berlin  ; 
184S,  America,  as  a  member  of  Ger- 
mania  Orch.;  1854-95,  cond.  Handel 
and  Haydn  Soc,  Boston;  also  cond. 
Harvard  Symph.  Concerts,  and  prof, 
of  harm.,  instr.  and  singing,  N.  E. 
Cons. 

Zeugheer  (tsoikh'-har),  Jakob  (known 
as  J.  Z.  Hermann).  Zurich,  1805 — 
Liverpool,  1865  ;  violinist  and  con- 
ductor. 

Zeuner  (tsoi'-ner),  K.  Traugott, 
Dresden,  1775 — Paris,  1841;  pianist, 
teacher  and  composer. 

Ziani  (dse-a-ne),  (i)  P.  Andrea,  Ven- 
ice, ca.  1630 — Vienna,  171 1  ;  organ- 
ist and  dram,  composer.  (2)  Marco 
A.,  Venice,  1653 — Vienna,  1715; 
nephew  of  above;  ct.  conductor  and 
dram,  composer. 

Zichy  (tse'-she).  Count  G6za,  b.  Szta- 
va,  Hungary,  July  22,  1849 ;  noted 
left-handed  piano-virtuoso ;  having 
at  17  lost  his  right  arm ;  pupil  of 
Mayrberger,  Volkmann  and  Liszt ; 
holding  high  legal  positions ;  also 
made  tours  for  charity.  1890-94,  In- 
tendant  Nat.  Th.  and  Opera,  Pesth. 
C.  succ.  operas,  "^A/r"  (Pesth, 
1896)  ;  '■'Meister  Roland"  (Pesth, 
1899,  Magdeburg,  1902),  cantata, 
etc.;  pf.-pc3. ,  for  the  left-hand  and 
studies  (with  preface  by  Liszt),  etc. 

Zimmer  (tslm'-mer),  (i)  Fr.  Aug., 
HerrengosserstJidt,  Thuringia,  1826 — 
Zehlendorf,  1899;  mns. -director  and 
writer.  (2)  Otto,  Priskorsine,  Sile- 
sia, 1827 — Breslau,  1896  ;  organist 
and  editor.  (3)  Robt.,  Berhn,  1828 
— 1857  ;   writer  and  teacher. 

Zimmermann  (tstm'-mer-man),  (i)  An- 
ton,    Pressburg,    1741 — 1781;     con- 


ductor, composer  and  organist.  (2) 
Pierre  Jos.  Guillaume,  Paris, 
March  19,  1785 — Oct.  29,  1853;  fa- 
mous pf.-teacher  ;  pupil,  later,  1816- 
48,  prof.,  at  Paris  Cons.;  c.  comic 
opera  and  many  pf.-pcs.  (3)  Agnes, 
b.  Cologne,  July  5,  1847;  pianist; 
at  9  pupil  of  London  R.  A.  M.,  win- 
ning King's  Scholarship  twice,  and 
also  silver  medal ;  debut,  Crystal  Pal- 
ace, 1863;  toured  with  great  succ: 
has  ed.  scores  and  c.  a  pf.-trio,  etc. 

Zingarelli  (tsln-ga-rel'-le),  Nicola  A., 
Naples,  April  4,  1752 — Torre  del 
Greco,  near  Naples,  May  5,  1837; 
violinist,  teacher  and  eminent  com- 
poser ;  the  succ.  of  his  operas  and 
the  greater  succ.  of  his  grand  op- 
eras throughout  Europe  was  almost 
equalled  by  his  noble  and  de- 
vout sacred  mus. ;  pupil  of  Fenarolo 
and  Speranza ;  his  first  opera  was 
prod,  at  16,  and  followed  by  another 
at  21,  but  he  had  no  succ.  till  ''Al- 
sinda,  "  written  in  7  days  (La  Scala, 
Milan,  1785);  he  followed  this  with 
many  others,  inch  his  best,  ''Giulietta 
e  Romeo"  (ibid.,  1796);  1792,  cond. 
at  Milan  Cath.;  1794,  at  Loreto ; 
1804  at  St.  Peter's,  Rome  ;  18 11,  im- 
prisoned for  refusal  to  conduct  a  ser- 
vice in  honour  of  the  King  of  Rome, 
the  son  of  Napoleon,  who  took  him  to 
Paris,  released  him,  and  paid  him  well 
for  a  mass  ;  1813,  dir.  Naples  Cons.; 
1816,  cond.  at  the  cath.;  he  was  a 
notable  teacher  ;  c.  31  operas,  masses 
of  all  kinds  in  a  series  ''Anmialedi 
Loreto  "  for  every  day  in  the  year,  80 
magnificats,  etc. 

Zinkeisen  (tstnk'-I-zen),  Konrad  L. 
Dietrich,  Hanover,  1779 — Bruns- 
wick, 1838  ;  violinist,  conductor  and 
composer. 

Zipoli  (dse'-p6-le),  Dom.,  organist, 
Jesuit  Church,  Rome  ;  pub.  important 
clavier-sonatas,  treatises,  etc.  (1726). 

Zoeller  (tsel'-ler),  Carl,  Berlin,  1849 
— London,  1889  ;  writer  and  notable 
composer. 

Zoilo  (dso'-e-l6),  Annibale,  conducta( 
at  Laterano,   Rome,  1561-70;  1571, 


DICTIONARY  OF  MUSICIANS   807 


singer,  Papal  Chapel  ;  c.  madrigals, 
etc. 

Zollner  (tsel'-ner),  (i)  K.  H.,  Oels, 
Silesia,  1792 — Wandsbeck,  near 
Hamburg,  1836  ;  org. -virtuoso,  writer 
and  dram,  composer.  (2)  K.  Fr., 
Mitteihausen,  Thuringia,  March  17, 
iSoo — Leipzig,  Sept.  25,  i860;  fa- 
mous composer  of  male  choruses; 
pupil  of  Schicht,  Thomasschule,  Leip- 
zig ;  vocal-teacher  there,  founded  a 
Liedertafeln  "  ZoUner-verein,"  other 
sees,  of  similar  nature,  organised  1859 
to  form  a  "  Z-band."  (3)  H.,  b.  Leip- 
zig, July  4,  1854 ;  son  of  above  ;  pu- 
pil Leipzig  Cons.;  1878,  mus.-dir. 
Dorpat  Univ.;  1885,  Cologne  Cons, 
and  conductor  various  vocal  socs.; 
1889,  toured  Italy  with  a  male  cho- 
rus ;  from  1840,  cond.  New  York 
"  Deutscher  Liederkranz";  1898, 
mus.-dir.  Leipzig  University  and 
cond.  "  Paulinerchor";  c.  4  operas, 
3  choral  works  with  orch.,  cantata 
'■'Die  neue  Welt"  (won  international 
prize,  Cleveland,  Ohio,  1892),  a 
symph.,  oratorio,  male  choruses,  etc. 
(4)  Andreas,  Arnstadt,  1804 — Mein- 
ingen,  1S62  ;  mus.-dir.  and  comp. 

Zopff  (tsopf),  Hermann,  Glogau,  1826 
— Leipzig,  1S83  ;  editor,  writer  and 
dram,  composer. 

Zschiesche  (tshe'-she),  Aug.,  Berlin, 
1800 — 1876;  dram.  bass. 

Zschocher  (tshokh'-er),  Jn,,  Leipzig, 
1821 — 1897  ;  pianist. 

Zuccalmaglio  (dsook  -  kal  -  mal'  -  yo), 
Anton  Wm.  Florentin  von,  Wal- 
drol.  1803 — Nachrodt,  Westphalia, 
1869  ;  contributor  to  Schumann's 
periodicals. 

Zumpe  (tsoom'-pe),  Hermann,  b. 
Taubenheim,  Upper  Lusatia,  April 
9.  1850  ;  grad.  Seminary  at  Bautzen  ; 


taught  a  year  at  Weigsdorf ;  from 
1871  at  Leipzig;  also  studied  with 
Tottmann  ;  1S73-76,  at  Bayreuth,  as 
copyist  and  asst.  to  Wagner ;  there- 
after th.  cond.  various  cities  ;  i8gi, 
ct.-cond.  at  Stuttgart;  1895,  ct..- 
cond.  Munich ;  later  at  Schwerm 
igoi,  Meiningen  ;  c.  2  operas ;  v. 
succ.  operettas  '''Farinelli"  (Vienna 
1886),  ''Karin"  (Hamburg,  1888). 
and  "'Polnische  Wirthschaft"  (Ber- 
Hn,  1891) ;  overture  "  Wallenstein^s 
Tod,"  etc. 

Zumsteeg  (tsoom'-shtakh),  (i)  Jn. 
Rudolf,  Sachsenflur,  Odenwald,  1760 
— Stuttgart,  1802  ;  'cellist  and  ct.- 
conductor ;  c.  operas  and  important 
"  durch-kompgnirten  "  ballads,  before 
Lowe  (q.  v.).  His  daughter  (2) 
Emilie,  Stuttgart,  1797 — 1857,  was 
a  pop.  song-composer. 

Zur  Miihlen  (tsoor-mii'-len),  Rai- 
mund  von,  b  on  his  father's  estate, 
Livonia,  Nov.  10,  1854 ;  concert- 
tenor  ;  studied  at  Hochschule,  Ber- 
lin,  with  Stockhausen  at  Frankfort, 
and  Bussine  at  Paris. 

Zur  Nieden(tsoor  ne'-den),  Albrecht, 
Emmerich -on- Rhine,  18 19 — Duis- 
burg,  1872  ;  mus. -director,  conductor 
and  composer. 

Zvonar  (tsvo'-narzh),  Jos.  Ld.,  Kub- 
lov,  near  Prague,  1824 — Prague, 
1865  ;  teacher,  theorist  and  dram, 
composer. 

Zweers  (tsvars),  Benhard,  b.  Amster- 
dam, and  lived  there  as  composer  of 
4  symphs. ,  sonatas,  etc.;  studied  with 
Jadassohn. 

Zwintscher  (tsvint'-sher),  (i)  Bruno, 
b.  Ziegenhain,  Saxony,  May  15,  1838  ; 
pianist  ;  pupil  of  Julius  Otto,  then  of 
Leipzig  Cons. ;  1875-98,  teacher  there; 
writer.  (2)  Rudolf,  pianist  in  London. 


o!  tf)t  (Operas 


errata* 

(Not  corrected  in  the  supplement.) 

Page  379,  col  b Ssafiddin  should  be  Safieddin. 

Page  381,  col.  b Agrel  should  be  Agrell. 

Page  442,  col.  a Breuning  should  be  Breunung. 

Page  444,  col.  b.,  line  34 Kerim  should  be  Kdrim. 

Page  445,  col.  a.,  line    9 Bebroid  should  be  Debrois. 

Page  449,  col.  a.,  line  30 ka-bal-la-ro  should  be  ka-vil-la'-ro. 

Page  453,  col.  a.,  line  16 Firmin  should  be  Philippe. 

Page  454,  col.  a.,  line  30 London  should  be  Dublin. 

Page  459,  col.  a.,  line    3 February    22,    1810    is    correct.     See 

supplement. 

Page  459,  col.  a.,  line  12 Zwyny  should  be  Zywny. 

Pafe  464,  col.  a.,  line  31 1882  should  be  September  2,  1907. 

Page  481,  col.  b.,  line  46 Eminy  should  be  Emmy. 

Page  507,  col.  b.,  line  48 1807  should  be  1897. 

Page  563,  col.  a., Hillenmacher  should  be  Hillemacher, 

Page  582,  col.  a.,  line  38 omit  "  Helmann  the  Fool." 

Page  595,  col.  a.,  line  24 1900  should  be  December  21,  1899. 

Page  601,  col.  a.,  line  24 1884  should  be  1894. 

Page  603,  col.  a.,  line  39 1804  should  be  1802. 

Page  603,  col.  a.,  Une  50 Le-a-dof  should  be  L'ya'-dof. 

Page  610,  col.  a.,  line  26 1852  should  be  1582. 

Page  619,  col.  b.,  line  42 Solar  should  be  Soler. 

Page  619,  col.  b.,  line  44 May,  1810,  should  be  March  3,  1806. 

Page  630,  col.  a.,  line  15 July  should  be  June  30. 

Page  653,  col.  b.,  line  23 1898  should  be  January  8,  1904. 

Page  656,  col.  b.,  line    4 Mayence,  1841,  should  be  Mannheim, 

April  30,  1842. 

Page  680,  col.  b.,  line  37 1863  should  be  1893. 

Page  710,  col.  b.,  line  18 1818  should  be   1816.  ^ 

Page  736,  col.  a.,  line  29 Serrao  should  be  Serrao. 

Page  738,  col.  a.,  line  39 1847  should  be  1837. 

Page  755,  col.  b.,  line  10 1710  should  be  1700. 

Page  760,  col.  a.,  line  40 December  25  should  be  April  25  (or 

May  7,  N.  S.). 

Page  763,  col.  b.,  line  36 K.  L.  should  be  J.  F.  L. 

Page  770,  col.  b.,  line  27 1756  should  be  1750. 

Page  806,  col.  a.,  Une  48 1827  should  be  1822. 


Tbj:! 


Supplementary  Stories 
of  t|)e  d^peras 


MASSENET,  JULES.  appears  laughing  with  two  slave  girls, 

Crobyle   and   Myrtale.     He   welcomes 

Thais  fta  es)  Athanael  as  an  old  friend.    Athanael 

A  three-act  lyric  comedy.  Book  by  f^P^^^s  of  Thais,  for  whom  Nicias  has 

Louis  Gallet   (based  on  the  novel  by  bankrupted  himself .     He  warns  Athan- 

Anatole  France).  f^^  agamst  her,  but  consentsto  arrange 

Produced  at  the  Opera,  Paris,  1894.  ^^^'^  meetmg     In  fact  she  is  expected 

'      ^  for  supper  this  night.     Athanael  asks 

CHARACTERS.  fo^  decent  raiment,  and  the  slave  girls 

,       ,       ^,,                     ,  laughingly  adorn    and    perfume    him, 

Athanael  (a-ta-na-gl) bar.  ^^^^^^  ^j^^y  ^^^  ^^^  beautiful  as  a  young 

Nicias  (ne  -si-as)  .  ._ .ten.  g^j     ^  ^^^^^  ^l^rong  of  reveUers  and 

Palemon  (pa-la-m6n)    bass.  philosophers  pour  m,  preceding  Thais. 

Thais  sopr.  ghe  arrives  for  her  last  visit  with  Nicias 

Albine  (ai-ben)  after  "one  whole  long  week  of  con- 

Crobyle  (kro-bel)  stancy."     She    meets    Athanael    and 

Myrtale  (mer-tal)  demands  why  he  is  so  severe  {Qui  tefait 

Place  of  action:  Egypt,  in  the  early  ^i  ^f^ere)      She  swears  that  nothing  is 

Christian  Era.  ''^^'  "^^  love,  and  invites  him  to  wreathe 

his  head  with  roses  and  watch  her  pos- 

Act  I. —  Scene  i.    A   settlement  of  turing   again    as   Aphrodite.    But   he 

hermit  Cenobites  on  the  Nile.    Twelve  flees  in  horror. 

holy  men  are  eating  their  frugal  meal,  Act  n. —  Scene.  The  home  of  Thais, 
among  them  Palemon.  They  are  await-  She  dismisses  her  friends  wearily,  and, 
ing  the  return  of  Athanael.  ~  He  returns  left  alone,  begs  her  faithful  mirror  to 
from  Alexandria  fagged  and  dejected,  reassure  her  that  she  will  always  be 
and  describes  the  power  of  a  priestess  of  beautiful  (Dis-moi  que  je  sttis  toujours 
Venus  named  Thais,  whom  he  had  belle).  She  sees  Athanael,  who  declares 
known  in  his  youth  and  whom  now  he  that  he  loves  her,  but  not  as  she  under- 
wishes  to  save.  Palemon  and  the  stands.  A  duel  between  sacred  and 
others  warn  him  not  to  meddle  with  profane  love  ensues,  and  each  begins  to 
such  evil,  and  Athanael  falls  asleep.  In  influence  the  other  strangely.  Thais 
a  vision  he  beholds  a  crowded  theatre  sprinkles  incense  on  the  altar  of  Venus, 
where  the  half-naked  Thais  postures.  and  Athanael  trembles.  But  he  tears 
As  the  vision  vanishes,  he  awakens  with  away  his  gorgeous  robe  and  reveals  him- 
horror  and  vows  to  save  her,  praying  for  self  as  a  monk,  cursing  her  hfe  and  bid- 
aid  to  the  God  of  Pity  {Toi  qui  mis  la  ding  her  forsake  it.  She  throws  herself 
pitie  dans  nos  dmes) .  The  Cenobites  at  his  feet  and  the  voice  of  Nicias  heard 
anxiously  bid  him  farewell.  in  the  distance  fills  her  with  loathing. 

Scene  11.    The  terrace  of  the  palace  Athanael  tells  her  that  he  will  wait  for 

of    Nicias.     Athanael    with    difficulty  her  on  her  doorstep  until  dawn,  but  she 

persuades  a  slave  to  summon  his  master.  turns  against  him  and  drives  him  out; 

While  he  waits,  he  contemplates  the  then  falls  weeping  on  her  pillows, 

panorama  of  the  terrible  city    {Voilci  After  a  sjonphonic  interlude  in  the 

done  la  terrible  cite).     He  calls  upon  the  form  of  religious  meditation,  the  scene 

angels  to  purify  its  corruption,  as  Nicias  changes  to  a  square  before  her  house. 

81J    • 


8l2 


THE  MUSICAL  GUIDE 


In  the  moonlight  Athanael  is  seen  lying 
on  the  steps.  In  the  distance,  the 
home  of  Nicias  is  brilliant  and  noisy 
with  revelry. 

Thais  appears  and  Athanael  promises 
to  lead  her  to  a  monastery  in  the  desert. 
But  first  she  must  destroy  all  the  monu- 
ments of  her  shame.  She  must  burn 
her  house  and  her  goods.  She  consents, 
but  asks  only  to  save  one  little  ivory 
image  of  Cupid,  for  "Love  is  a  virtue 
rare"  {U amour  est  tine  vertu  rare). 
She  wishes  to  take  this  image  to  the 
convent;  it  was  a  gift  from  Nicias. 
Athanael  hurls  the  statuette  to  the 
ground.  Thais  meekly  submits  and 
they  go  within  to  bum  the  palace. 
Nicias  and  a  crowd  of  revellers  fill  the 
square.  The  two  slave  girls  sing  of  a 
new  charmer,  who  is  more  beautiful 
than  the  Queen  of  Sheba  {Celle  qui 
lient  est  plus  belle).  At  the  end  of  this 
duet  and  during  the  dance,  Athanael 
appears  with  a  lighted  torch,  leading 
Thais  meanly  clad  and  followed  by  her 
sorrowful  slaves.  While  the  palace 
bums,  the  crowd  tums  on  Athanael 
and  Thais  and  would  stone  them,  but 
Nicias  saves  them  from  violence  by 
throwing  gold  into  the  mob. 

Act  ni. —  Scene  i.  The  oasis,  with 
the  white  cells  of  the  retreat  of  the  nuns 
of  Albine.  Thais  and  Athanael,  greatly 
fatigued,  struggle  in.  He  is  rough  with 
her  until  she  swoons;  then  a  change 
comes  over  him  and  his  heart  bleeds  for 
her  bleeding  feet,  which  he  kisses,  hail- 
ing her  as  a  saint.  He  goes  to  the  well 
for  water,  and  she  blesses  him  as  a  mes- 
senger from  God  {0  messager  de  Dieii). 
He  brings  her  water  and  fmits  while 
the  white  nuns  of  Albine  appear  sing- 
ing a  Latin  hymn.  Athanael  greets 
Albine  and  presents  Thais  to  her. 
Thais  bids  Athanael  farewell  forever. 
The  word  shocks  him,  and  as  he  sees 
her  led  away  in  Albine's  arms,  a  cr>'  of 
anguish  escapes  him. 

Scene  ii.  The  Cenobite  settlement 
again  with  a  night  of  storm  coming  on. 
Athanael  has  returned  and  spent  twenty 


days  of  fasting.  He  comes  out  of  his 
hut  and  asks  Palemon  to  confess  him. 
In  saving  the  soul  of  Thais,  he  has  lost 
his  own.  His  mind  is  filled  with  visions 
of  Aphrodite.  He  falls  asleep  and  sees 
her  again  in  all  her  fleshly  charms.  The 
vision  vanishes  in  strident  laughter, 
giving  place  to  a  new  vision,  the 
Monastery  of  Albine,  where  Thais,  all 
in  white,  is  dying,  surrounded  by  the 
kneeUng  nuns.  Athanael  awakens  in  a 
frenzy  of  revolt  and  dashes  out  to  re- 
claim her. 

The  scene  changes  to  the  Convent 
garden,  where  Albine  and  the  nuns 
moan  over  the  saintly  Thais,  who  has 
saved  her  soul,  but  worn  out  her  life 
with  her  penances.  Athanael  appears 
and  is  greeted  with  respect  as  a  vener- 
able saint.  He  drags  himself  on  his 
knees  to  the  side  of  Th^s,  who  weakly 
reminds  him  that  his  promise  of  Heaven 
and  redemption  are  fulfilled.  She  sees 
the  angels  and  God.  But  Athanael 
protests  that  nothing  is  true  but  life  and 
love.  And  when  she  dies,  he  falls  to 
the  ground  with  a  terrible  cry. 

SMETANA,  FRIEDRICH 
The    Bartered    Bride.      Prodana 

Nevesta  (pro'-da-na  ngv-yes'-ta)    B. 

Die  Verkaufte  Braut  (de  fer-kowf'-t6 

browt)  G. 

A  comic  opera  in  three  acts.  Book 
by  Karl  Sabina. 

Produced,  National  Theatre,  Prague, 
May  30,  1866. 

CHARACTERS 

Hans     ten. 

Wenzel  (ven'-tsel)  ten. 

Kezal  (ka'-tsal) bar. 

KRUscHiNA(kroo-she'-na)     bass. 

Springer    bar. 

Muff 

MiCHA  (me-kha) 

Marie    sopr. 

Kathinka  (ka-teenk'-a)    ....  mez-sopr. 

Esmeral'da 

Agnes 


STORIES  OF  THE  OPERAS        813 


Act  I.— Scene.  The  Square  of  a 
Bohemian  village  during  a  Spring 
Church  Festival.  The  chorus  is  rejoic- 
ing in  the  coming  of  Spring,  but  Marie 
is  sad.  Hans,  her  lover,  asks  her  why, 
and  is  told  that  she  is  to  be  the  bartered 
bride  of  the  son  of  Micha.  She  is  puz- 
zled at  the  calmness  of  Hans,  and  asks 
him  to  explain  the  mystery  of  his  origin. 
He  tells  her  that  he  is  the  son  of  a  rich 
man,  but  he  left  home  on  the  death  of 
his  mother.  He  bids  her  to  be  of  good 
cheer  and  goes.  She  hides  as  her  father 
and  mother,  Kruschina  and  Kathinka, 
come  in  with  the  marriage  broker,  Kezal. 
Kezal  has  arranged  a  marriage  for 
Marie  with  the  son  of  Micha,  whose 
elder  son  has  disappeared.  Kezal  sings 
the  praises  of  the  younger  son,  Wenzel. 
Marie  appears  and  refuses  the  match 
declaring  her  love  for  Hans.  Kezal 
shows  the  agreement  with  Micha,  but 
Marie  knocks  it  out  of  his  hand.  Kezal 
promises  to  talk  to  Hans,  and  the  act 
ends  with  a  country  dance,  called  "  the 
hen." 

Act  II. —  Scene.  A  room  in  the  inn, 
Hans  at  one  table,  Kezal  at  another. 
A  beer-chorus  is  sung  and  Hans  toasts 
love,  while  Kezal  toasts  cash.  After  a 
wild  dance  called  a  "furiant"  the  scene 
is  emptied,  and  Wenzel  enters  stut- 
tering a  song  about  his  mother's  ad- 
vice to  her  "Dear  Son"  (T^a*'  .  .  . 
theurer  Sohn).  Marie  appears  and  is 
amused  at  her  prospective  bridegroom, 
but  Wenzel  does  not  suspect  her  iden- 
tity. She  persuades  him  that  Marie 
wiU  be  a  wretched  wife,  and  promises 
to  find  him  another.  He  repeats  her 
oath  that  he  will  forswear  Marie,  and 
follows  her  when  she  runs  away.  Kezal 
drags  Hans  in  and  begs  him  not  to 
interfere  with  the  wedding.  Kezal 
described  love  as  a  folly  {Wer  in  Lieb' 
entbranni).  He  promises  to  get  Hans 
another  bride  and  to  give  him  three 
hundred  gulden.  Hans  consents  on  one 
condition,  that  Marie  shall  marry  no 
one  but  Micha's  son.  The  duped  Kezal 
hurries  away  in  delight  to  draw  up  the 


contract,  and  Hans  rejoices  in  the 
happiness  awaiting  him  {Es  muss 
gelingen).  Kezal  returns  with  the 
others  and  reads  the  marriage  contract 
by  which  Hans  gives  up  all  claims  to 
Marie  in  favour  of  the  son  of  Micha. 
Hans  signs  the  paper  while  the  villagers 
revile  him  for  selling  his  bride. 

Act  ni. —  Scene.  The  same  room. 
Wenzel  is  grieving  that  Marie  has 
escap)ed  him,  when  Springer,  a  circus 
man,  arrives  with  his  troupe,  including 
Esmeralda,  the  tight-rope  walker,  a 
wild  Indian  chief  and  a  great  trained 
bear.  A  brief  performance  is  given 
and  Wenzel  falls  in  love  with  Esmeralda. 
The  Indian  chief  tells  Springer  that 
the  actor  who  plays  the  trained  bear 
is  drurik.  In  his  desperation  Springer 
appeals  to  Wenzel  to  join  the  troupe 
and  promises  him  a  Hfe  of  joy  with 
Esmeralda,  who  teaches  him  how  to 
dance  as  a  bear.  His  mother,  Agnes, 
his  father,  Micha,  and  Kezal  arrive  to 
lead  him  to  the  ceremony;  but  he 
declines  the  marriage.  Marie  rushes 
in  in  an  agony  of  grief  because  Hans  has 
betrayed  her  and  sold  her.  Left  alone, 
she  broods  upon  her  sorrow  {Wie 
fremd  und  todt  ist  Alles  iiniher).  Hans 
rushes  to  her,  but  is  repulsed,  and  she 
announces  that  she  will  marry  Wenzel. 
Kezal  appears  and  Hans  still  appeals 
for  trust  (Gesegnet,  wer  da  liebt  und 
anch  vertratd!)  The  others  return  and 
Hans  is  recognized  by  his  father  and 
mother.  Marie,  understanding  his  plot 
rushes  to  his  arms,  and  Kezal  dashes 
away  from  the  general  ridicule.  Loud 
cries  are  heard  that  the  bear  has 
escaped  and  there  is  a  general  panic,  but 
the  bear  exclaims  "Don't  be  afraid! 
I'm  only  We-We-Wenzel!"  and  the 
opera  ends  in  cries  of  "Long  life  to  the 
Bartered  Bride. " 

STRAUSS,  RICHARD. 

Salome  (sal-o-ma')  F.    (sS-lo'-me)  E. 

Drama  in  one  act.     German  text  by 

Frau  Hedwig  Lachmann  (founded  on 


8i4 


THE  MUSICAL  GUIDE 


the  drama  written  in  French  by  Oscar 
Wilde). 

Produced,  Dresden,  Dec.  9,  1905; 
New  York,  1907,  the  subscribers  de- 
manding its  withdrawal. 

CHARACTERS 

Her'od  An'tipas  ten. 

IoKANAA^f  (yo-kan'-an) bar. 

Nar'raboth, 

A  young  Syrian;  Captain  of  the 

Guard     ten. 

Tigelli'ntjs, 

A  young  Roman 

A  Cappado'cian bass. 

A  Nubian 

The  Page    contr. 

Naaman  (na'-man), 

The  executioner 

Heroidias   mez-sopr. 

Salome sopr. 

The  story  is  based  upon  the  account 
in  the  New  Testament.  Salome  is  the 
daughter  of  Herodias  by  her  first  hus- 
band, Herod  Phillip.  The  second  hus- 
band, Herod  Antipas,  has  imprisoned 
lokanaan  (John  the  Baptist)  in  a  well 
because  he  denounced  Herod  for  marry- 
ing his  own  brother's  wife. 

Scene.  A  terrace  of  Herod's  palace 
above  the  banquet  hall.  At  the  back, 
an  old  cistern.  Soldiers  are  leaning 
over  the  balcony  and  watching  the 
banquet,  discussing  the  beauty  of 
Salome,  the  quarrelsomeness  of  the 
Jews  and  the  gloom  of  Herod.  Narra- 
both,  a  young  Syrian,  Captain  of  the 
Guard,  stares  with  idolatry  at  Salome. 
The  voice  of  lokanaan  is  heard  from  the 
well,  prophes}-ing  the  coming  of  a 
mightier  than  he.  The  Cappadocian 
thinks  that  the  cistern  is  a  strange 
prison  for  a  man,  but  a  soldier  tells  him 
that  Herod  kept  his  elder  brother,  the 
first  husband  of  Herodias,  imprisoned 
there  for  twelve  years,  and  then  sent  his 
ring  to  the  executioner,  Naaman,  who 
strangled  him.  Narraboth  exclaims 
that  Salome  is  leaving  the  table,  and 


Salome  enters,  complaining  that  she 
could  not  endure  the  strange  stare  of 
Herod.  She  is  glad  to  be  in  the  garden 
away  from  the  crowds;  she  hears  the 
voice  of  lokanaan,  and  asks  about  him. 
A  slave  comes  from  Herod  to  beg  her  to 
return,  but  she  refuses,  and  insists  that 
the  soldiers  bring  lokanaan  forth  from 
the  cistern.  They  are  afraid,  but  she 
beguiles  Narraboth  into  disobeying 
Herod's  orders,  and  the  Prophet  is 
brought  fon\'ard,  denouncing  Herod 
and  Herodias.  He  terrifies,  yet  fascin- 
ates, Salome,  and  she  speaks  to  him. 
He  denounces  her  and  her  mother,  but 
she  grows  all  the  more  amorous  of  him. 
Again  he  rebukes  her  as  a  daughter  of 
Babylon.  She  turns  upon  him  in 
fury,  only  to  grow  ardent  again.  She 
longs  to  caress  and  to  kiss  him.  Narra- 
both's  heart  breaks  with  jealousy  and  he 
slays  himself  and  falls  between  Salome 
and  lokanaan.  The  young  page  of 
Herodias,  who  had  foreseen  omens  in 
everything  on  this  fateful  evening,  be- 
wails the  death  of  Narraboth,  but 
Salome  does  not  even  see  the  body,  so 
fiercely  is  she  pleading  for  the  lips  of 
lokanaan.  He  reviles  her,  and  bids  her 
go  seek  One  whom  she  will  lind  by  the 
Sea  of  Galilee,  but  she  will  not  cease 
demanding  his  love,  and  he  curses  her  ; 
and  returns  to  the  well. 

Herod  and  Herodias  and  the  Court 
appear,  Herod  demanding  why  Salome 
had  not  returned  to  the  banquet  as  he 
commanded.  He  notes  that  the  moon 
has  a  strange  look  like  a  mad  woman. 
Herod  calls  for  torches  and  wine  that 
he  may  do  honour  to  Tigellinus,  the 
Ambassador  of  Caesar.  He  slips  on  the 
blood  of  Narraboth,  and  finds  that  an 
ill  omen.  He  sees  the  corpse  of  Narra- 
both and  learns  that  he  has  slain  him- 
self. Herod  remembers  that  Narraboth 
looked  too  much  at  Salome.  Herodias 
says  that  Narraboth  is  not  the  only  one 
who  looked  too  much  at  Salome,  and 
bids  him  go  within.  But  he  calls  again 
for  ^\'ine  which  Caesar  himself  sent  him, 
and  asks  Salome  to  sip  from  his  cup. 


I 


STORIES  OF  THE  OPERAS        815 


She  refuses,  and  he  calls  for  fruit,  but 
she  will  not  eat.  Herodias  in  fury  de- 
nounces Herod  as  the  son  of  a  camel 
driver.  He  invites  Salome  to  share  his 
throne.  The  voice  of  the  Prophet 
comes  from  the  well  denouncing  Herod. 
The  Jews  ask  that  lokanaan  be  de- 
livered into  their  hands,  but  Herod 
answers  that  lokanaan  is  reputed  to  be 
the  prophet  Elias  returned.  lokanaan 
predicts  the  coming  of  the  Saviour  of 
the  World.  Tigellinus  protests  that 
this  is  a  title  of  Caesar's.  Other  Jews 
describe  the  miracles  of  Christ,  and 
Herod  wishes  Jesus  apprehended  and 
forbidden  to  raise  the  dead.  The 
Prophet's  voice  still  thunders  from  the 
well,  and  Herodias  demands  his  life,  but 
Herod  refuses  it.  He  stares  always  at 
Salome  and  begs  her  to  dance.  She 
refuses.  He  commands  her.  She  re- 
fuses. He  pretends  indifference  and 
loudly  declares  himself  happy  and  con- 
tent. But  again  he  begs  Salome  to 
dance  away  his  gloom,  promising  her 
whatsoever  she  may  ask,  even  to  the  half 
of  his  kingdom.  Salome  takes  off  her 
sandals  in  spite  of  her  mother's  pro- 
tests. Herod  warns  her  that  she  will 
dance  upon  the  blood  on  which  he  has 
slipped:  but  she  dances  "The  Dance  of 
the  Seven  Veils." 

Herod,  overjoyed,  now  asks  her  her 
fee,  and  she,  to  her  mother's  delight, 
calls  for  the  head  of  lokanaan  on  a  silver 
charger.  Herod  is  aghast  and  protests 
and  pleads,  but  Herodias  and  Salome 
remind  him  of  his  oath.  He  offers 
jewels  and  fifty  white  peacocks,  but  she 
is  immovable.  He  warns  her  of  the 
evil  omens  and  promises  her  all  manner 
of  gifts,  even  to  the  Veil  of  the  Sanctu- 
ary, but  she  repeats,  "  Give  me  the  head 
of  lokanaan. "  At  last  he  yields.  He 
draws  from  his  hand  the  ring  of  death 
and  gives  it  to  a  soldier  who  bears  it  to 
the  executioner.  The  executioner,  with 
a  look  of  terror,  descends  into  the  cis- 
tern. Salome  leans  over  the  edge  and 
describes  what  she  sees.  The  execu- 
tioner is  afraid  and  will  not  strike.     But 


at  last,  his  huge  black  arm  comes  forth 
from  the  cistern,  bearing  on  a  shield  the 
head  of  lokanaan.  Salome  seizes  it  as 
Herod  hides   his  head    in   his    cloak. 

Herodias  smiles  and  the  Nazarenes 
kneel  in  prayer. 

Salome  gloats  over  the  head,  and 
taunts  it  with  having  retused  the  kisses 
she  demanded.  She  kisses  the  helpless 
lips  of  the  dead  lokanaan,  and  cries  out 
her  love  for  him. 

Herod  sickens  and  cries  out  against 
her  as  a  monster.  He  orders  the 
torches  quenched,  and  as  the  cloud  hides 
the  moon  and  the  hideous  courtship  of 
Salome,  Herod  cries,  "Kill  that 
woman!"  The  soldiers  hurl  their 
shields  upon  her. 

STRAUSS,  RICHARD 

Elek'tra 

Tragic  opera  in  one  act.  Book  by 
Hugo  Hoffmannsthal. 

Produced,  Dresden,  January  25, 
1909;  New  York,  February  i,  1910. 

CHAIIACTERS 

Elek'tra sopr. 

Chrysothemis  (kre-s6th'-a.-mis)  .sopr. 
Klytaemnestra  (kle-tem-ngs'-tra) 

mez-sopr. 

Aegisthus  (e-jis'thus) ten. 

Ores'tes bar. 

Foster  Father  of  Orestes bass. 

A  Young  Servant ten. 

An  Old  Servant bass. 

The  Confidant sopr. 

Overseer  of  the  Servants sopr. 

Trainbearer sopr. 

Five  Serving  Women 

The  story  is  based  upon  the  Greek 
legends  somewhat  as  treated  in  the 
tragedies  by  Sophokles  and  Euripides. 

Elektra  was  the  daughter  of  King 
Agamemnon  and  his  wife,  Klytaemnes- 
tra. During  the  absence  of  Agamem- 
non at  the  Trojan  war  his  wife  carried 
on  an  intrigue  with  Aegisthus.  When 
Agamemnon  returned  home  he  was 
slain  in  his  bath  by  his  wife  and  her 


8i6 


THE  MUSICAL  GUIDE 


paramour.  The  Queen  treated  her 
children,  Elektra  and  Orestes,  with 
great  cruelty,  and  they  finally  conspired 
to  murder  her  and  her  lover. 

The  German  author  has  introduced 
the  character  of  Chrysothemisas  a  sister 
of  Elektra. 

Scene.  A  courtyard  of  the  palace 
showing  the  servants'  quarters  and  a 
well.  Five  serving  maids  are  grouped 
about  the  well  under  the  direction  of 
the  Overseer.  They  are  discussing  the 
ferocious  and  uncanny  behaviour  of 
Elektra,  who  is  a  veritable  wildcat. 
Some  of  the  maids  have  sympathy  for 
her  because  she  is  beaten  and  treated 
like  a  beast.  When  they  have  gone, 
Elektra  appears,  brooding  over  the 
murder  of  her  father,  which  s'le  sees 
enacted  before  her.  She  longs  for  the 
day  when  her  father  shall  be  revenged, 
and  when  she  shall  dance  over  the 
bodies  of  her  guilty  mother  and  the 
wicked  Aegisthus.  Her  sister,  Chry- 
sothemis,appea.rs  and  warns  Elektra  that 
she  is  to  be  thrown  into  a  dungeon. 
Chrvsothemis  longs  for  a  life  of  love  and 
motherhood,  but  Elektra  rebukes  her 
for  her  weakness  and  sends  her  away,  as 
Klytaemnestra  appears  with  torches 
and  retinue.  Klytaemnestra  is  worn 
out  with  guilt  and  sleeplessness,  and 
asks  Elektra  if  there  is  no  rest  for  her. 
Elektra  answers  in  riddles  which  imply 
that  Klytaemnestra's  repose  shall  only 
come  when  the  right  blood  shall  flow 
under  the  axe;  when  a  certain  woman 
and  a  certain  man  shall  be  slain  by 
another  man.  Elektra  asks  if  Orestes 
may  not  be  allowed  to  return  from  his 
years  of  exile,  and  accuses  her  mother 
of  trying  to  have  him  murdered.  Elek- 
tra warns  her  that  she  will  die  for  her 
crime. 

As  the  two  women  confront  each 
other,  the  Queen's  confidant  hurries  in 
and  whispers  news  to  her  which  gives 
her  great  joy.  As  she  hurries  away, 
Chrysothemis  comes  in  screaming  that 
Orestes  is  dead,  and  that  two  strangers, 
an  old  man  and  a  young  man,  have 


brought     word    that     he     had     been 
trampled  to  death  by  his  horses. 

A  young  servant  darts  in  demanding 
a  horse,  as  he  must  carry  a  message 
quickly.  Elektra  pleads  with  Chry- 
sothemis to  join  her  in  the  vengeance 
which  the  dead  Orestes  should  have 
wreaked.  She  praises  the  younger  sis- 
ter for  her  strength  and  beauty,  and 
offers  to  be  her  slave  if  she  will  aid  her. 
Chrysothemis  is  afraid  and  reluctant, 
and  flees.  Elektra  creeps  toward  the 
house  to  do  the  slaughter  herself,  but 
meets  Orestes  himself,  who  enters. 
Brother  and  sister  do  not  recognize  each 
other  at  first,  because  he  has  grown  to 
manhood  and  she  has  lost  her  beauty. 
An  old  servant  prostrates  himself  before 
Orestes'  feet,  and  Elektra  embraces  him 
with  joy.  Orestes'  foster-father  hurries 
in  to  warn  the  brother  and  sister  not  to 
betray  themselves.  A  ser\'ant  appears 
to  invite  Orestes  to  the  presence  of 
Klytaemnestra,  who  does  not  suspect 
him.  Orestes  enters  the  palace  and 
shortly  afterward  the  wild  shrieks  oJ 
Klytaemnestra  are  heard  as  she  is  being 
slain.  Elektra  braces  herself  against 
the  door  and  keeps  out  the  servants, 
who  are  in  a  panic.  Aegisthus  arrives 
hastily  and  Elektra,  taking  a  torch, 
invites  him  to  enter,  and  pays  him 
ironical  homage,  dancing  before  him. 
Much  puzzled,  Aegisthus  enters  the 
house  and  is  heard  crying  for  help.  He 
appears  at  the  window,  struggling  and 
tearing  down  the  curtain.  He  is 
dragged  away  and  his  cries  are  silenced. 
Chrysothemis  speaks  to  Elektra  and 
tells  her  that  the  palace  is  in  an  uproar, 
the  retainers  of  Orestes  having  attacked 
the  partisans  of  Aegisthus.  Elektra 
crouches  by  the  door  brooding  with 
uncanny  rapture  over  the  great  revenge. 
She  tries  to  dance,  but  falls  prostrate. 

HUMPERDINCK,  ENGELBERT 

Konigskinder     (ka'-nikhs-kint-er) 

A  fairy  opera  in  three  acts.  Book  by 
Ernest  Rosmer. 


iGictfi 


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>3«X 

'Ilk 


Ar»6 


STORIES  OF  THE  OPERAS        817 


Produced,  Metropolitan  Opera 
House,  New  York,  Dec.  28,  1910. 

CHARACTERS  AND  THEIR  CREATORS 

Der  Koenigssohn  (ka'-nikhs-zon). 
The  King's  Son 

Hermann  Jadlowker,  ten. 
Die  Gaensemagd  (gen'-ze-makht). 

The  Goose-girl,  Geraldine  P'arrar,  sopr. 
Der  Spielmann  (shpel'-man). 

The  Fiddler Otto  Goritz,  bar. 

Die  Hexe  (hex'-e), 

The  Witch Louise  Homer,  contr. 

Der  Holzhacker  (holts'-hak-er), 

Tlie  Wood-cnttcr .  Adamo  Didur,  bass. 
Der  Beseneinder  (ba'-zen-blff-der). 

The  Broom-maker .  .Albert  Reiss,  ten. 
ZwEi  Kinder 
Two  Children 

Edna  Walter,  Lottie  Engel, 
Der  Ratsaelteste  (rats'-el-tes-te). 
The  Senior  Councillor 

Marcel  Reiner,  bar. 
Der  Wirt  (vert), 
The  Inn-keeper 

Antonio  Pini-Corsi,  bass. 
Die  Wirtstochter  (verts'-tokh-ter), 
The  Inn-keeper's  Dattghter 

Florence  Wickham,  mez-sopr. 
Der  Schneider  (schnl'-der). 

The  Tailor Julius  Bayer,  ten. 

Die  Stallmagd  (shtal'-makht), 
The  Stable-maid 

Marie  Mattfeld,  contr. 
The  Two  Gate-keepers 

Herbert  Witherspoon,  1  u     > 
William  Hinshaw,         ^ 

The  action  takes  place  in  the  Hella 
Forest,  and  in  the  neighbouring  town 
of  Hellabrunn. 

Act  I.  —  Scene.  A  glade  near  tne 
Witch's  hut.  The  Goose-girl  is  neglect- 
ing her  flock,  and  idly  humming  to  her- 
self, when  the  Witch  pops  her  head  out, 
berates  her  for  letting  her  geese  stray, 
then  calls  her  into  make  a  poisoned 
pasty  of  acorns.  The  Goose-girl  stares 
at  a  stunted  lily  and  wonders  why  her 
flowers  will  not  grow  as  others  do.     She 


asks  of  her  own  childhood,  begs  her 
"  Grandmother"  to  let  her  go  forth  into 
the  world,  but  the  Witch  tells  her  she 
has  cast  a  spell  over  bush  and  briar,  and 
she  cannot  escape.  The  girl,  left  alone, 
sings  to  the  beloved  linden  tree  (0  licbe 
Lifide)  and  to  her  own  reflection  in  the 
water.  The  King's  son  appears  in  a 
shabby  hunting  costume,  with  a  bundle 
on  his  shoulders.  She  questions  him 
ignorantly,  and  he  finds  her  beautiful. 
She  asks  what  a  King  is,  and  he  tells  her 
that  a  King  guards  his  people  as  she 
guards  her  geese;  but  that  he,  being 
youthful,  has  found  the  life  of  a  Prince 
too  gloomy  and  fettered  and  has  fled 
{Fort!  Hinaus!)  She  longs  to  go  with 
him,  and  he  takes  her  in  his  arms,  ask- 
ing her,  "Wilt  thou  go  maying  with 
me?"  (Willst  dii  inein  Maienhuhle 
sein?)  The  wind  blows  the  wreath 
from  her  hair,  and  he  puts  it  in  his 
doublet  as  a  token.  He  unties  his 
bundle  and  takes  out  a  golden  crown, 
but  she  refuses  it  and  he  tosses  it  aside. 
He  takes  her  hand  to  lead  her  away,  but 
she  feels  the  charm  and  is  frightened. 
He  is  angry  and  finds  her  unworthy 
with  her  ijeggar's  blood  {Konigshliit 
nnd  Bettelbliit).  He  dashes  away  and 
leaves  her  weeping.  She  hears  the 
Witch  calling,  and  fearing  lest  the  crown 
betray  her,  begs  one  of  the  geese  to  hide 
it,  and  hangs  it  on  the  goose's  neck. 
The  Witch  quizzes  her  closely,  and  she 
confesses  that  she  has  seen  a  man. 
The  Fiddler  is  heard  singing,  "Three 
fools  went  out  one  day  for  an  egg  that 
a  cock  did  lay"  {Drei  Narren  zogen 
aus).  The  Witch  drives  the  girl  into 
the  house  and  follows  her  in.  The 
Fiddler,  the  Wood-cutter  and  the 
Broom-maker  appear.  They  knock  at 
the  door  loudly,  and  when  the  Witch 
finally  appears,  the  Fiddler  sings  an 
ironical  love  song  to  her  beautiful  red 
eyes  {Dcine  schoncn  rotcn  Augcn). 
He  and  his  friends  have  come  to  say 
that  the  King  of  Hcllabnmn  had  died 
and  his  heir  had  disappeared.  They 
ask  her  whom  thev  shall  choose  to  rule 


8i8 


THE  MUSICAL  GUIDE 


over  them.  The  Witch  says  that  at  the 
Hella  feast  the  next  day,  when  the  noon 
strikes,  the  gate  of  the  city  must  be 
open,  and  whosoever  enters  the  to^vn 
must  wear  the  crown.  The  Broom- 
maker  and  the  Wood-cutter  go  back  to 
the  city,  but  the  Fiddler,  having  caught 
a  glimpse  of  the  Goose-girl,  demands 
that  she  be  given  her  liberty.  When 
she  appears,  he  questions  her.  He 
thinks  that  she  is  of  royal  blood,  but  the 
Witch  sneers  that  she  is  the  shameful 
child  of  a  hangman's  daughter.  Never- 
theless, the  Fiddler  hails  her  as  royal, 
and  she  calls  to  the  gray  goose  to  bring 
back  the  cro\\'n.  She  puts  it  upon  her 
head  as  she  kneels  in  prayer  and  the 
light  of  a  star  falls  upon  the  stunted 
lily,  which  opens  wide  in  full  bloom. 
Crying  that  she  is  free,  the  Goose-girl 
darts  away,  followed  by  her  geese  and 
the  Fiddler.  The  Witch  knocks  dov^-n 
the  lily  with  her  staff. 

Act  n.  —  Scene.  A  square  near  the 
gate  of  the  city.  The  Gate-keepers  are 
on  guard  and  the  Inn-keeper's  daughter 
is  quarrelling  with  the  Stable-maid,  as 
the  King's  son  comes  out  of  the  inn 
ya^\Tiing.  He  has  slept  ^\'ith  the  swine, 
and  the  girls  treat  him  with  contemptu- 
ous familiarity.  The  Inn-keeper's 
daughter  brings  him  food,  but  it  is  too 
coarse  for  his  palate.  She  makes  love 
to  him  and  advises  him  to  marrj',  but  he 
asks  if  it  is  a  linden  tree  under  which 
they  sit.  She  embraces  him,  but  he 
pushes  her  hands  away  and  she  boxes 
his  ears.  He  turns  to  leave  the  hateful 
town,  when  he  finds  in  his  doublet  the 
Goose-girl's  wreath.  The  leaves  seem 
to  whisper  to  him,  "  Do  not  go. "  The 
townspeople  appear,  and  the  Gate- 
keepers keep  them  from  the  gates  lest 
one  of  them  claim  the  cro^\•n.  There  is 
a  Spring  dance.  The  King's  son  asks 
the  Inn-keeper  for  emplo>Tnent.  He 
is  offered  the  post  of  swineherd  and 
reluctantly  accepts.  The  Broom-maker 
appears,  followed  by  his  thirteen 
daughters,  each  of  the  children  riding  a 
broom    and    trying    to    sell    it.     The 


youngest  child  of  the  Broom-maker 
asks  the  King's  son  to  play  with  her, 
and  they  dance  a  ring-around-a-rosy. 
The  Councillors  and  the  rich  Burghers 
with  their  families  arrive  and  seat  them- 
selves in  the  Tribune.  The  Wood-cut- 
ter describes  for  them  his  journey  to 
the  Witch's  hut,  which  he  dresses  up 
with  dangers  and  wild  animals.  He 
announces  that  at  the  opening  of  the 
gates  the  King  will  arrive  in  glory  upon 
a  golden  car.  The  King's  son  asks  if 
the  King  might  not  come  in  rags,  but 
everj'body  laughs  at  the  idea.  He  de- 
scribes what  a  true  King  should  be,  but 
they  njock  him;  the  Inn-keeper  demands 
pay  for  the  food  which  the  King's 
son  could  not  eat.  He  is  about  to  be 
roughly  handled  by  the  crowd,  when 
the  first  bell  rings.  The  crowd  is  hushed 
with  awe.  At  the  twelfth  stroke  the 
Gate-keepers  throw  open  the  gates,  and 
the  Goose-girl  enters  with  her  flock, 
followed  by  the  Fiddler.  The  King's 
son  hails  her  as  his  Queen,  and  she  him 
as  her  King,  but  the  crowd  bursts  into 
derisive  laughter  at  her  bare  feet  and 
his  rags.  The  King's  son  draws  his 
sword  and  protects  the  girl,  and  the 
Fiddler  proclaims  them  King  and 
Queen,  but  the  mob  drives  them  out 
all  three  with  sticks  and  stones.  The 
Broom-maker's  littlest  daughter  weeps. 
The  Senior  Councillor  asks  her  if  she 
weeps  because  her  broom  has  vanished. 
She  answers,  "No,  it  was  the  King  and 
Queen  you  banished." 

Act  m.  —  Scene.  The  same  as  the 
first  act,  but  it  is  now  bleak  winter. 
The  water  trough  is  frozen  and  the  lin- 
den tree  is  bare.  The  \\'itch's  hut  is 
dilapidated,  for  she  has  been  burned  at 
the  stake  on  account  of  her  prophecy. 
The  Fiddler  has  been  jailed  and  broken 
on  the  rack  for  defending  the  two  pre- 
tenders. He  is  living  alone  in  the  hut, 
hoping  for  the  return  of  the  two  chil- 
dren. He  feeds  the  doves  that  gather, 
and  questions  them  for  knowledge  of  the 
outcast  royal  children,  but  they  flutter 
away.    The     Wood-cutter     and     the 


STORIES  OF  THE  OPERAS        819 


Broom-maker  appear,  shivering  with 
the  cold.  The  Broom-maker  brings  his 
httlest  daughter,  and  the  Fiddler  greets 
her  with  gratitude  because  when  he  was 
perishing  in  jail  she  was  the  only  one  to 
bring  him  bread.  The  Wood-cutter 
brings  word  that  the  town  has  forgiven 
the  Fiddler,  and  the  children,  who  have 
followed,  beg  him  to  come  back  and 
play  for  them,  promising  him  cakes  and 
kisses,  but  he  has  sworn  an  oath  not  to 
revisit  the  hateful  town.  The  Broom- 
maker  describes  the  desolation  that  has 
fallen  upon  the  city,  the  hostility  of  the 
children  toward  their  parents.  The 
little  child  tells  the  Fiddler  that  the 
children  know  the  King  and  Queen  were 
driven  away.  They  want  them  brought 
back.  The  Fiddler  says  he  hopes  that 
when  the  Spring  comes  he  can  go  forth 
and  find  them.  The  child  says  that 
May  is  a  hundred  years  away,  and  the 
Fiddler,  taking  up  his  fiddle  limps  off 
into  the  wood  with  the  children.  The 
Wood-cutter  and  the  Broom-maker 
remain  and  search  the  hut,  while  the 
Fiddler  is  heard  singing,  "Whither  hast 
thou  wandered,  oh,  my  Royal  Maid" 
{Wohin  hist  du  gegangen).  His  voice 
dies  out,  and  the  King's  son  and  the 
Goose-girl  enter,  starved  and  chilled. 
The  King's  son  goes  to  the  door  of  the 
hut  and  knocks.  The  Wood-cutter 
opens  the  window,  but  slams  it  shut 
when  the  King's  son  asks  for  bread. 
The  Goose-girl  regrets  that  they  have 
left  the  cave  where  they  have  been  in 
hiding,  but  the  King's  son  explains  that 
hunger  was  their  compulsion,  and  that 
he  was  lured  back  to  his  rightful  realm. 
He  contrasts  the  gayety  with  which  he 
ran  away  from  home  and  the  sorrow  of 
his  exile.  To  cheer  him,  she  throws  off 
her  fatigue,  and  dropping  her  cloak  and 
tearing  her  furs  from  her  feet,  she  dances 
barefooted  in  the  snow  until  she  drops 
at  the  foot  of  the  linden  tree.  He  wraps 
her  in  her  cloak  and  in  his  own  robe. 
He  resolves  to  sell  the  useless  crown  for 
bread,  but  breaks  it  in  two  lest  any  one 
else  should  wear  it.      He  knocks  at  the 


hut  door  and  the  Wood-cutter  and  the 
Broom-maker,  who  have  found  nothing 
in  the  hut  but  the  poisoned  pasty, 
greedily  exchange  it  for  the  gold.  The 
King's  son  takes  it  to  the  Goose-girl, 
and  they  quarrel  lovingly  over  which 
shall  have  the  larger  share.  They  eat, 
and  as  the  poison  fills  their  veins  they 
dream  of  Spring  and  happiness. 
Wrapped  in  each  other's  arms  and 
kissing,  they  fall  asleep.  The  snow  be- 
gins to  fall  more  heavily  and  gradually 
covers  them  over. 

The  Fiddler  comes  back  with  the 
chilchren,  and  the  Wood-cutter  and  the 
Broom-maker  shows  the  pieces  of  the 
crown  and  describe  the  ragged  outcast 
from  whom  they  had  taken  it.  The 
Fiddler  calls  wildly  into  the  woods, 
"Konigskinder!!  Konigskinder!"  A 
dove  circles  about  the  Fiddler,  and  flies 
to  the  hnden  tree,  where  the  Fiddler 
finds  the  royal  children  in  the  sleep  of 
death.  The  children  from  the  town 
gather  about  and  place  the  two  bodies 
on  a  bier  of  pine  branches,  on  which 
they  are  borne  away  to  a  royal  grave 
on  the  mountain,  the  Fiddler  vowing  to 
sing  them  one  last  song,  then  fling  away 
his  fiddle  forever. 

WAGNER,    WILHELM    RICHARD 

Parsifal  (par[-si-fal) 

"A  consecration  festival-drama"  in 
three  acts. 

In  1848  Wagner  made  plans  for  a 
work,  "Jesus  von  Nazareth,"  which 
were  gradually  modified  into  the  proj- 
ect for  "Parsifal,"  on  which  he  was 
engaged  as  early  as  1854.  But  the 
poem  was  not  finished  until  1877,  in 
which  year  it  was  published.  Fie  be- 
gan the  music  the  next  year  at  the  age 
of  65.  The  prelude  was  privately  per- 
formed at  Bayreuth,  Christmas,  1878, 
but  the  work  was  not  completed  until 
January  13,  1882.  The  first  perfor- 
mance was  at  Bayreuth,  July  28,  1882; 
sixteen  performances  were  given  during 
the  following  month. 


820 


THE  MUSICAL  GUIDE 


It  was  Wagner's  earnest  wish  that 
the  work  should  never  be  given  except 
in  the  theatre  to  which  it  was  sacred, 
though  it  was  performed  almost  entire 
in  concert  form  in  London  in  1884, 
under  Sir  Joseph  Barnby.  After  much 
controversy  and  an  effort  at  legal 
prevention,  the  work  was  performed  at 
the  Metropolitan  Opera  House,  under 
Conried's  management,  with  Burgstal- 
ler  as  Parsifal,  Blass  as  Gurnemanz, 
Van  Rooy  as  Amfortas,  and  Temina  as 
Kundry.  In  1905  it  was  produced  at 
Amsterdam. 

At  its  original  production  there  were 
alternating  casts  as  follows: 

CHARACTERS 

Parsifal.     Winkelmann,  Gudehus, 

Jaeger ten. 

Amfor'tas.     Reichmann,  Fuchs .  .  .  bar. 
Gurnemanz  (goor'-ne-mants).     Scaria, 

Siehr bass. 

Klingsor  (klink'-zor).     Hill,  Degele, 

Plank     bar. 

Titurel  (tee'-too-rel). 
Knights  of  the  Grail 
Four  Squires 
Kundry  (koon'-dre).     Matema, 

Marianne  Brandt,  Malten  . . .  .sopr. 
Flower  Maidens 

The  story  concerns  the  legend  of  the 
Holy  Grail  (the  chahce  from  which 
Jesus  drank  at  the  Last  Supper,  and  in 
which  blood  from  His  wounded  side 
was  caught  and  kept).  The  Grail  and 
the  spear  that  pierced  Christ's  side  fell 
to  the  care  of  the  Knights  Templars, 
whose  chief,  Titurel,  built  the  castle 
Montsalvat  for  their  sanctuary.  The 
power  of  the  Grail  was  renewed  an- 
nually by  the  Holy  Ghost,  in  the  form  of 
a  dove,  from  which  the  Knights  also 
received  miraculous  virtues. 

The  Knight  Klingsor,  failing  to 
obtain  admission  to  the  circle,  laid 
violent  hands  on  himself,  and  avowed 
undying  enmity  to  the  Grail  Knights 
In  the  wilderness  near  Montsalvat  he 


established,  by  evil  magic,  a  garden: 
filled  with  flower- women  of  infernal  I 
charm.  Among  his  enchantresses  was) 
Herodias,  who  laughed  at  Christ  on  Hisf 
way  to  crucifi-xion  and  was  cursed. 
She  now  exists  as  Kundry,  only  partly 
under  the  spell  of  Klingsor.  At  his 
behest  she  works  evil  sorceries,  for 
which  she  tries  to  atone  when  she  is 
free. 

The  Knights  know  her  only  as  the 
wild  Kundr>',  but  it  was  she  who,  under 
Klingsor's  spell,  once  enchanted  Am- 
fortas, the  son  of  Titurel,  who  had 
abdicated  in  Amfortas'  favour.  During 
Amfortas'  enchantment  Klingsor  had 
robbed  him  of  the  sacred  spear,  and  with 
it  inflicted  on  him  a  wound  which  could 
not  be  cured  save  by  the  same  spear, 
which  should  be  recaptured  by  a  pure- 
souled  fool.  Meanwhile,  Klingsor  has 
continued  to  entice  away  the  Knights 
one  by  one,  and  the  Castle  of  the  Grail 
is  the  home  of  despair. 

Act  I.  —  Scene  i.  A  forest  near  a 
lake,  in  the  demesne  of  IMontsalvat,  the 
castle  of  the  Keepers  of  the  Holy  Grail. 
The  elderly  Gurnemanz  is  asleep  at  the 
foot  of  a  tree  and  two  squires  are  asleep 
at  his  feet.  A  reveille  of  trombones 
wakes  them;  they  kneel  in  prayer.  Two 
Knights  enter  and  Gurnemanz  asks 
after  Amfortas'  health.  He  is  about  to 
be  brought  to  his  bath  though 
Gurnemanz  says  that  his  only  hope  is 
in  one  man. 

Kundry  enters  like  a  witch,  bringing 
a  small  flask  of  balsam  which  she  has 
fetched  from  Arabia.  Amfortas  is 
brought  in  on  a  litter,  bewailing  his 
wound.  He  thanks  Kundr>-  for  her 
gift  and  is  carried  on  to  his  bath.  The 
squires  revile  Kundrj^,  but  Gurnemanz 
defends  her,  and  outlines  to  the  squires 
the  whole  previous  history'  as  described 
above,  and  the  prophetic  dream  of  the 
guileless  fool  {der  reine  Thor). 

A  commotion  is  heard  from  the  lake, 
and  a  wounded  swan  flutters  djing  to 
the  ground.  Other  squires  drag  in  the 
half-witted  Parsifal,  whose  arrow  has 


STORIES  OF  THE  OPERAS        821 


slain  the  swan.  Gurnemanz  reproaches 
him  for  the  wanton  cruelty.  Parsifal, 
now  first  realizing  what  he  has  done, 
weeps  and  breaks  his  bow  and  arrows. 
The  swan  is  borne  away  in  state. 
Gurnemanz,  questioning  Parsifal,  learns 
that,  though  he  has  no  name  himself, 
his  mother  was  called  Heart's-Grief 
(Hcrzeleide) .  Kundry  hoarsely  explains 
that  he  was  born  after  his  father, 
Gamouret,  had  been  slain  in  battle,  and 
was  reared  in  solitude  by  his  timorous 
mother.  Parsifal  says  that  he  was 
lured  from  home  by  seeing  a  glittering 
company  of  Knights  ride  by,  and  had 
had  to  defend  himself  from  wolves  and 
robbers. 

Kundry  says  that  she  saw  his  mother 
die.  At  this  news  Parsifal,  in  a  frenzy, 
seizes  Kundry  by  the  throat.  Gurne- 
manz takes  him  away  and  rebukes  him. 
He  turns  faint  and  Kundry  restores 
him  with  water  from  a  brook;  then 
Kundry,  unnoticed,  struggles  in  vain 
against  the  slumber  that  marks 
Klingsor's  spell,  and  falls  behind  a 
thicket. 

The  Knights  return  with  Amfortas 
and  pass  on.  Gurnemanz,  half-hoping 
that  Parsifal  is  indeed  the  pure-souled 
fool,  invites  him  to  the  castle;  magically 
the  woods  flow  back  beneath  their  feet, 
till  they  arrive  in  Scene  ii,  a  lofty  cathe- 
dral, on  whose  shrine  stands  the  Holy 
Grail.  Parsifal,  overawed,  stands  in 
motionless  wonder  throughout  the  long 
ceremony  of  the  Eucharist.  Knights 
and  squires  gather  at  tables  singing, 
and  Amfortas  is  brought  in.  From  an 
unseen  crypt  comes  the  voice  of  the 
aged  Titurel  ordering  his  son  to  cele- 
brate the  feast.  Amfortas  in  an  agony 
•  of  pain  and  remorse  reluctantly  con- 
sents, crying  aloud  for  forgiveness  or 
death.  The  Grail  is  unveiled  and 
placed  before  him,  and,  in  a  shaft  of 
light  from  heaven,  Amfortas  elevates 
the  Host. 

The  cups  of  the  Knights  are  seen  to  be 
filled  with  wine.  Gurnemanz  motions 
Parsifal  to  sit  by  him  and  partake  of 


the  Communion,  but  Parsifal  does  not 
move.  At  the  end  of  the  repast  Am- 
fortas' pain  breaks  out  afresh  and  he 
is  carried  out,  and  the  others  withdraw. 
Gurnemanz,  finding  Parsifal  still  stupe- 
fied, asks  him  if  he  understands  what  he 
saw.  Parsifal  shakes  his  head.  Gur- 
nemanz in  disgust  orders  him  off,  with  a 
warning  to  leave  the  swans  alone  and 
seek  the  geese,  since  he  is  one. 

Act  II.  ~-  Scene.  Klingsor's  Magic 
Castle,  In  the  inner  keep  of  a  tower, 
Klingsor  stands  amid  his  magic  imple- 
ments, and  with  necromancy  summons 
Kundry.  Her  form  rises  from  the 
earth,  resisting  vainly  and  protesting. 
Klingsor  exultantly  commands  her  to 
change  her  form  and  enchant  Parsifal, 
whom  he  sees  approaching.  The  other 
enchanted  Knights  are  heard  resisting 
him,  but  in  vain.  With  triumphant 
hopes  of  possessing  the  very  Grail  itself, 
Klingsor  sends  Kundry  to  her  task,  and 
sinks  into  the  earth  with  his  tower, 
revealing  Scene  n:  the  flowery  terraces 
of  the  palace,  and  Parsifal  staring  into 
the  garden.  From  all  sides  beautiful 
women  rush  upon  him  with  caresses  and 
laughter,  each  proffering  him  her  love. 
At  first  fascinated,  he  grows  colder,  and 
is  about  to  flee  when  he  hears  Kundry's 
voice  call  him  by  the  name  "Parsifal." 
The  word  reminds  him  of  his  mother's 
voice  and  he  pauses. 

Kundry  in  the  form  of  a  beautiful 
woman  on  a  flowery  couch  dismisses  the 
other  enchantresses.  Parsifal  asks  her 
how  she  came  to  call  him,  the  nameless 
one,  "Parsifal."  She  tells  him  of  his 
mother,  her  loneliness  for  her  son,  and 
his  death.  Thus  she  brings  Parsifal  to 
his  knees  at  her  side.  Then  she  offers 
him  the  consolation  of  her  own  love, 
and  kisses  him.  Her  lips  bum  him, 
and  he  remembers  Amfortas'  pain  and 
his  outcry  against  the  enchantress  whose 
charms  ensnared  him.  He  denounces 
Kundry  as  the  destroyer  of  Amfortas. 

Kundry  tries  all  her  wiles,  appealing 
for  pity  because  of  her  ancient  suffer- 
ings since  she  laughed  at  Christ,  and 


822 


THE  MUSICAL  GUIDE 


can  only  be  healed  by  the  returning 
Christ.  She  begs  Parsifal  to  take  her 
to  his  arms  and  redeem  her,  but  he  cries 
that  her  love  would  only  make  him 
share  her  damnation.  She  seizes  him, 
but  he  breaks  from  her.  She  curses  his 
pathway  and  calls  for  help,  and  the 
enchantresses  rush  out.  Klingsor  also 
appears  on  the  castle  wall.  He  raises 
the  sacred  spear  and  hurls  it  at  Parsifal. 
But  it  pauses  in  air  over  his  head. 
Parsifal,  reaching  upward,  grasps  it, 
makes  the  sign  of  the  cross,  and  the 
palace  and  garden  fall  into  instant  ruins. 
Parsifal  calls  to  the  prostrate  Kundry, 
"Thou  knowest  where  alone  thou  see'st 
me  again. " 

Act  in. —  Scene  i.  A  meadow  and 
grove  in  Montsalvat.  A  hut  wherein 
dwells  Gurnemanz,  now  much  older  and 
in  hermit's  garb.  Hearing  groans,  he 
comes  out  and  finds  Kundry  lying 
among  brambles.  He  restores  her  to 
life  with  difficulty,  and  her  only  answer 
is  the  words  "To  serve!  To  serve!" 
As  she  brings  water  from  the  spring, 
she  sees  a  strange  warrior  approaching 
in  complete  black  armour,  with  visor 
down.  The  mysterious  Knight  will  not 
answer  Gurnemanz'  questions  save  by 
noddings  of  the  head.  Gurnemanz  in- 
forms, him  that  the  day  is  Good  Friday, 
and  that  he  should  disarm.  He  does  so 
slowly  and  in  silence,  kneeling  before  his 
own  spear.  Gurnemanz  tells  Kundry 
softly  that  the  stranger  is  the  fool  he 
had  banished  long  ago.  Parsifal  rises, 
recognizes  Gurnemanz,  and  tells  him  of 
his  long,  long  wanderings.  Kundry's 
curse  upon  his  pathway  had  kept  him 
from  finding  his  way  back  till  now.  He 
shows  the  sacred  spear  which  he  has 
carried  undefiled.  Gurnemanz  wel- 
comes him  with  rapture,  and  tells  him 
that  since  the  day  of  his  departure 
Amfortas  would  no  more  elevate  the 
Host,  and  the  Grail  has  remained  un- 
revealed.  Lacking  its  aid,  the  Knights 
have  grown  old  and  weak,  and  Titurel 
has  died. 

Parsifal,  blaming  himself  for  his  long 


delay  to  return,  grows  faint.  Kundry, 
like  a  Magdalen,  washes  his  feet  and 
anoints  them,  and  dries  them  with  her 
hair,  while  Gurnemanz,  like  a  John  the 
Baptist,  baptizes  him,  and  at  Parsifal's 
behest  anoints  his  head,  for  Parsifal  is  to 
be  the  King.  Parsifal  now  baptizes 
Kundry  and  redeems  her. 

Seeing  how  fair  the  landscape  is,  Parsi- 
fal wonders  that  nature  should  not 
grieve  on  the  day  of  agony,  but  Gur- 
nemanz answers  that  everything  glows 
with  gratitude  to  the  Saviour.  (This 
scene  is  known  musically  as  The  Spell 
of  Good  Friday  and  the  Flowering 
Meadow  intermezzo.)  Parsifal  kisses 
the  brow  of  Kundry,  and  the  peal  of 
bells  in  the  distance  calls  him.  Gur- 
nemanz brings  out  armour  and  a  mantle 
of  the  Grail  Knights,  and  he  and  Kun- 
dry fasten  them  on  Parsifal.  Once 
more  the  landscape  flows  magically  be- 
neath their  feet,  but  in  the  opposite 
direction  from  Act  i.  Once  more  they 
arrive  in  the  Hall,  Scene  ii:  but  now  the 
Communion  tables  are  missing. 

The  Knights  bring  in  Titurel's  body 
in  its  coffin,  and  Amfortas  in  his  litter, 
preceded  by  the  covered  shrine  of  the 
Grail.  Amfortas  has  consented  once 
more  to  reveal  the  Grail.  He  blames 
himself  now  for  his  father's  death  and 
implores  the  dead  body  to  mount  to 
heaven  and  pray:  "Saviour,  give  my 
son  peace." 

The  Knights  demand  the  uncovering 
of  the  Grail,  but  he  asks  them  rather 
to  slay  him.  Baring  his  wound,  he  begs 
them  to  thrust  in  their  swords  and  slay 
him.  They  shrink  back,  but  Parsifal, 
advancing  with  the  sacred  spear,  puts  it 
forth  and  touches  Amfortas'  wound, 
saying  that  only  the  weapon  that  made 
the  wound  can  heal  it.  Amfortas,  re- 
leased from  pain,  thrills  with  ecstasy  as 
Parsifal  announces  that  he  himself  will 
reign  thereafter.  The  Grail  glows  and 
a  halo  of  glory  streams  down  from 
heaven,  in  which  a  white  dove  descends 
and  hovers  over  Parsifal's  head.  He 
rises  and  elevates  the  Grail.     Kundry 


STORIES  OF  THE  OPERAS        823 


sinks  slowly  into  a  blissful  death. 
Amfortas  and  Gurnemanz  kneel  in 
homage  to  the  guileless  fool. 

PUCCINI,  GIACOMO 

Madama  Butterfly 

A  Japanese  tragedy  in  two  acts. 
Libretto  by  L.  Illica  and  G.  Giacosa 
(after  the  book  and  play  by  John 
Luther  Long  and  David  Belasco) . 

Produced  La  Scala,  Milan,  1904, 
in  two  acts  and  hooted  off  the  stage. 
Withdrawn  after  one  performance  and 
revised  in  three  acts.  Produced  again 
at  Brescia  with  an  immediate  success. 
Repeated  at  Covent  Garden,  1905,  and 
throughout  the  world. 

characters 

Madama   Butterfly 

(Cho-Cho-San) sopr. 

SuztJKi, 

Eer  Servant mez-sopr. 

Kate  Pinkerton     mez-sopr. 

B.  F.  Pinkerton, 

Lieutenant  in  the  United  States 

Navy ten. 

Sharpless, 

United  States  Consid  at  Nagasaki  .bar. 

GORO, 

A  Marriage  Broker ten. 

Prince  Yamadori bar. 

The  Bonze, 

Cho-Cho-San' s  Uncle bass. 

Yakuside bar. 

The  Imperial  Commissioner bass. 

The  Official  Registrar bar . 

Gho-Cho-San's    Mother  . . .  mez-sopr. 

The  Aunt  mez-sopr. 

The  Cousln *. sopr. 

Trouble, 

Cho-Cho-S art's  Child 

Place  of  action  at  Nagasaki,  Japan. 

Act  I. —  Scene.  A  Japanese  house 
and  garden,  with  the  harbour  in  the 
background.  A  United  States  naval 
officer,  Lieutenant  B.  F.  Pinkerton,  has 
hired  a  Japanese  marriage  broker,  Goro, 


to  procure  for  him  the  pretty  Japanese 
girl,  Cho-Cho-San,  with  whom  he  has 
become  infatuated.  The  broker  has 
arranged  the  contract  and  leased  this 
house  —  both  leases  for  nine  hundred 
and  ninety-nine  years,  and  both  break- 
able at  will.  At  the  rise  of  the  curtain, 
Goro  is  e.xplaining  to  Pinkerton  the  con- 
veniences of  the  little  house  and  the 
conveniences  of  Japanese  marriage-law. 
The  two  servants  come  in  and  prostrate 
themselves,  but  are  dismissed  with  scant 
courtesy  by  Pinkerton.  Goro  explains 
that  the  bride's  relatives  must  be 
present  in  large  numbers  at  the  cere- 
mony. Sharpless,  the  American  Con- 
sul, comes  in,  out  of  breath  with  the 
climb.  Refreshments  afe  served  and 
Pinkerton  gayly  exalts  the  Yankee 
spirit,  but  Sharpless  warns  him  that  his 
course  is  dangerous.  Pinkerton  de- 
scribes his  infatuation  —  "love  or 
whim"  {Amore  0  grillo)?  Sharpless 
begs  Pinkerton  not  to  crush  this  butter- 
fly. Pinkerton  laughs  at  his  old-fogy 
notions,  and  drinks  to  the  day  when 
he  will  marry  "in  true  marriage  an 
American." 

Butterfly  enters  singing  of  the  breath 
of  Spring  (Spira  sul  mare) .  She  kneels 
and  orders  her  friends  to  kneel.  Sharp- 
less asks  her  of  her  people,  and  learns 
that  she  comes  of  a  wealthy  family 
whose  sudden  poverty  drove  her  to  the 
life  of  a  geisha.  Her  father  is  dead,  but 
she  has  two  uncles;  one  of  them  is  a 
toper;  the  other  is  the  Bonze,  a  great 
man.     She  is  fifteen  years  old. 

The  High  Commissioner  and  the 
official  Registrar  and  the  relations  now 
arrive.  Pinkerton  laughs  at  the  farce 
(Che  burletta) .  Refreshments  are  served 
and  the  papers  are  drawn  up.  Mean- 
while, Butterfly  takes  from  her  big 
sleeves  her  possessions.  She  throws 
away  her  jar  of  paint  at  his  protest. 
She  has  brought  also  the  sword  the 
Emperor  had  sent  to  her  father  with 
instructions  to  commit  hara-kiri;  brings 
out  the  images  of  the  souls  of  her  an- 
cestors; to  please  him  she  has  gone  to 


824 


THE  MUSICAL  GUIDE 


the  mission,  forsworn  her  religion  and 
taken  his;  and  now  she  throws  the 
images  away. 

The  marriage  bond  is  signed,  and 
the  guests  are  dispersing,  when  the 
Bonze  enters  in  a  rage  and  demands  of 
his  niece  what  she  was  doing  at  the 
mission.  Learning  that  she  has  re- 
nounced her  reHgion,  he  curses  her  and, 
gathering  the  relatives  together,  leads 
them  all  away,  renouncing  her.  But- 
terfly weeps.  Pinkerton  consoles  her 
tenderly,  the  servants  close  the  sliding 
walls,  and  Butterfly,  aided  by  her  maid, 
Suzuki,  prepares  her  toilet.  Pinkerton 
muses  on  her  ways  of  a  little  squirrel 
{Con  moti  di  scojattolo),  her  chUdlike 
charms  (Bimba  dagli  occlii).  She  com- 
pares herself  to  the  moon-goddess  {La 
piccola  Dea  della  liina),  tells  of  her  fear 
of  him  when  the  marriage-broker  pro- 
posed marriage  to  a  foreign  barbarian, 
and  now  of  her  love.  She  begs  him  to 
be  good  to  his  butterfly  and  not  to  thrust 
a  needle  through  her  heart,  as  Ameri- 
cans do  ^^•ith  butterflies.  She  points 
to  the  star-filled  night  {Dolce  noite! 
Quante  stelle!)  and  he  leads  her  to  the 
marriage  chamber. 

Act  n. —  Scene.  Three  years  later. 
Inside  the  same  house.  Suzuki  is 
prajing  and  ringing  a  prayer-bell.  But- 
terfly says  that  the  God  of  her  hus- 
band must  have  overlooked  them,  for 
they  are  near  to  star\-ation  and  Suzuki 
has  only  a  few  coins  left.  Butterfly  is 
sure  that  her  husband  will  return,  and 
quotes  his  promise  to  come  back  when 
the  robins  nest.  "Some  fine  day  we'll 
see  the  smoke  of  his  ship"  {Un  hcl  di, 
vedremo).  Sharpless  and  Goro  appear. 
The  Consul  brings  a  letter  from  Pinker- 
ton. She  asks  when  robins  nest  in 
America.  "They  have  already  nested 
thrice  in  Japan;  perhaps  they  nest  less 
often  in  America."  Goro  laughs  and 
Butterfly  explains  that  as  soon  as 
Pinkerton  left  her,  Goro  tried  to  bribe 
her  to  marry  the  Prince  Yamadori,  who 
enters  now  and  declares  his  love. 
They  insist  that  Butterfly  is  already 


divorced  through  her  husband's  deser- 
tion. Goro  whispers  that  Pinkerton's 
ship  is  alreadj^  signalled.  Sharpless 
has  had  a  letter  asking  him  to  break  the 
news  to  Butterfly  that  Pinkerton  is 
married  and  does  not  want  to  see  her. 
Yamadori  rejected  again,  goes  away 
dejected  and  Sharpless  reads  the  letter 
to  Butterfly,  tr>-ing  to  prepare  her. 
But  she  is  furious  and  orders  him  out, 
then  begs  his  forgiveness,  and  to  prove 
that  she  could  not  be  forgotten,  brings 
in  her  baby,  born  after  Pinkerton  left 
her.  Surely  the  mother  of  so  wonderful 
a  child  could  not  go  back  to  the  geisha 
life. 

Sharpless  rises  in  despair,  kisses  the 
child  and  asks  its  name.  Butterfly 
says  his  name  is  "  Trouble"  till  his  father 
returns;  then  it  shall  be  "Joy. "  When 
Sharpless  goes,  Suzuki  drags  in  Goro, 
sajing  that  he  has  been  spreading  a 
scandal  that  nobody  knows  who  is  the 
baby's  father.  Butterfly  is  about  to 
kill  him  with  her  father's  sword,  but 
spurns  him  and  he  slinks  away.  A 
cannon  is  heard  from  the  harbour. 
Butterfly  mad  with  joy,  gets  her  tele- 
scope and  reads  the  name  of  Pinkerton's 
ship,  the  Abraham  Lincoln. 

Flowers  are  gathered  and  scattered 
everj-Avhere.  She  is  made  beautiful, 
and  her  wedding  obi  donned.  They 
make  three  little  holes  in  the  waU  to 
watch  for  Pinkerton.  The  vigil  is  pro- 
longed till  Suzuki  and  the  child  fall 
asleep,  but  Butterfly  stands  like 
statue.  The  slow  passage  of  the  mghj 
is  indicated  by  the  orchestral  inteti 
mezzo,  accompanied  by  the  hui 
of  an  unseen  chorus. 

Dawn  comes,  sailors  are  heard 
distance,  Suzuki  wakens  and  begs  But- 
terfly to  rest.  She  takes  the  child  up 
the  stairs,  crooning  to  it  {Dormi  amor 
mio).  Sharpless  arrives  -nith  Pinker- 
ton. Pinkerton  will  not  let  Suzuki  call 
Butterfly.  She  sees  a  woman  in  the 
garden.  It  is  Pinkerton's  American 
wife.  Sharpless  explains  that  she  is 
willmg  to  adopt  the  child  and  rear  it.^ 


STORIES  OF  THE  OPERAS        825 


Suzuki  refuses  to  carry  the  proposal  to 
Butterfly.  Pinkerton  looks  about  at 
the  flowers,  in  remorse  {Ohl  ramara 
fragranza).  He  cannot  face  Butterfly, 
but  gives  the  Consul  money  for  her  and 
hurries  away. 

His  wife,  Kate,  comes  in  and  Butter- 
fly returns,  hearing  voices.  Kate  ex- 
plains the  situation.  Butterfly  is  ma- 
jestic in  her  grief,  and  promises  that 
Pinkerton  shall  have  his  child  if  he  will 
come  for  it  himself  in  half  an  hour. 
Sharpless  and  Mrs.  Pinkerton  go,  and 
Butterfly,  driving  out  the  heartbroken 
Suzuki,  prays  to  Buddha,  takes  her 
father's  sword  and  reads  the  legend  on 
the  blade,  "With  honour  die  whoso 
cannot  with  honour  live."  She  is 
about  to  kill  herself  when  Suzuki  thrusts 
the  child  into  the  room.  She  embraces 
the  child  frantically  {Tu,  tii,^  piccolo  Id- 
dio)  and  tells  him  that  she  is  dying  for 
his  sake,  that  he  may  cross  the  ocean. 
She  begs  him  to  remember  her,  then 
seats  him  with  an  American  flag  and  a 
doll,  and  bidding  him  play,  goes  behind 
the  screen.  The  sword  is  heard  to  drop, 
and  she  comes  from  behind  the  screen 
with  a  white  veil  wrapped  around  her 
throat.  She  falls  at  the  child's  side, 
and  as  Pinkerton  rushes  in  with  the 
Consul,  she  points  to  the  child  and  dies. 

PUCCINI,  GIACOMO 
La  Tosca 

"A  melodrama"  in  three  acts. 
Libretto  by  L.  Illica  and  G.  Giacosa. 
(After  the  play  by  Sardou.) 

Produced  Costanzi  Theatre,  Rome, 
January  14,  1900. 

characters 

Floria  Tosca, 

A  Celebrated  Songstress sopr. 

Mario  Cavaradossi, 

A   Painter ten. 

Baron  Scarpia, 

Chief  of  Police bar. 

Cesare   Angelotti bass. 

A  Sacristan bar 


Spoletta, 

Police  Agent ten. 

Sciarrone, 

Gendarme  bass. 

A  Gaoler bass. 

A  Shepherd  Boy contr. 

ROBERTI, 

Executioner 

The  action  takes  place  at  Rome, 
June,  1800,  and  concerns  the  activities 
of  the  Baron  Scarpia,  Chief  of  the  Police 
in  his  efi'orts  to  recapture  Angelotti,  the 
Consul  of  the  fallen  Roman  Republic. 
Just  before  the  rise  of  the  curtain 
Angelotti  has  escaped  from  the  prison 
of  San  Angelo,  and  has  made  his  way  to 
the  Church  of  Sant'  Andrea  alia  Valle, 
where  his  sister  has  concealed  in  the 
Attavanti  Chapel  a  woman's  costume  to 
aid  his  escape.  It  happens  that  a 
painter,  Mario  Cavaradossi,  who  has 
been  painting  frescoes  in  this  chapel, 
has  made  a  sketch  of  Angelotti's  sister 
as  she  has  knelt  at  prayer.  This  hasty 
portrait  is  the  cause  of  a  quarrel  with 
Mario's  sweetheart,  the  celebrated 
singer,  Floria  Tosca;  and  her  jealousy 
is  the  weapon  which  Scarpia  uses  for 
the  eventual  destruction  of  everybody 
concerned. 

Act  I. —  Without  any  overture,  the 
curtain  rises  with  the  first  music  from 
the  orchestra.  Angelotti  in  convict 
garb  steals  into  the  empty  church,  finds 
a  key  at  the  foot  of  the  Madonna's 
statue,  and  lets  himself  into  the  Atta- 
vanti Chapel,  just  as  the  Sacristan,  who 
is  cleaning  Mario's  paint  brushes, 
comes  in  followed  by  the  painter,  who 
ascends  the  dais  and  uncovers  the 
picture  of  Mary  Magdalen,  which  is 
the  portrait  of  Angelotti's  sister.  The 
Sacristan  recognizes  the  likeness  and 
Mario  confesses  that  he  has  made 
the  sketch  without  the  model's 
knowledge.  As  he  paints,  however, 
he  takes  out  a  miniature  of  La  Tosca 
and,  comparing  the  two,  avows  his 
heart's  fidelity  to  La  Tosca  (Recondita 
armonia).    The   Sacristan  points  out 


826 


THE  MUSICAL  GUIDE 


to    him     the     basket    of    food,    but 
Mario  tells  him  to  leave  it  and  go. 

Later  Angelotti,  thinking  the  church 
empty,  comes  from  concealment  and  is 
discovered  by  Mario,  to  whom  he  tells 
his  storj'.  Mario  gives  him  the  basket 
of  food  and  he  hurries  back  into  hiding 
as  La  Tosca  enters,  jealously  insisting 
that  she  heard  voices.  Mario  only 
partially  convinces  her,  but  she  tells 
him  to  meet  her  at  the  stage  door  after 
the  performance  that  they  may  retreat 
together  to  their  villa  in  the  country 
{Ohalhio  fianco  sentire).  She  catches 
sight  of  the  portrait,  recognizes  it,  and 
her  jealousy  is  again  suppressed  with 
difficulty.  He  swears  he  prefers  her 
black  eyes  to  the  blue  ej'es  in  the  por- 
trait {Quale  occliio  al  mondo),  and  she 
departs  after  a  duet  of  love.  Angelotti 
returns  from  the  chapel  with  the 
woman's  costume  his  sister  has  left  for 
him,  but  Mario  thinks  it  unnecessary^ 
for  him  to  put  it  on  and  offers  the  pro- 
tection of  his  o\\'n  villa.  A  cannon  shot 
is  heard  announcing  the  prisoner's 
escape,  and  the  two  men  hurry  away  as 
the  Sacristan  and  the  choir-boys  enter 
with  the  glorious  news  that  Napoleon 
has  been  defeated.  Their  joy  is  silenced 
by  the  unexpected  entrance  of  Scarpia, 
with  his  aide,  Spoletta.  Scarpia  finds 
that  the  Attavanti  Chapel  has  been 
opened  with  a  new  key,  and  inside  he 
finds  a  fan  with  the  family  coat  of  arms. 
He  recognizes  also  the  portrait  on  the 
easel,  and  discovers  that  the  basket  of 
food  brought  for  IMario  has  been  emp- 
tied, although  the  Sacristan  insists  that 
IMario  refused  to  eat  it.  Tosca  returns, 
and  Scarpia,  who  loves  her,  devises  a 
scheme  to  play  upon  her  jealousy  for  a 
double  purpose:  to  make  her  betray 
Mario  and  to  bring  her  into  his  own 
power.  He  shows  her  the  fan,  which  he 
claims  to  have  found  upon  the  easel, 
and  convinces  her  that  the  blue-eyed 
woman  has  been  meeting  Mario  secretly. 
She  swears  revenge  and  hurries  out, 
and  Scarpia,  giving  instructions  to 
Spoletta  to  follow  her  in  a  closed  car- 


riage, remains  to  exult  over  his  triumph 
and  then  to  kneel  in  prayer. 

Act  n. —  Scarpia's  apartments  in  the 
Farnese  Palace.  Scarpia  is  dining 
alone  and  rejoicing  over  the  assured 
capture  of  Mario  and  Angelotti.  He 
has  sent  word  to  Tosca,  who  is  to  si: 
for  Queen  Caroline  in  the  Palace,  that 
she  must  come  to  his  apartments  at 
once  "for  the  sake  of  her  Mario." 
His  gendarme,  Sciarrone,  is  sent  to 
bring  Spoletta,  who  comes  to  say  that 
he  has  arrested  Mario,  and  searched  his 
villa,  but  has  been  unable  to  find 
Angelotti.  Scarpia  orders  Mario 
brought  into  his  presence,  and  stands 
listening  to  the  music  which  is  being 
sung  for  the  Queen,  and  in  which 
Tosca's  voice  is  audible. 

Mario  is  brought  in  with  Roberti,  the 
executioner,  and  a  judge.  Mario  is 
indignant  at  his  arrest  and  denies  all 
knowledge  of  Angelotti.  Tosca'  is 
brought  in  in  great  alarm  and,  as  she 
embraces  Mario,  he  warns  her  to  say 
nothing.  Scarpia  orders  him  taken 
away,  and  murmurs  to  the  executioner 
that  he  is  to  be  tortured.  Then  he 
turns  to  Tosca  with  suave  politeness 
and  questions  her  about  what  she  has 
learned  at  IMario's  villa.  She  says  that 
her  jealousy  about  the  fan  was  un- 
founded and  that  jMario  was  entirely 
alone  when  she  arrived  at  his  villa. 
Unable  to  move  her  otherwise,  he  tells 
her  that  Mario  is  being  tortured  with  a 
steel  band  about  his  temples.  He  is 
heard  groaning  and  she  calls  to  him, 
but  he  warns  her  to  keep  silence.  At 
last,  however,  Scarpia  permits  her  to 
look  into  the  torture  chamber  and  she 
is  overcome  by  what  she  sees.  She 
confesses  that  Angelotti  is  concealed  in 
an  old  well  in  the  garden.  IMario  is 
brought  in  swooning,  and  Spoletta  is 
ordered  to  go  search  the  well  in  the 
garden.  Mario,  overhearing,  accuses 
Tosca  of  treachery  and  repulses  her. 
Sciarrone  brings  word  that  Napoleon  j 
has  won  the  battle  of  Marengo  and  the 
royal     troops     have     been     defeated. 


STORIES  OF  THE  OPERAS        827 


This  brings  a  cry  of  joy  from  Mario. 
Scarpia  orders  him  hanged.  He  is 
dragged  away,  and  Tosca  remains  to 
plead  for  his  life.  Scarpia  will  save  it 
if  she  will  pay  the  price  —  herself.  He 
pours  out  his  love  for  her  with  ardour 
that  she  detests.  She  repulses  him 
until  she  hears  the  drums  of  the  death 
march,  and  is  told  that  the  gallows 
awaits  her  lover  outside  the  window. 
Spoletta  enters  to  say  that  Angelotti 
took  poison  when  captured,  and  Scarpia 
orders  Mario  shot.  Tosca  consents 
with  a  silent  nod  to  pay  Scarpia's  price, 
and  he  promises  that  there  shall  be  a 
mock  execution  with  blank  cartridges. 
He  instructs  Spoletta  that  Mario's 
execution  is  to  be  conducted  "like  that 
of  Pafmieri. "  Spoletta,  understanding 
his  duplicity,  hurries  away.  Tosca 
insists  that  Scarpia  must  write  a  safe 
conduct  to  take  her  and  Mario  out  of 
the  country.  While  Scarpia  is  writing 
it  she  picks  up  a  sharp  knife,  and  when 
Scarpia  moves  to  take  her  in  his  arms, 
she  stabs  him  to  death.  As  soon  as  he 
is  dead  she  forgives  him,  and  finding  the 
safe  conduct  clenched  in  his  fingers, 
takes  it  from  them,  and  puts  out  all  the 
lights,  except  two  candles,  which  she 
places  on  either  side  of  him.  She 
removes  also  a  crucifix  from  the  wall, 
and,  placing  it  on  his  breast,  slinks  out 
of  the  room. 

Act  m.  A  platform  of  the  castle  with 
a  trap-door  and  a  flight  of  steps.  It  is 
almost  daybreak  and  the  voice  of  a 
shepherd  leading  his  flock  to  the  hills 
is  heard  d>'ing  in  the  distance.  Mario 
is  brought  in  under  guard.  The  jailer 
records  Mario's  name  and  grants  his 
request  for  the  privilege  of  writing  a 
letter  of  farewell.  As  he  begins  to 
write  he  muses  upon  Tosca  coming  into 
his  garden  under  the  starlight  {E  luce- 
van  le  stcllc).  He  breaks  down  and 
weeps  as  Spoletta  appears,  followed  by 
Tosca,  who  rushes  to  him  and  shows 
him  the  safe  conduct.  Perceiving  the 
signature  of  Scarpia,  he  demands  what 
price  she  paid.     She  says  that  he  de- 


manded "your  blood  or  my  love,"  and 
describes  how  she  had  killed  him.  He 
wonders  at  such  a  deed  at  such  gentle 
hands  (0  dolci  mani).  She  explains 
the  plan  of  escape  and  informs  him  that 
he  must  simulate  death  after  the  volley. 
There  is  a  love  duet  (Amaro  sol  pertc). 
The  firing  party  enters.  Mario  is  led 
to  one  side.  He  refuses  to  have  his 
ej'es  bandaged.  The  soldiers  fire. 
Mario  falls.  The  soldiers  are  led  away, 
leaving  Tosca  alone.  She  hurries  to 
Mario  bidding  him  to  make  haste. 
She  finds  that  he  is  actually  dead, 
Scarpia  has  duped  her  after  all;  she 
throws  herself  upon  his  body  in  agony  of 
grief.  Spoletta  and  others  return, 
exclaiming  that  Scarpia  has  been  as- 
sassinated by  Tosca.  As  Spoletta 
nishes  to  seize  her,  she  springs  upon  the 
parapet  and  leaps  to  her  death. 

PUCCINI,  GIACOMO 

La  Fanciulla  (fan-chool'-la).  'Del 
West.  /.   The  Girl  of  the  Golden  West. 

An  opera  in  three  acts.  Book  by  C. 
Zangarini  and  G.  Civinini  (after  the 
drama  by  David  Belasco). 

Produced,  INIetropolitan  Opera  House 
New  York,  December  lo,  1910. 

CHARACTERS  AND  THEIR  CREATORS 


Minnie 

.  .Emmy  Destinn,  sopr. 

Jack  Rance, 

Sheriff Pasquale  Amato,  bar. 

Dick  Johnson, 

Ramerrez Enrico  Caruso,  ten. 

Nick, 

Bartender Albert  Reiss,  ten. 

ASHBY, 

Agent  of  the  Wells-Far  go  Transport  Co 

Adamo  Didur,  bass 

SONORA    ^ 

Dinh  Gilly,  bar 

Trin 

ten. 

Sid 

bar. 

Handsome  . . . 
Harry  

U"-:::;:;:::le" 

Joe 

Glen  Hall,  ten 

: Iappy  

.  .  .A.  Pini-Corsi,  bar 

Larkens  .  .  .  . j 

bass 

828 


THE  MUSICAL  GUIDE 


Billy  Jackrabbit, 

An  Indian. .  .  Georges  Burgeois,  bass. 

WOWKLE, 

Billy's  Squaw, 

Marie  Mattfeld,  mez-sopr. 
Jake  Wallace, 

Travelling  camp-minstrel, 

A.  de  Segurola,  bar. 

Jose  Castro bass. 

A  Greaser  from  Ramerrez'  gang 

A  Postilion     ten. 

Men  of  the  Camp 

Place  of  action,  California  in  the  days 
of  the  gold  fever,  1849-1850. 

Act  I. —  Scene.  Interior  of  the 
"Polka,"  a  barroom  and  dance  hall. 
On  the  wall  a  placard  offering  a  reward 
of  five  thousand  dollars  for  the  stage- 
robber,  Ramerrez.  The  room  is  full  of 
miners  gambling  and  drinking.  From 
the  distance  comes  the  homesick  voice 
of  Jake  Wallace,  singing  his  song  of 
"Way  Back  Yonder"  (La  lontano). 
Larkens,  another  miner,  breaks  down 
with  homesickness  and  a  subscription  is 
taken  up  for  him.  Sid  is  caught  cheat- 
ing at  faro.  Jack  Ranee,  the  Sheriff, 
saves  him  from  being  lynched,  but  pins 
a  badge  on  him  in  token  of  dishonour 
and  has  him  kicked  out.  Ranee  and 
others  play  poker  as  Ashby,  the  Wells- 
Fargo  agent  enters.  Ashby  tells  them 
that  he  is  hard  on  the  track  of  Ramerrez 
and  expects  to  catch  him  soon.  Nick 
enters  with  whiskey  and  glasses,  telling 
the  boys  that  Minnie  has  sent  it  to 
them.  They  all  join  in  drinking  to 
Minnie.  Ranee  impressively  tells  them 
that  Minnie  will  be  Mrs.  Ranee  shortly. 
Sonora  bursts  out  with  rage  that  Min- 
nie is  only  fooling  Ranee,  whereupon 
ensues  a  fight,  which  is  stopped  by 
Minnie's  entrance.  She  separates  and 
subdues  them  all. 

The  boys  gather  around  her,  giving 
her  presents.  Sonora  hands  her  a  little 
bag  of  gold  to  clear  up  his  debt  to  the 
bar,  and  Minnie  signs  for  it  and  places 
it  in  the  barrel.     She  then  takes  out  her 


Bible  and  holds  her  school  for  the  boys, 
treating  them  all  as  little  children. 
The  pony-express  boy  enters  with  let- 
ters, and  tells  Nick  that  a  greaser  has 
been  seen  hanging  around,  and  to  be 
on  his  guard.  Ashby  asks  him  if  he 
knows  an  adventuress  by  the  name  of 
Nina  Micheltorena.  Minnie  interposes 
that  she  has  heard  of  this  creature,  who 
tries  to  make  love  to  all  the  boys. 
Ashby  tells  the  Sheriff  that  he  will  catch 
Ramerrez  that  night,  as  Nina  has 
betrayed  his  movements. 

As  the  boys  read  scraps  of  their  home 
letters  aloud.  Ranee  makes  love  to 
Minnie  and  asks  her  to  marry  him. 
Minnie  asks  him  what  will  become  of 
the  wife  he  already  has.  He  tells  her 
that  for  her  sake  he  will  desert  his'  wife. 
Minnie,  drawing  a  pistol,  warns  Ranee 
to  cease  his  dishonourable  proposals. 
Ranee  goes  angrily  to  the  faro  table, 
and  Minnie  follows  to  say  that  she  has 
only  done  what  she  was  taught  down 
at  her  home  in  Soledad  (Laggiu  nel 
Soledad). 

Nick  reenters  with  Ramerrez,  alias 
Dick  Johnson,  whom  Minnie  greets  and 
seems  to  remember.  They  recall  to 
each  other  their  meeting  on  the  road  to 
^Monterey  and  vow  that  neither  ever 
would  or  ever  could  forget.  He  asks 
her  to  dance  with  him;  some  of  the 
others  follow.  Sounds  of  shots  are 
heard  and  Ashby  enters  dragging  Jos6 
Castro.  Castro,  seeing  Johnson's  sad- 
dle, believes  that  his  master  is  captured, 
but  when  he  is  questioned  by  Ranee 
concerning  Ramerrez  he  gives  them  a 
false  scent;  and  they  decide  to  follow  it. 
The  door  opens  and  Castro  meets  the 
eyes  of  Johnson  and  secretly  tells  him 
that  Johnson's  following  are  near  at 
hand  and  will  give  the  signal  when  they 
are  ready  to  come  to  him.  Ranee  and 
the  others  gallop  away  on  the  false 
scent,  taking  Castro.  Nick  goes  into 
the  dance  hall  to  put  out  the  lights. 
Minnie  and  Johnson  talk  together.  A 
whistle  is  heard  and  Johnson  realizes 
it  is  the  signal  of  his  men.    Minnie  is 


STORIES  OF  THE  OPERAS        829 


frightened  and  tells  Johnson  that  the 
gold,  representing  all  the  labour  of  the 
boys,  is  in  the  barrel  under  her  care, 
but  she  will  fight  for  it  with  her  life. 
Johnson  is  so  moved  that  he  cannot 
take  the  gold  as  he  intended.  He  tells 
her  that  he  wants  to  come  and  see  her 
in  her  cabin  by  the  hillside,  and  that  she 
has  the  face  of  an  angel.  He  goes,  and 
Minnie  is  left  alone,  repeating  as  the 
curtain  falls,  "The  face  of  an  angel." 

Act  II. —  Scene.  The  interior  of 
Minnie's  cabin.  The  act  opens  with 
Wowkle,  the  Indian  woman,  singing  to 
her  baby  (//  niio  bimbo).  Billy,  the 
Indian,  enters  and  they  discuss  mar- 
riage till  Minnie  appears  and  makes 
preparation  to  receive  Johnson.  John- 
son enters  and  they  have  a  love-scene. 
Minnie  sings  "You  should  see  my  little 
pony"  {Ho  un  piccolo  poUedro).  Wow- 
kle enters  with  candles  and  Minnie 
sends  her  home,  telling  Johnson  that 
he  may  stay  for  an  hour  longer.  Dur- 
ing their  further  love-scene,  the  snow- 
storm increases,  till  Minnie  tells  Johnson 
that  it  will  be  impossible  for  him  to  go 
at  all.  Minnie  sends  him  to  rest  on 
her  bed,  while  she  wraps  herself  in  a 
blanket  to  sleep  by  the  fire. 

Nick  is  heard  knocking  and  calling  at 
the  door.  Minnie  forces  Johnson  to 
hide,  as  she  fears  the  jealous  Ranee  has 
come  and  brought  the  others.  As  she 
opens  the  door,  Ranee,  Nick,  Ashby, 
and  Sonora  enter.  They  tell  Minnie 
that  they  feared  for  her  safety,  and  that 
Johnson  is  in  reality  Ramerrez,  who 
had  come  to  the  "Polka"  to  rob  it. 
Ranee  convinces  Minnie  that  Johnson  is 
Ramerrez,  and  has  been  betrayed  by 
his  woman,  Nina  Micheltorena,  show- 
ing her  the  picture  of  Johnson  given 
them  by  Nina.  Minnie,  conceahng  her 
jealous  agony,  sends  them  away,  and 
then  orders  Johnson  to  come  out  of  hid- 
ing. She  accuses  him  violently,  and 
Johnson  bursts  out  in  self-defence,  con- 
fessing "I  am  Ramerrez,  vagabond  by 
birth,"  {Sono  Ramerrez:  nacqui  vaga- 
bondo).    Minnie,  moved  at  the  story  of 


his  life,  says  that  she  could  forgive  him 
anything  but  his  having  taken  her  first 
kiss:  that  she  cannot  forgive;  she  sends 
him  out  into  the  blizzard.  He  goes  and 
immediately  after,  shots  are  heard. 
Minnie  opens  the  door  and  Johnson 
staggers  in  wounded.  He  struggles  to 
go  away  again,  but  Minnie  helps  him  to 
hide  in  the  loft,  declaring  that  she  loves 
him.  Ranee,  knocking  excitedly,  Min- 
nie runs  to  admit  him,  feigning  surprise 
as  Ranee  declares  he  has  tracked 
Ramerrez  to  her  cabin.  Minnie  denies 
having  seen  Johnson,  and  Ranee  makes 
violent  love  to  her.  As  she  repulses 
him,  a  drop  of  blood  falling  on  his  hand 
from  above  leads  to  the  discovery  of 
Johnson.  Minnie  helps  Johnson  down 
the  ladder,  and  as  he  faints,  she  bargains 
to  gamble  with  Ranee  —  she  is  to  have 
Johnson's  life  if  she  wins;  she  gives 
herself  to  Ranee  if  she  loses.  During 
the  game,  Minnie  contrives  to  exchange 
her  cards  for  others  hidden  in  her  stock- 
ing. Ranee,  believing  that  she  has  fairly 
won,  goes  and  Minnie  is  left  sobbing 
on  the  inert  body  of  her  lover. 

Act  in. —  Scene.  Early  dawn  on  the 
edge  of  the  great  California  forest. 
Nick  and  Ranee  talk  of  Johnson,  curs- 
ing his  love  for  Minnie,  Men  come  and 
go  on  horseback  and  there  is  pursuit. 
Sonora  rides  in  with  the  news  of  John- 
son's capture.  Ranee  exulting,  sings 
"Your  turn  to  weep  now  Minnie" 
(Minnie,  ora  piangi  tu)l  The  men  dance 
and  sing  pointing  to  the  tree  where  Billy 
is  preparing  the  noose  for  hanging. 
Johnson  appears  in  the  midst  of  a  crowd 
of  horsemen.  Ashby  hands  him  over  to 
Ranee  and  demands  that  justice  be  done 
without  delay.  The  men  insult  John- 
son. He  tells  them  that  he  does  not 
fear  to  die,  but  only  begs  that  Minnie 
shall  not  know.  He  sings  "  Let  her  be- 
lieve me  free  and  far  away"  (Ch'ella  mi 
creda  libera  e  lontano).  As  they  take 
him  to  the  tree  where  Billy  holds  the 
noose,  Minnie  rides  in  wildly  crying, 
followed  by  Nick.  She  throws  herself 
in  front  of  Johnson,  holding  a  pistol 


830 


THE  MUSICAL  GUIDE 


toward  the  men,  who  close  in  threaten- 
ingly. She  pleads  with  them:  "I  claim 
this  man  as  mine"  {Ora  quest'  nonio  e 
m  io) .  So  appealing  to  them  each  in  turn 
for  some  favour  or  service  she  has 
rendered  in  the  past  she  melts  their 
hearts.  Sonora  frees  Johnson,  and  to- 
gether Johnson  and  Minnie  take  up  the 
trail  toward  the  mountains  singing 
"Good-bye,  My  California." 

DEBUSSY,     CLAUDE     ACHILLE 

Pellcaset  Mclisande  (pel'-la-as 
a.  ma-le-sahd 

L}Tic  drama  in  five  acts.  From  the 
play  by  Maurice  Maeterlinck. 

Produced  Opera  Comique,  Paris, 
April,  30,  1902. 

CHARACTERS 

Arkel,  King  of  AUemonde bass. 

Prince  Golaud  (go-lo). 

His  grandson bar. 

Pelleas, 

Half-brother  of  Golaud ten. 

Melisande sopr. 

Genevieve  (zhun— \'>'ev), 

Pelleas'  mother mez-sopr. 

Y^^OLD  (en-yol'), 

Golaud's  soti. 
A  Physician 

Act  I. —  Scene  i.  A  forest  in  AUe- 
monde. Melisande  is  seated  by  a  foun- 
tain weeping.  Prince  Golaud,  who  is 
hunting  and  has  lost  his  way,  asks  her 
why  she  weeps.  She  shrinks  from  him. 
She  has  dropped  into  the  fountain  her 
crown,  but  will  not  let  him  regain  it. 
He  persuades  her  to  let  him  lead  her 
away,  as  the  night  is  coming  on. 
Scene  n.  A  room  in  the  castle.  King 
Arkel  is  listening  to  a  letter  read  to  him 
by  his  queen.  It  is  Golaud's  letter  to 
his  half-brother,  Pelleas,  telling  how  he 
had  found  JNIelisande  and  later  married 
her,  and  now  fears  to  bring  her  home 
lest  Arkel  refuse  to  receive  her.  Go- 
laud has  been  a  %\idower  devoted  to  his 
little  son,  Yniold.  Pelleas  enters  to  say 
that  he  is  called  away  by  the  illness  of 


his  friend  Marcellus.  Arkel  tells  him  he 
must  await  Golaud's  arrival.  Scene 
in.  In  front  of  the  castle.  Mehsande 
is  complaining  to  Genexneve  of  the 
gloom  of  the  surrounding  forests. 
Pelleas  appears  and  they  watch  a  ship 
putting  out  with  the  coming  storm. 
Genevieve  leaves  them  and  Pelleas 
helps  Melisande  to  descend.  She  hopes 
that  he  will  not  go  away. 

Act  n. —  Scene  i.  A  fountain  in  the 
park.  Pelleas  and  Melisande  enter,  and 
Melisande  tries  to  reach  down  into  the 
dark  depths.  She  plays  with  the  ring 
Golaud  gave  her.  It  falls  and  is  lost. 
She  is  afraid  and  wonders  what  to  tell 
Golaud.  Pelleas  says  "The  truth,  the 
truth,  the  truth!"  Scene  n.  An 
apartment.  Golaud  is  ill;  his  horse  has 
thrown  him.  Melisande  stands  by  his 
bed,  she  begins  to  weep.  She  is  not 
happy  at  the  castle.  She  wants  Golaud 
to  take  her  awa}^  He  questions  her 
closely  of  Pelleas.  He  notes  that  his 
ring  is  gone.  She  is  confused  and  tells 
him  she  lost  it  in  the  sea  while  gathering 
shells  for  Yniold.  He  bids  her  go  hunt 
for  it.  She  is  afraid  of  the  dark.  He 
tells  her  to  take  Pelleas  with  her;  she 
goes  weeping.  Scene  m.  Before  a 
grotto.  Pelleas  would  lead  Melisande 
within  so  that  she  may  describe  it  as 
the  place  where  she  lost  the  ring.  The 
moon  reveals  three  poor  old  men  asleep. 
She  is  afraid  and  will  not  enter. 

Act  in. —  Scene  i.  A  tower.  Mehs- 
ande at  a  window  sings  as  she  combs 
her  long  hair  {Mes  longs  cheieux  des- 
coident).  Pelleas  appears  and  praises 
her  hair.  He  tells  her  he  must  leave 
on  the  morrow,  and  would  kiss  her 
hand.  As  she  bends  over,  her  hair  falls 
about  him;  he  embraces  and  kisses  it. 
It  "inundates"  him,  it  "loves"  him. 
To  hold  her  prisoner,  he  ties  it  to  a 
willow.  Two  doves  are  frightened  by 
her  outcry  and  fly  off.  Golaud  appears 
and  calls  them  mere  children.  He  leads 
Pelleas  away.  Scene  11.  A  vault  un- 
der the  castle.  Golaud  leads  Pelleas  in, 
speaking  of  the  odour  of  death  and  the 


STORIES  OF  THE  OPERAS       831 


deep  abyss.  Pelleas  feels  suffocated 
and  they  go.  Scene  iii.  A  terrace. 
Pelleas  comes  gasping  from  the  vaults. 
Golaud  warns  him  that  there  must  be 
no  more  of  these  games  of  children. 
Scene  iv.  In  front  of  the  castle  under 
Melisande's  window.  Golaud  takes  his 
little  son  Yniold  on  his  knees,  cjuestions 
him  of  his  stepmother,  ]\Ielisande. 
The  child  says  that  Pelleas  is  alwaj's 
with  her.  Golaud's  grasp  makes  the 
child  cry.  Golaud  promises  him  toys. 
Yniold  says  that  Pelleas  and  Melisande 
do  not  send  him  away.  They  are 
afraid  not  to  have  him  there.  They 
are  always  afraid.  Did  they  ever  kiss? 
Once  when  it  was  raining.  Now  a  light 
appears  in  the  window  above.  Golaud 
lifts  the  child  so  that  he  can  see  into 
Melisande's  room.  He  sees  Pelleas 
,  there,  but  the  two  are  apart,  just  gazing 
at  one  another. 

Act  rv. —  Scene  i.  A  corridor.  Pel- 
I6as  meets  Melisande.  He  has  just  come 
from  talking  with  Arkel,  who  has  ad- 
vised him  to  set  out  on  his  voyage.  He 
has  made  up  his  mind  to  go.  Arkel 
enters  and  speaks  tenderly  to  the  sor- 
rowful Melisande.  Golaud  appears. 
His  forehead  is  bleeding.  He  says  he 
tore  it  on  a  thorn.  He  repulses  Melis- 
ande and  demands  his  sword.  He 
seizes  Melisande  by  the  hair  and  drags 
her  about;  then  strides  away.  Melis- 
ande sighs  "He  loves  me  no  more.  I 
am  not  happy. "  Scene  ii.  A  dark  ter- 
race. Yniold  is  trying  to  lift  a  rock 
behind  which  his  ball  has  rolled;  he 
pauses  to  watch  a  flock  of  sheep  driven 
by  in  a  panic.  Scene  iii.  A  fountain. 
Pelleas  broods  over  the  snares  of  destiny. 
Melisande  comes.  She  is  fearsome, 
but  he  suddenly  seizes  her  in  his  arms 
and  she  confesses  her  love.  In  the 
midst  of  their  mutual  rapture  they  hear 
the  noise  of  the  castle  gates  closing. 
They  hear  some  one  approaching. 
They  kiss  as  Golaud  rushes  upon  them 
with  drawn  sword.  Pelleas  falls  and 
Melisande  flees  in  wild  terror  with 
Golaud  in  pursuit. 


Act  v. —  Scene  i.  An  apartment. 
Melisande  lies  in  a  bed.  A  physician 
tells  Golaud  and  Arkel  that  she  should 
not  die  from  so  little  a  wound.  Golaud 
is  bitterly  remorseful,  "They  were 
embracing  like  little  children  —  and  I 
did  it  in  spite  of  myself.  I  did  it  in 
spite  of  myself."  Melisande  wakens. 
Arkel  tells  her  she  has  been  a  little 
delirious  for  days,  and  she  has  borne  a 
child.  She  asks  Golaud  to  come  close. 
He  asks  the  others  to  withdraw  and 
begs  her  forgiveness.  As  she  is  about  to 
die,  he  implores  her  to  tell  him  truth- 
fully if  she  loved  Pelleas.  She  says  that 
she  loved  him,  but  there  was  no  guilt  in 
them.  Golaud  cannot  believe  her. 
The  servants  gather  unbidden  with  an 
ominous  prescience.  Golaud  begs  again 
to  question  her;  but  Arkel  tells  him  not 
to  disturb  her,  "The  human  soul  is  very 
silent.  The  human  soul  loves  to  steal 
away  alone."  He  leads  the  sobbing 
Golaud  from  the  room.  "It  was  a  little 
being,  peaceful,  so  timid,  so  taciturn. 
It  was  a  poor  little  mysterious  thing, 
like  everybody  else.  She  lies  there  as 
if  she  were  the  elder  sister  of  her  child. 
It  must  live  in  her  place.  It  is  the 
little  one's  turn  now." 

WOLF-FERRARI,  ERMANNO 
I    GiojelH      Del'la     Madon'na 
(ej6-yel'-le)   /.    The    Jewels    of    the 
Madonna. 

Three-act  opera.  Book  by  the  com- 
poser. Lyrics  by  C.  Zangarini  and  E. 
Golisciani. 

Produced  Berlin,  December  23,  1911. 

CHARACTERS 

Gennaro  (gen-na'-ro), 

A    blacksmith ten. 

Carmela  (kar-ma'-la). 

His  mother mez-sopr. 

Maliella  (mal-ygl'-Ia), 

Her  foster-child sopr. 

Rafaele  (ra-fa-a'-l6), 

Head  of  the  Camorra bar. 

Biaso  (be-a'-s6) 

.1  scribe buf-ten. 


832 


THE  MUSICAL  GUIDE 


CicciLLO  (che-cha'-l6)  J  Caw-  ten. 

Roc'co                          I     orrists  bass. 

Stella             ")  sopr. 
/  Friefids 


CONCETTA 


ft6n-ch«'-.S)V     "/«; 


sopr. 


contr. 


imor- 
Serena  I      rists 

(sa-ra'-na)       ) 
Grazia  (grats'-ya) 

Known  as  "la  biondina" 
Toton'no, 

A  young  man  of  the  peasant  class . .  ten. 

Place  of  action:  Naples.  Time: 
The  present  day. 

Act  I. —  Scene.  A  small  open  square 
by  the  sea;  Carmela's  house,  Gennaro's 
workshop,  Biaso's  hut  and  tavern.  It 
is  the  afternoon  of  the  festival  of  the 
Madonna,  and  the  square  is  crowded 
with  merrymakers  of  all  sorts.  The 
Children  of  St.  John  and  others  pass  by 
in  procession.  When  the  crowd  is 
somewhat  dispersed,  Gennaro  works  at 
his  anvil  on  a  wrought-iron  candela- 
brum. Totonno  quizzes  him  for  being 
so  serious.  When  he  is  gone,  Gennaro 
kneels  before  the  anvil  as  at  an  altar  and 
pledges  the  gift  to  the  Madonna  {Ma- 
donna, con  sospiri).  Maliella  rushes 
out  of  the  house  in  disarray,  re- 
buked by  her  foster-mother,  Carmela. 
Gennaro,  her  foster-brother,  protests 
against  her  recklessness,  and  she  accuses 
him  of  jealousy.  Biaso,  the  scribe, 
gives  her  a  paper  cap  and  she  sings  the 
"Canzone  di  Cannetella, "  while  a  chorus 
of  Camorrists  come  over  the  bay. 
Then  Maliella  dashes  out  followed  by  a 
crowd  of  young  men;  and  Gennaro  pours 
out  to  his  mother,  Carmela,  his  jealous 
anguish.  The  mother  tells  how,  when 
Gennaro  was  a  sick  baby  about  to  die, 
she  vowed  to  adopt  an  infant  girl  begot- 
ten in  sin  if  the  Madonna  would  spare 
Gennaro's  life  (T'eri  mi  giorno  ammalalo 
bambino).  Maliella  has  turned  out 
badly,  but  Carmela  hopes  that  mar- 
riage with  an  honest  man  will  reform 
her.     Gennaro  goes  out  with  his  candel- 


abrum, as  the  Camorrists  chase  Biaso 
and  threaten  him  because  he  has  pro- 
tested against  their  pursuit  of  Maliella. 
Among  them  is  Rafaele,  their  chief. 
He  seizes  the  girl  in  his  arms  with  a 
song  of  love  {Si,  perche  t'  amo,  bella 
assassina).  She  tries  to  escape,  but 
they  surround  her  and  sing  a  mock 
serenade  {Old  Flam,  Plam!)  She  de- 
fends herself  with  a  sharp  hatpin,  and 
stabs  Rafaele  in  the  hand.  He  kisses 
the  wound  made  by  her  "kiss  of  steel" 
{Bacio  di  lama),  and  thrusts  a  flower  in 
her  bosom.  She  throws  the  flower  down. 

The  crowd  now  appears  to  watch  the 
procession  of  children  in  white,  pre- 
ceding the  image  of  the  Madonna.  Dur- 
ing the  procession  Rafaele  pours  out  his 
love  and  asks  her  if  she  wishes  to  be 
adored  kneeling  {Adorarti  in  ginocchio) 
and  if  she  wishes  him  to  steal  the  Jewels 
of  the  Madonna  for  her.  Gennaro  ap- 
pears and  warns  her  against  Rafaele. 
When  Maliella  defends  him,  Gennaro 
orders  her  into  the  house,  and  is  about 
to  attack  Rafaele;  but  the  procession 
reappears,  and  all  must  kneel.  Rafaele 
throws  a  flower  to  Maliella.  She  picks 
it  up,  puts  it  in  her  lips  and  hurries  into 
the  house. 

Act  n. —  The  garden  of  Carmela's 
house  in  the  evening  a  few  hours  later. 
Maliella  stands  near  the  railing  looking 
longingly  toward  the  sea.  She  is  still 
holding  the  flower.  Carmela  bids  them 
good-night  and  goes  in.  Maliella  turns 
on  Gennaro  sajdng  that  she  is  sick  of 
this  gloom  and  is  going  away.  She 
goes  inside  and  can  be  seen  at  her  win- 
dow packing  her  things,  as  she  sings  a 
popular  love  song  {E  ndringhete, 
ndranghete).  She  comes  out  with  her 
bundle  and  Gennaro  checks  her,  lovingly 
embraces  her  and  pours  out  his  devotion 
{Si,  perche  t'amo,  t'adoro).  She  is 
astounded,  but  says  she  could  love  only 
a  man  of  reckless  courage  like  the  one 
who  had  offered  to  steal  for  her  the 
Jewels  of  the  Madonna.  Gennaro  is 
horrified,  but  when  she  starts  to  go, 
prevents  her,  and  she  storms  back  to  her 


I 


STORIES  OF  THE  OPERAS        833 


room  in  a  rage,  leaving  him  alone  with 
a  sacrilegious  temptation.  At  last,  he 
goes  to  a  tool  chest  and  taking  out 
skeleton  keys  and  files,  steals  away  like 
a  thief. 

A  group  of  serenading  Camorrists, 
among  them  Rafaele,  appear  and  call 
upon  Maliella  to  open  her  window 
{Aprila,  o  bella,  La  fineslrella).  Mal- 
iella appears,  and  Rafaele  makes  love 
to  her,  and  promises  to  make  her  queen 
of  his  band.  At  last  she  embraces  him 
through  the  bars  of  the  gate  just  as  a 
warning  is  given  that  Gennaro  is  return- 
ing. Rafaele  disappears  as  Gennaro 
conies  back  in  a  mood  of  horror.  He 
carries  a  bundle,  which  he  opens  at 
:Maliella's  feet.  It  contains  the  Jewels 
of  the  Madonna.  Maliella  is  terrified, 
but  Gennaro,  with  mystical  passion 
declares  "The  Madonna  knows  that  I 
am  guiltless"  {No,  la  Madonna  sa  die 
Hon  Vofesi).  Irresistibly  fascinated, 
Maliella  takes  up  the  necklace  and  notes 
that  it  smells  of  incense.  She  puts  on 
the  diadem  and  the  bracelets,  wishing 
t  hat  Rafaele  might  see  her  so.  Gennaro 
embraces  her  with  wild  fervour  and  she, 
almost  in  a  trance  of  horror,  thinking 
him  to  be  Rafaele  yields  herself  to  him. 
Act  ni. —  Scene.  The  headquarters 
of  the  Camorra.  Among  the  crude  and 
vulgar  ornaments  is  a  fresco  of  the 
^Madonna,  and  a  little  altar  behind  a 
curtain.  The  Camorrists  are  drinking 
stupidly,  and  three  women  join  in  their 
revel.  When  Rafaele  appears,  the  girls 
twit  him  with  his  infatuation  for 
Mahella,  but  he  sings  in  her  praise. 
•'You  don't  know  Maliella's  charm" 
(Non  sapete  —  di  Maliella).  A  curtain 
is  drawn  in  front  of  the  fresco  of  the 
Madonna,  and  a  wild  orgy  begins.  In 
the  midst  of  it  Maliella  pounds  on  the 
door  and  rushes  in,  appealing  for  help 
against  Gennaro  and  revenge.  She 
faints  in  Rafaele's  arms,  and  he  orders 
the  Camorrists  to  bring  him  Gennaro 
aUve  or  dead.  "Were  you  his?  "  Rafaele 
demands.  She  covers  her  face  and 
sobs.    The   others   ridicule   him.    He 


turns  against  Maliella,  crying,  "  You 
belong  to  Gennaro,  go  to  him,"  and 
hurls  her  to  the  ground.  As  she  falls, 
her  shawl  falls  open  and  exposes  the 
jewels.  The  other  women  surround 
Maliella  in  amazement,  not  knowing 
whence  the  jewels  had  come.  In  the 
distance  Gennaro  is  heard  bewailing 
his  sin.  Then  the  noise  of  the  attack 
upon  him  is  heard  and  he  bursts  into  the 
room  pursued  by  the  Camorrists.  He 
bares  his  breast,  calling  on  them  to  kill 
him.  Rafaele  rushes  upon  him  in  a 
rage,  but  is  dragged  away.  Gennaro, 
seeing  Maliella,  moves  toward  her  with 
a  despairing  cry,  but  she  looks  on  him 
with  loathing,  tearing  off  the  jewels  and 
flinging  them  at  his  feet,  crying  to  all  the 
crowd  that  Gennaro  had  stolen  them 
from  the  Madonna.  The  men  recoil, 
and  the  women  drop  to  their  knees 
mumbling  the  Litany.  Rafaele  cries 
out  that  MalieUa's  soul  is  damned,  and 
she  dashes  out  to  drown  herself.  Ra- 
faele protects  Gennaro  from  the  at- 
tacks of  the  Camorrists,  saying  that  he 
shall  be  left  to  die  there  like  a  dog.  In 
the  distance  the  church  bells  ring  the 
alarm,  showing  that  the  theft  is  dis- 
covered. The  women  flee  in  terror; 
the  men,  bowing  before  the  Madonna's 
fresco,  retreat  backward,  leaving  Gen- 
naro alone.  He  gathers  up  the  jewels, 
kisses  them  with  reverence  and  staggers 
to  the  altar,  where  he  lays  them  before 
the  portrait  of  the  Madonna  begging  her 
pity.  A  ray  of  light  from  the  rising  sun 
shines  through  the  window  and  falls  on 
the  jewels.  Gennaro  takes  it  for  a  sign 
of  forgiveness  and  in  his  delirium  seems 
to  hear  the  angels  of  paradise.  Finding 
a  knife  on  the  ground,  he  calls  aloud  for 
his  mother  not  to  weep  for  him,  and  in 
a  mystical  ardour,  slowly  presses  the 
knife  into  his  breast.  As  he  falls,  he 
sees  Maliella's  scarlet  wrap  on  the 
ground.  He  kisses  it,  and  pillows  his 
dying  head  on  it  as  the  birds  break  out 
into  song.  The  angry  mob  appears  at 
the  door,  but  h<ilts  on  the  threshold 
seeing  Gennaro  dead. 


834 


THE  MUSICAL  GUIDE 


WOLF-FERRARI,  ERMANNO 

Le  Donne  Curiose  (la  don'-na. 
koo-ri-o'-sa).     I.     Inquisitive  Women. 

A  musical  comedy  in  three  acts. 
Book  by  Luigi  Sugana  (based  upon 
Carlo  Goldoni's  comedy). 

First  produced  in  Munich,  1903,  as 
Die  Neugierigen  Frauen  (de  noi-ge'-ri- 
gen  f row'- en). 

CHARACTERS 

Ottavio  (6t-tav'-yo) bass. 

Beatrice  (ba-a-tre'-che) mez-sopr. 

RosAURA  (ro-za-oo'-ra) sopr. 

Florin'do   ten. 

Pantalone  (pan-ta-lo'-ne) .  . .  .buf-bar. 

Lelio  (la'-li-o) bar. 

Lean'dro ten. 

Colombi'na sopr. 

Eleono'ra sopr. 

Arlecchino  (ar-lek-ke'-no)  .  .buf-bass. 

AsDRUBALE   (az-droo-ba'-le) ten. 

Almo'ro ten. 

Alvise     (al-ve'-ze) ten. 

Lunar'do bass. 

Mo'molo bass. 

Menego    (me-na'-go) bass. 

The  action  concerns  a  men's  club  in 
Venice,  whose  mottoes  are  "No  Women 
Admitted"  and  "Friendship"  (L'anii- 
cizial)  and  the  efforts  of  the  wives  and 
sweethearts  of  the  members  to  discover 
what  goes  on  in  the  club. 

Act  I. —  Scene  i.  A  room  in  the  club- 
house. The  members  are  variously 
engaged  at  chess  and  arguments. 
Florindo  is  sighing  like  a  furnace  for  his 
sweetheart,  Rosaura,  the  daughter  of 
Ottavio.  The  members  describe  the 
efforts  of  their  wives  and  daughters  to 
find  out  the  secrets  of  the  organization, 
but  Florindo  sings  of  his  sweetheart 
{Ma,  allor  ch'io  vedo  trcmulo) .  Leandro, 
who  is  a  bachelor,  suggests  a  dinner  for 
the  evening,  and  they  all  agree  to  allow 
old  Pantalone  to  pay  for  it.  He  comes 
in  and  falls  into  the  trap.  His  ser\'ant, 
Arlecchino  appears  and  is  told  to  order 
a  fine  supper  for  that  evening  at  ten 


o'clock.  Pantalone  reminds  him  that 
the  club's  secrets  must  be  kept  from  the 
women. 

Scene  n.  A  room  in  the  home  of 
Ottavio,  who  is  late  for  dinner,  detained, 
of  course,  at  his  horrid  club.  His  wife, 
Beatrice,  and  his  daughter,  Rosaura, 
are  complaining.  Beatrice  is  sure 
they  gamble  there.  Rosaura's  theory  is 
that  they  meet  women  there.  Eleonora 
a  neighbour,  appears,  and  she  is  positive 
that  the  men  are  alchemists  trying  to 
discover  the  philosopher's  stone.  She 
sings  o£  her  tragic  experience  with  the 
dressmaker  (A  irovarc  la  mia  sarta). 
Colombina,  a  maid,  runs  in  breathlessly 
and  announces  that  she  has  discovered 
that  the  club  is  engaged  in  digging  for 
buried  treasure  [Ne  ha  di  belle) .  And 
now  Arlecchino,  who  is  secretly  court- 
ing Colombina,  comes  in.  The  women 
pounce  on  him  with  their  theories  as  to 
the  object  of  the  club  and  he  agrees  to 
all  of  them.  They  turn  upon  him  in  a 
rage  and  he  runs  out,  leaving  the  women 
as  mystified  as  ever,  but  each  still  posi- 
tive of  her  own  theory.  Ottavio  comes 
home  and  announces  that  Florindo  will 
dine  with  him.  He  is  figuring  out  some 
accovuits  in  his  notebook,  and  his  wife 
tries  to  wheedle  from  him  the  secrets  of 
the  club.  He  leaves  in  a  hufi"  and  she 
follows  him.  Florindo  appears,  but 
Rosaura  will  not  give  him  her  heart  un- 
til he  tells  her  the  secret  of  the  club.  He 
pleads  for  mercy  {lo  scnio,  ahime). 
Colombina  returning,  suggests  to  Ros- 
aura that  she  should  try  the  effect  of 
swooning.  She  pretends  to  faint. 
Florindo  is  frantic  and  Colombina  ad- 
vises him  that  the  only  way  to  regain 
Rosaura's  afl'ections  is  to  tell  her  the 
secrets  of  the  club.  She  manages  to 
v-'heedle  from  him  the  rule  of  the  club 
that  no  women  shall  be  admitted,  the 
motto  "Friendship,"  the  fact  that 
there  is  to  be  a  supper  at  ten 
o'clock,  and  that  every  member  has 
his  own  key.  Colombina  then  gets 
rid  of  him  and  speedily  resuscitates 
Rosaura. 


STORIES  OF  THE  OPERAS        835 


Act  u. —  Scene  i.  A  room  in  the 
house  of  Leiio.  His  wife  is  going 
through  the  pockets  of  his  clothes 
{Che  bestion  di  mar  it  o).  She  finds  two 
new  keys  with  a  letter  from  Pantalone 
saying  that  the  locks  have  just  been 
changed.  She  cries  "Victory!  Vic- 
tory!" and  restores  the  letter,  but  not 
the  keys.  Lelio  comes  in  and  she  asks 
him  if  he  is  going  back  to  the  alchemist's 
furnace.  He  is  furious  at  her  quizzing, 
and  they  storm  out  at  opposite  doors. 

Scene  ii.  A  room  in  Ottavio's  house. 
Colombina  announces  all  that  she  has 
learned.  Only  one  thing  is  lacking  — 
the  key  to  get  in  with.  Ottavio  and 
Florindo  appear  and  Beatrice  tries  to 
get  her  husband  to  change  his  coat  so 
that  she  may  search  the  pockets  of  it, 
and  Colombina,  as  if  by  accident,  spills 
coffee  on  Ottavio's  coat.  And  now 
Ottavio  takes  it  off  to  have  the  spots 
removed.  Ottavio  begins  to  sneeze 
while  waiting  for  another  coat.  Colom- 
bina brings  back  the  things  she  has 
found  in  the  pockets,  but  secretly  in- 
forms Beatrice  that  she  has  substituted 
the  cellar  keys  for  the  club  keys,  and 
Ottavio  goes  with  Florindo  leaving  the 
women  rejoicing  in  their  triumph. 
Beatrice  seizes  the  keys  and  tells 
Rosaura  that  she  is  too  young  to  go  to  a 
men's  club.  Rosaura,  left  alone,  muses 
over  Florindo  {Ah,  tiiUo  per  te,  mio  bene). 
He  steals  back .  but  she  refuses  to  relent 
unless  he  gives  her  the  keys.  He  pours 
out  his  despair  {Vol  lacerate  il  mio  povero 
cuore),  but  finally  yields  to  her  determin- 
ation, and  they  are  reconciled  in  a  duet 
{II  cor  nel  coiitcnto). 

Act  III. —  Scene  i.  A  street  in  Venice 
before  the  clubhouse.  At  the  back  is  a 
canal.  Pantalone  comes  out  of  the  club- 
house looking  for  Arlecchino,  who  ap- 
pears with  bottles,  but  has  forgotten  the 
candles.  Arlecchino  goes  inside  to  un- 
load before  he  returns  for  them,  and 
Pantalone  follows  him  in.  A  gondola 
draws  up  to  the  landing  and  Eleanora 
steps  from  it  as  Arlecchino  comes  from 
the  clubhouse.     Eleonora  in  her  terror 


drops  her  keys  and  nms.  Arlecchino 
pockets  them  and  goes  on  his  way,  as 
Colombina,  disguised  as  a  man,  enters 
with  Beatrice  from  a  side  street. 
Beatrice  hides  as  Pantalone  comes  out, 
and  seeing  Colombina  gives  the  pass- 
word, "Friendship."  He  soon  dis- 
covers that  Colombina  is  only  a  dis- 
guised woman,  and  snatches  the  kej's 
from  her.  She  runs  off,  leaving  Panta- 
lone to  wonder  who  is  the  traitor  who 
has  given  up  the  club  keys  into  women's 
keeping.  Pantalone  goes  back  into  the 
club.  Lelio  and  Ottavio  come  up. 
Lelio  is  puzzled  at  not  finding  his  keys 
in  his  pocket.  Florindo  appears.  Ot- 
tavio twits  him  about  his  love  for  the 
capricious  Rosaura  {Bravo  mio  genero). 
Ottavio,  about  to  open  the  club  door, 
finds  that  he  has  the  cellar  keys  instead. 
He  turns  to  Florindo  for  his.  Florindo 
in  some  confusion  says  that  he  left  them 
at  home.  The  three  locked  out  mem- 
bers knock,  and  Pantalone  comes  to  the 
door  in  a  bad  temper  and  shows  the  keys 
that  have  been  found.  Lelio  and 
Ottavio  follow  him  into  the  club,  but 
Florindo  remains,  seeing  a  servant  with 
a  lantern  preceding  a  woman.  He  con- 
ceals himself  and  Rosaura,  masked, 
follows  her  servant  in.  The  servant  is 
about  to  put  the  key  in  the  door  when 
Florindo  snatches  it  from  him.  Ros- 
aura drops  her  mask  and  the  servant 
runs  away.  Florindo  reproaches  Ros- 
aura for  trying  to  betray  him,  and  enter- 
ing the  Club,  slams  the  door  behind  him. 
Arlecchino,  who  has  seen  this  quarrel, 
catches  Rosaura  as  she  faints.  While  he 
is  wondering  what  to  do  with  his  burden, 
Beatrice  and  Eleonora  appear.  Bea- 
trice, recognizing  her  daughter,  faints 
in  Arlecchino's  other  arm.  Colom- 
bina runs  and  prepares  to  faint  also,  but 
Arlecchino  reminds  her  that  he  has  not 
arms  enough  for  three.  The  women 
recover  and  begin  to  cry,  reviHng  the 
door  that  will  not  open.  They  now 
turn  upon  Arlecchino.  Colombina  tries 
to  bribe  him  with  caresses.  Beatrice 
offers  him  money:  Rosaura  offers  him 


836 


THE  MUSICAL  GUIDE 


earrings;  Colombina  offers  him  a  dinner 
and  kisses.  But  he  refuses  them  all. 
Then  they  turn  upon  him  with  their 
finger-nails,  and  he  surrenders  the  keys. 
They  open  the  club  door  and  enter 
while  Arlecchino  picking  up  the  lantern 
looks  up  and  down  the  street,  ironically 
calling  out,  "Are  there  any  others  who 
want  to  get  in?  " 

Scene  n.  A  room  in  the  clubhouse, 
with  an  opaque  door  leading  to  the 
dining  room.  The  members  of  the 
club  are  saluting  Pantalone,  who  warns 
them  not  to  give  to  a  woman  the  keys 
to  a  door  or  to  their  hearts.  Arlecchino 
announces  supper  and  the  members 
enter  the  banquet  room.  When  the 
door  is  closed  the  four  women  steal 
from  their  hiding  places,  somewhat  sur- 
prised to  find  that  the  mysterious  activ- 
ity of  the  club  consists  of  a  simple  stag 
supper.  The  men  are  heard  laughing 
and  the  women,  taking  turns  at  the 
keyhole,  describe  what  is  going  on. 
They  grow  hungr>'  at  the  sight  of  the 
banquet,  and  when  Arlecchino  comes 
in  at  a  side  door  with  a  dish  of  tarts, 
they  rob  him  of  them.  They  begin 
now  to  struggle  so  frantically  for  the 
privilege  of  peeping  through  the  key- 
hole, that  they  push  the  door  open. 
The  club  members  arise  in  amazement 
from  the  table,  and  Pantalone  exclaims 
that  he  has  heard  of  showers  of  frogs  and 
showers  of  larks,  but  never  before 
showers  of  women  {Pi ova  de  sorzi). 
The  women  apologize  for  their  suspi- 
cions and  are  forgiven.  One  of  the 
members  begins  to  play  the  spinet  and 
Pantalone  chucks  Colombina  under 
the  chin.  Arlecchino  protests  that  her 
hand  belongs  to  him,  and  she  givTS  it 
to  him  —  over  the  ear.  A  minuet  is 
begun,  and  it  gradually  develops  into  a 
livelier  and  livelier  dance,  during 
which  Pantalone  gives  Arlecchino  a 
clip  over  the  head  and  sends  him  face 
downward  into  a  large  dish  of  whipped 
cream.  The  dance  breaks  up  with  a 
general  cry  of  the  club's  motto, 
"Friendship"  {Amicizia). 


MASSENET,  JULES 

Man  on 

An  opera  in  five  acts.  Book  by  H. 
Meilhac  and  Ph.  Gille,  (after  the 
romance  by  the  Abbe  Prevost). 

Produced  Opera  Comique,  Paris, 
January  19,  1S84. 

CHARACTERS 

The   Chevalier   Des   Grieux   (shu- 

vai-ya'  da  gre-u') ten. 

The  CotJNT  Des  Grieux, 

His  father, 
Lescaut  (les-ko), 

Of    the    Royal    Guards,     cousin    of 

Manon bar. 

GuiLLOT  Morfontain  (m6r-f6n-t2,h), 

Minister  of  finance,  an  old  beau, 
De  Bretigny  (du  bra-ten-ye'), 

A  nohletnan 
An  Innkeeper 

Manon  (ma-n6n) sopr. 

Pousette,  (poo-set),  | 
Javotte     (zha-vot),   > Actresses 
Rosette.  ) 

Place  of  action,  Amiens  in  the  year 
1721. 

Act  I. — Scene.  Courtyard  of  an  Inn. 
Morfontain,  the  old  Minister  of  Fi- 
nance, and  Bretigny  with  three  actresses 
are  demanding  food  and  drink.  The 
host  appears  and  they  order  dinner. 
The  landlord  leads  them  to  a  pavilion. 
A  bell  rings  and  the  tOAvnsfolk  gather  to 
see  the  coach  arrive.  Among  them  is 
Lescaut,  who  has  come  to  meet  his 
cousin,  Manon.  The  coach  appears 
and  the  passengers  descend  and  wrangle 
with  the  porters.  Manon  is  among 
them  and  greets  her  cousin  with  a  kiss. 
She  describes  her  impressions  of  the 
voyage  and  tells  how  one  moment  she 
wept  and  another  she  laughed  {Je  suis 
encore  tout  etourdie).  Her  cousin  goes 
in  search  of  her  luggage,  and  Morfon- 
tain, seeing  Manon,  starts  an  immediate 
flirtation.  She  is  amused  rather  than 
offended.     His  companions  join  in  the 


1 


STORIES  OF  THE  OPERAS        837 


merriment.  As  Morfontain  in  a  low 
voice  states  that  his  carriage  is  at  her 
service,  Lescaut  returns.  He  advises 
her  to  be  prudent  and  good  {Ne  bronchez 
pas,  soyez  gentille)  and  returns  to  his 
brother  officers.  Manon  resolves  to  go 
to  the  convent  and  have  done  with  her 
dreams  {Voyons,  Manon,  plus  de 
chimeres).  Suddenly  she  sees  in  the 
pavilion  Morfontain  and  the  actresses, 
and  she  envies  their  jewels  and  their 
splendours,  their  life  of  pleasure.  The 
young  Chevalier  Des  Grieux  appears  on 
his  way  to  meet  his  father.  Seeing 
Manon,  he  is  greatly  struck  with  her 
and  makes  her  acquaintance  with  little 
difficulty.  She  explains  that  she  is  only 
a  simple  maid,  not  wicked,  but  longing 
for  happiness  and  now  on  her  way  to  a 
convent.  He  cannot  endure  the  thought 
of  her  being  so  entombed,  and  offers 
her  his  protection.  She  accepts  and 
they  decide  that  they  will  live  in  Paris 
together  {Nous  vivrons  a  Paris  tons  les 
deux).  At  her  suggestion  they  will 
elope  together  in  the  carriage  that 
Morfontain  has  placed  at  her  disposal. 
They  hurry  away,  leaving  Morfontain 
and  Lescaut  to  amazement  and  wrath. 
Act  n. —  Scene.  An  apartment  in 
Paris.  Des  Grieux  is  writing  at  his 
desk.  He  reads  his  letter  to  her.  It 
is  a  description  of  her  charms  written 
to  his  father.  He  goes  to  mail  the 
letter,  but  notices  some  flowers,  and 
she  explains  quickly  that  they  were 
thrown  in  at  her  window.  He  promises 
not  to  be  jealous.  The  maid  enters  to 
announce  that  two  officers  are  present. 
One  of  them  is  Lescaut  and  the  other 
De  Bretigny.  They  come  in  and 
Lescaut  denounces  Des  Grieux  for  dis- 
honouring his  family.  He  demands  that 
Des  Grieux  marry  Manon,  and  is  shown 
the  letter  just  written.  As  the  men 
read  it  together  at  the  window,  De 
Bretigny  warns  Manon  that  her  lover 
is  to  be  kidnapped  that  evening  by  his 
father's  order,  and  advises  her  to  let 
him  be  taken,  lest  poverty  engulf  them. 
Once  she  is  free,  he  will  make  her  the 


Queen  of  Beauty.  The  two  visitors 
depart  and  Manon  is  troubled,  though 
Des  Grieux  is  full  of  rapture  and  love. 
He  goes  to  post  the  letter  and  she  makes 
up  her  mind  that  for  his  sake  she  must 
sacrifice  him,  especially  as  she  is  not 
worthy  of  him.  She  hears  a  voice 
which  calls  her  (/'  enkiids  cette  voix  qui 
m'  eniraine).  He  returns  and  tells  her 
of  a  dream  he  had,  seeing  a  little  cot- 
tage {Enfertnant  les  yeuxje  vols  la-bas). 
A  loud  knock  is  heard  at  the  door  and 
he  is  about  to  answer  it,  but  she  is 
overcome  with  fear  for  him  and  tries  to 
restrain  him.  He  releases  himself  and 
going  to  the  door  is  gagged  and  dragged 
away.  She  runs  to  the  window  crying, 
"Oh,  my  poor  Chevalier!" 

Act  in. —  Scene.  The  promenade 
of  the  Cours  la  Reine.  It  is  a  holiday 
and  there  are  booths  and  a  dancing 
pavilion,  where  the  three  actresses 
beckon  to  youths  to  join  them.  Les- 
caut appears  singing  of  his  Rosalinda. 
Morfontain  sees  the  actresses  and  greets 
them,  complaining  that  not  one  of  the 
three  is  faithful  to  him.  De  Bretigny 
ironically  begs  him  not  to  rob  him  of 
]VIanon.  Morfontain  says  that  he  has 
heard  that  De  Bretigny  refused  Manon 
a  favour,  and  steals  away.  Later 
Manon  appears  on  the  arm  of  De 
Bretigny  and  receives  much  homage. 
She  is  delighting  in  her  conquests,  and 
advises  everybody  to  heed  the  call  of 
love  and  youth.  As  she  moves  on,  the 
Count  Des  Grieux,  father  of  the  Cheva- 
lier appears  and  tells  De  Bretigny  that 
his  son  has  taken  holy  orders  and  be- 
come an  Abbe.  Manon  seizes  an 
opportunity  to  speak  to  the  Count  and 
is  told  that  her  lover  has  learned  his 
lesson  and  forgotten  her  She  deter- 
mines to  see  him  and  orders  her  chair 
to  take  her  to  the  Seminary  of  Saint 
Sulpice. 

Scene  ii.  The  pariour  of  the  Semi- 
nary. The  Count  congratulates  his 
son  on  the  eloquence  of  his  sermons, 
but  begs  him  not  to  take  final  orders; 
rather  to  find    some  worthy  maiden 


838 


THE  MUSICAL  GUIDE 


and  marry  her,  especially  as  the  next 
day  he  will  receive  a  fortune  from 
his  mother.  Des  Grieux,  left  alone,  is 
tormented  by  the  image  of  Manon 
{Ah,  fuyez,  douce  image).  Soon  she 
appears  and  hearing  the  choir  within, 
says  a  praj-er.  On  seeing  Des  Grieux, 
she  appeals  for  his  forgiveness.  He 
warns  her  that  she  cannot  speak  of 
love  in  such  a  place,  but  she  clings  to 
him,  and  at  length  he  throws  his  arms 
about  her,  defjdng  heaven's  vengeance. 

Act  rv'. —  Scene.  A  fashionable  gam- 
bUng  house.  Lescaut  is  plajing  and 
winning,  but  the  sharpers  are  watching 
him  hopefully.  The  three  actresses 
appear,  and  he  tells  them  that  his 
s\\eetheart  is  the  queen  of  spades 
(Cest  ici  que  celle  que  j'aime).  Des 
Grieux  and  jNIanon  appear,  and  Des 
Grieux  teUs  her  that  he  both  hates  and 
loves  her.  She  has  brought  him  here 
to  recoup  their  squandered  fortunes. 
Lescaut  encourages  him  to  play.  Mor- 
fontain  challenges  Des  Grieux  to  a 
game,  and  as  they  gamble  Manon 
revels  in  the  excitement,  which  is  life 
to  her  (A  tious  les  amours  et  les  roses). 
Morfontain  accuses  Des  Grieux  of 
cheating,  and  the  crowd  turns  against 
him  just  as  the  place  is  raided  by  the 
police.  Morfontain  denounces  Des 
Grieux  and  ISIanon  as  accomplices. 
The  Count  enters  and  orders  his  son 
and  Manon  arrested.  He  tells  his  son 
that  he  shall  be  released  at  once,  but 
that  IVIanon  must  "go  where  many  of 
her  sort  have  gone. " 

Act  v. —  Scene.  The  road  to  Havre. 
Des  Grieux  is  seated  by  the  roadside  to 
watch  IVIanon  pass  by  under  guard;  for 
she  is  to  be  transported  to  a  penal 
settlement.  Lescaut  appears  and  Des 
Grieux  discusses  with  him  their  plan  to 
release  Manon.  The  soldiers  are  heard 
singing  {Capitaine,  6  gue,  es-tu  fatigue.') 
Des  Grieux  is  desperate  enough  to 
attack  the  guard  single  handed,  but 
Lescaut  drags  hira  behind  some  bushes, 
promising  him  that  he  shall  see  Manon. 
The  soldiers  appear  and  Lescaut  leads 


one  of  the  sergeants  aside.  The 
soldiers  move  on,  dragging  with  them 
the  women  who  are  prisoners.  Later 
Manon  comes  down  the  path  greatly 
exhausted.  She  is  remorseful  for  her 
fickleness  and  feels  at  last  a  pure  flame 
in  her  heart  (Ah!  je  se)is  une  pure 
flamme).  The  evening  stars  appear  To 
her  coquettish  heart  they  are  jewels. 
"You  know  I  was  always  fond  of 
jewels. "  She  grows  weaker  and  weaker, 
and  dies  of  exhaustion  murmuring 
"This  is  the  story  of  Manon  Lescaut." 

MASSENET,  JULES 

Le  Jongleur  De  Notre  Dame 
(lu  zh6h-gler'  du  not-rii  dam)  F.  The 
Juggler  of  Notre  Dame. 

A  "miracle"  in  three  acts.  Book  by 
IMaurice  Lena  (based  on  an  old  miracle 
play). 

Produced,  Monte  Carlo,  February 
i8,  1902. 

CHARACTERS 

Jean  (zhah), 

The  juggler ten.  or  sopr. 

Boniface  (bon-e-fas), 

Cook  of  the  abbey bar. 

The  Prior bass. 

The  Musician  Monk 
The  Sculptor  Monk 
The  Poet  Monk 
The  Painier  Monk 

The  part  of  the  Juggler,  though 
originally  sung  by  a  tenor,  was  taken 
by  Miss  Mary  Garden  on  its  production 
at  the  Manhattan  Opera  House  in  New 
York. 

Place :  Paris.  Time  of  action :  Four- 
teenth Century. 

Act  I. —  Scene.  The  Place  Cluny, 
in  front  of  the  abbey  with  a  statue  of 
the  Madonna  over  the  door.  It  is 
market  day  and  the  Square  is  filled  with 
merchants,  and  with  merry-makers  who 
dance  in  honour  of  the  Madonna  and 
the  "  Dauphin,  Jesus. "  The  sound  of  a 
vieUe    is    heard    approaching.     It    is 


STORIES  OF  THE  OPERAS        839 


recognized  as  the  music  of  a  Juggler 
Joyous  anticipations  are  quenched  by 
the  appearance  of  the  meagre  and 
poverty-stricken  Jean.  He  is  hailed 
as  "His  Majesty,  King  Famine."  He 
plays  for  them  to  dance,  holding  out  his 
cup  with  little  success.  They  ridicule 
him,  and  when  he  suggests  the  various 
songs  that  he  knows,  they  refuse  to  hear 
any  of  them.  They  demand  a  drinking 
song,  and  he  consents  to  sing  "The 
Hallelujah  of  Wine,"  first  praying  the 
Virgin  to  pardon  his  sacrilege,  for  though 
his  heart  is  Christian,  his  stomach 
is  pagan.  As  he  is  singing  reluctantly, 
the  Prior  rushes  out  of  the  abbey,  and 
all  flee  except  the  Juggler,  who  drops 
to  his  knees  craving  pardon.  This  the 
Prior  refuses,  declaring  that  the  gate  of 
hell  is  yawning  for  him.  Jean  weeps  in 
terror,  and  the  Prior,  relenting,  tolls 
him  he  can  save  himself,  but  only  by 
taking  holy  orders.  Jean  recoils  at  the 
thought  of  renouncing  Liberty,  his 
heart's  mistress  [Cest  die  que  mon  coeur 
pour  maitresse  a  choisie).  The  Prior 
warns  him  that  Liberty  will  let  him 
starve,  while  the  convent  will  feed  both 
soul  and  body.  He  points  to  Boniface, 
the  cook,  who  arrives  on  a  donkey 
laden  with  flowers,  food  and  wine.  The 
cook  sings  of  the  three:  the  flowers  for 
the  Virgin,  the  food  and  the  wine  for 
her  servants  {Pour  la  Vierge  d'abord). 
The  breakfast  bell  rings  in  the  abbey, 
and  the  monks  are  heard  reciting 
the  Benedicite  in  the  refectory.  The 
Prior  invites  Jean  to  the  feast,  and  he 
enters  taking  with  him  the  Juggler's 
outfit. 

Act  n. —  Scene.  Study  room  and 
garden  of  the  abbey.  Among  the 
monks  is  a  Sculptor  who  has  finished  a 
statue  of  the  Virgin,  which  the  Painter 
is  colouring.  A  Musician  monk  is 
rehearsing  the  others  in  a  hymn  to  the 
Virgin,  which  he  has  composed  for  the 
occasion;  Assumption  morning  {Ave 
coeleste  lilium).  Jean  is  bemoaning  the 
fact  that  he  cannot  join  their  praises 
because  he  does  not  know  Latin,  but 


only  profane  songs  in  the  vulgar  tongue. 
The  monks  joke  with  Jean  because  he 
is  taking  on  flesh,  but  he  regrets  that 
he  is  only  an  ignorant  monk  who  can 
simply  eat  and  drink  and  do  nothing  in 
honour  of  the  Virgin  {Depiiis  qu'en  ce 
convent  prospere).  He  asks  to  be  turned 
out  into  the  world  again,  but  the 
Sculptor  advises  him  to  study  sculpture, 
pointing  with  pride  to  his  statue  {Vois: 
des  flancs  du  marbre  sc  leve).  The  Poet 
monk  cries  "Not  so;  give  poetry  the 
place  of  honour  {Non  pas  la  place  d' 
honneur).  The  Musician  upholds  mu- 
sic as  the  direct  echo  of  the  great  mys- 
tery {Pour  moi,  je  me  figure).  The 
Painter  joins  the  quarrel  until  the  Prior 
silences  them  all  and  compels  them  to 
be  reconciled.  They  carry  the  statue 
out  into  the  Chapel,  leaving  Jean  alone 
with  Boniface  the  cook.  Boniface  de- 
clares that  the  art  of  the  cook  is  the 
true  glory  {S'il  faiU  s'enfler  de  gloire). 
He  tries  to  console  Jean  with  the  state- 
ment that  the  Virgin  understands 
French  as  well  as  Latin,  and  tells  the 
legend  of  the  rose  and  the  sage-plant 
{Marie  avec  l' Enfant  Jesus).  As  for 
himself,  he  serves  the  Virgin  by  looking 
to  his  oven.  Jean  is  uplifted  with  a 
sudden  ray  of  light  {Quel  trait  de 
soudaine  lumierc),  and  hopes  that 
perhaps  the  Virgin  will  accept  a  Jug- 
gler's offering. 

Act  III. —  Scene.  The  chapel  of  the 
Abbey.  In  the  distance  the  monks  are 
singing  the  new  hymn  to  the  Virgin. 
The  painter  is  alone  before  the  statue 
he  has  coloured,  taking  a  last  look  at  it. 
He  sees  Jean  dressed  as  a  monk,  but 
carrying  his  vielle  and  his  kit.  Jean 
approaches  and  appeals  to  the  IMothcr 
of  Jesus  {Mere  adorable  de  Jesus),  to 
accept  his  homage.  Throwing  off 
his  monk's  robe,  he  appears  in  the 
Juggler's  costume,  spreads  his  carpet 
and  begins  to  play  on  his  vielle  while 
the  Painter  hurries  out  to  warn  the 
Prior.  Jean,  declaring  himself  to  be 
the  King  of  Jugglers  from  force  of  habit, 
begins  to  pass  his  cup  about  a  circle  of 


840 


THE  MUSICAL  GUIDE 


imaginary  bystanders,  but  stops  in  con- 
fusion. He  begins  to  sing  a  song  of 
war,  but  fears  it  wiU.  frighten  the 
Virgin.  He  tries  two  other  songs,  but 
his  memorjr  fails  him,  and  sings  the 
eternal  pastoral  of  Robin  and  Marion 
(A  rore'dujoli  bocage).  As  he  sings,  the 
Prior,  the  Painter  and  the  cook  appear. 
The  cook  restrains  the  Prior  from  inter- 
fering, and  Jean,  not  knowing  he  is 
obsers-ed,  jovially  offers  to  evoke  fijing 
devils  for  Her.  He  apologizes  to  the 
statue  and  permits  himself  the  honour 
of  dancing  before  her.  The  cook  re- 
minds the  indignant  Prior  that  David 
danced  before  the  Ark,  and  Jean  dances 
a  bourree  faster  and  faster  until  he  falls 
exhausted,  kneeling  in  adoration.  The 
other  monks  have  gathered  and  are 
furious  at  the  blasphemy.  They  are 
about  to  attack  Jean  when  the  cook 
orders  them  back,  "The  Virgin  protects 
him."  A  strange  light  begins  to  shine 
on  the  statue,  and  on  the  mouth  a  smile 
is  about  to  awake.  The  voices  of  angels 
are  heard  singing  "Hosannah!  Glorj'  to 
Jean."  The  Prior  and  the  monks 
approach  the  Juggler  reverently. 
Startled  from  his  praj-er,  Jean  kneels 
for  forgiveness  from  the  Prior.  But  the 
Prior  says  that  it  is  Jean  who  should 
forgive  them,  for  he  is  a  great  saint. 
Thinking  they  are  mocking  him,  he  is 
horrified,  but  they  point  to  the  intense 
radiance  now  illuminating-  the  altar 
and  the  aureole,  which  descending  from 
the  hands  of  the  Virgin,  gleams  on  the 
head  of  the  Juggler.  Jean  swoons  with 
ecstasy.  When  the  monks  have  chanted 
the  K>Tie  Eleison,  he  says  feebly,  "At 
last  I  understand  Latin."  He  swoons 
again  while  two  unseen  angels  sing  of 
Heaven's  Gate  opening  before  him. 
There  is  a  snow  of  lilies  and  bluebells 
about  him  and  a  cloud  of  incense.  The 
Virgin  mounts  to  the  skies  and  Jean 
sees  her  surrounded  by  the  angels  in 
Heaven.  In  his  death  ecstas}',  he  sees 
Paradise  welcoming  him  {Spectacle  radi- 
eux)  and  the  Virgin  beckoning  him. 
He  dies  in  his  rapture. 


Ariane  et  Barbe-Bleue  (ir-ySn' 

a- bar-bu-ble').      Ariane    and    Blue 

Beard. 

A  lyric  story  in  three  acts.  Book  by 
Maurice  Maeterlinck. 

Produced,  Opera  Comique,  Paris, 
1907. 

CHARACTERS 

Ariane sopr. 

The  Nurse 
Selysette  (sa-le-zet) 
Ygiane  (e-zhan) 
IVIelissaxde  (ma-lis-sahd) 
Bellangere  (bel-lah-zhar) 
Alladine  (al-la-den) 
Blue  Beard 

Act  I. —  Scene.  A  hall  in  Blue 
Beard's  castle,  showing  six  doors  with 
silver  locks.  Outside  the  window  the 
angry  peasants  are  threatening  to  kill 
Blue  Beard  for  bringing  home  another 
wife.  The  windows  close  magically  as 
Ariane  enters  with  the  nurse.  The 
nurse  js  terrified  because  the  peasants 
insist  that  Blue  Beard  killed  his  first 
five  %%-ives.  Ariane  feels  sure  that  they 
are  not  dead,  but  aUve,  and  thinks 
Blue  Beard  loves  her  so  much  that  she 
will  gain  his  secret.  She  shows  the  kej'S 
her  husband  has  given  her;  six  silver 
keys,  which  she  is  permitted  to  use,  and 
one  gold  key,  which  is  forbidden  to  her. 
Woman-hke,  she  throws  away  the  silver 
keys  and  keeps  the  gold  one.  The 
nurse,  picking  up  the  keys,  opens  the 
doors  in  succession.  Out  of  them 
tumble  great  heaps  of  precious  stones; 
first,  amethysts,  second,  sapphires 
third,  pearls,  fourth,  emeralds,  fifth, 
blood-red  rubies,  and  sixth,  a  cataract 
of  diamonds.  These  last  fascinate 
Ariane  and  she  bedecks  herself  with 
them.  (0  mes  clairs  diamants!)  Inside 
this  cell  she  finds  a  door  with  a  golden 
lock  and,  in  spite  of  the  nurse's  terror, 
opens  it.  From  the  depths  a  smothered 
chant  arises  from  the  five  imprisoned 
wives,  the  five  daughters  of  Orlamonde 
{Les  cinq  filles  d'Orlanwtide).  Blue 
Beard  enters  in  a  rage.     The  imprisoned 


i 


STORIES  OF  THE  OPERAS       841 


wives  have  all  disobeyed  him  just  as 
Ariane  has  done:  some  of  them  after  a 
few  days;  the  last  of  them  after  a  year. 
"It  was  the  last  one  alone  that  de- 
served to  be  punished,"  said  Ariane. 
Blue  Beard  seizes  her,  but  she  and  the 
nurse  scream  so  loudly  that  the  peas- 
ants come  to  the  rescue.  Blue  Beard 
draws  his  sword,  but  Ariane  gently 
pushes  the  peasants  back  and  says: 
"What  do  you  want?  —  He  hasn't  done 
me  any  harm." 

Act  II. —  Scene.  The  dungeon. 
Ariane,  with  a  lamp,  and  the  nurse 
move  forward  till  they  discover  in  a 
huddle  the  five  wives.  Ariane  rushes 
to  them  with  kisses  and  caresses,  crying: 
"Ah!  I  have  found  you"  {Ak!  Je  voiis 
ai  trouvees).  She  is  sure  that  they  are 
beautiful,  but  they  are  in  rags  and 
unkempt  and  frightened.  She  asks 
their  names  and  comforts  them.  A 
drop  of  water  from  the  dank  roof  extin- 
guishes the  lamp,  but  the  wife,  Selysette 
is  used  to  the  dark  and  leads  the  others 
to  a  trap  door.  Ariane  breaks  it  open, 
and  the  music  of  wind  and  sea,  mingled 
with  the  song  of  birds  and  the  sound  of 
shepherd  bells  invades  the  room. 
S61ysette  waves  her  long  hair  as  a  signal 
flag  to  a  distant  peasant,  and  as  the 
clock  strikes  noon  the  women  scramble 
out  joyously. 


Act  III. —  Scene.  The  same  hall  as 
in  the  first  act.  Open  coffers  are  over- 
flowing with  gorgeous  robes.  The 
wives  before  large  mirrors  are  dressing 
their  hair  and  donning  gleaming  rai- 
ment, while  Ariane  goes  from  one  to  the 
other  assisting  them.  They  have  been 
unable  to  escape  from  the  castle  walls, 
but  Ariane  hopes  to  make  them  so 
beautiful  that  Blue  Beard  will  fall  in 
love  with  them  again.  The  nurse 
appears  with  the  terrifying  news  that 
Blue  Beard  is  returning.  But  the 
peasants  are  armed  and  lying  in  wait 
for  him.  From  the  window  they  see 
Blue  Beard  arrive  with  warriors  who 
fight  the  peasants.  At  length  the 
peasants  conquer,  and  tying  the 
wounded  Blue  Beard,  they  burst  into 
the  hall  with  their  prisoner.  They 
deliver  him  to  the  wives  for  pimish- 
ment.  When  the  peasants  have  gone, 
Ariane  and  the  wives,  overcome  with 
pity,  release  Blue  Beard  and  dress  his 
wounds,  kissing  him  furtively.  He 
stares  at  his  victims,  but  turns  to 
Ariane.  She  tells  him  farewell  and  asks 
the  other  wives  if  they  will  go  with  her. 
She  points  to  the  open  door  and  the 
moonlit  sky  (Vois,  la  parte  est  ouverte), 
but  they  prefer  to  remain  with  Blue 
Beard,  and  she  leaves  them,  wishing 
them  happiness. 


•uppltmmtar^  Bictionar^ 
of  iWu0ician0 


Supplementary  Bictionarp 
ot  i^usictan0 


Abaco,  correct  dates  Verona,  July 
12,  1675  —  Munich,  July  12,  1742. 

Abbe  (abba),  Joseph  Barnabe  de 
St.  Sevin,  Agen,  France,  June  11, 
1727 —  Charenton,  1787;  violinist 
and  c;  son  of  Philippe  Abbe. 

Abendroth  (a'-bent-rot),  Irene,  b. 
Leraberg,  July  14,  1872;  soprano 
Royal  Opera,  Dresden,  1899-1908; 
m.  T.  Thaller. 

Abert  (a'-bert),  Hermann,  b.  Stutt- 
gart, March  25,  1871;  son  of  J.  J. 
H.,  historian. 

A'bram,  John,  b.  Margate,  Aug.  7, 
1840,  English  organist;  c.  oratorio 
The  Widoiv  of  Nain,  cantata  Jeru- 
salem, etc. 

Abranyi,  (i)  Kornel,  d.  Budapest, 
Dec.  20,  1903.  His  son  (2)  Emil,  b. 
Budapest,  1880  (?);  c.  operas  Monna 
Vanna  (Budapest,  1907),  Faolo  and 
Francesca  (do.  191 2),  etc. 

Achscharumov  (ash-tsha'-roo-m6f), 
Demetrius  Vladimirovitsch,  b. 
Odessa,  Sept.  20,  1864;  violinist  and 
c;   pupil  of    Auer. 

Ackte  (ak'-ta),  Ai'no,  b.  Helsingfors, 
Finland;  soprano;  sang  at  Paris 
Opera,  1904-5,  sang  Met.  Op.,  New 
York. 

Adalid  y  Qurrea  ( a  -  dha'- ledh  -  e- 
goo-ra'-a).  Marcel  del.,  Coruna, 
Aug.  26,  1826  —  Longara,  Dec.  16, 
1 881;  pianist;  pupil  of  Moscheles 
and  Chopin;  c.  opera,  etc. 

Adam,  K.  F.,  correct  date  of  birth, 
Constappel,  Saxony,  Dec.   22,  1806. 

Afanassiev  (a-fa-nas'-si-ev) ,  Nikolai 
Jakovlevich,  Tobolsk,  1821  —  St. 
Petersburg,  June  3,  1898;  violinist 
and  c. 

Affer'ni,  Ugo,  b.  Florence,  Jan  i, 
1871;  pianist  and  cond.;  studied  at 
Frankfort  and  Leipzig;  m.  the  vio- 


linist Mary  Brammer,  1872;  c.  an 
opera,  etc. 

Agincourt  (da-zh§,n'-koor),  Fran- 
cois d',  Rouen,  1714  —  Paris,  June 
18,  1758;  court  organist  and  c. 

Agrenev  (a-gra'-nev),  Demetrius  A, 
1838  —  Rustchuk,  Bulgaria,  July, 
1908;  organized  a  choir  under  the 
name  Slavjanski,  with  which  he 
toured  Europe  and  America,  pre- 
senting folk-songs. 

Aguilar  (a'-ge-lar),  Emanuel  Abra= 
ham,  London,  Aug.  23,  _  1824  — 
London,  Feb.  18,  1904;  pianist  of 
Spanish  origin;  c.  2  operas,  3  symph. 

AhIstrom,01of(not  A.  J.  R.), correct 
dates  Aug.  14,  1756  —  Aug.  11,  1835. 

A  Kem'pis,  (i)  Nicholas,  organist 
and  c,  at  Brussels,  ca.  1628.  (2) 
Jean  Florent,  org.  at  Brussels, 
ca.  1657;  c.  requiem  (pub.  Antwerp, 
1650)  etc. 

Alabiev,  A.  A.,  correct  dates,  Mos- 
cow,, Aug.  16,  1787  —  March  6, 1851. 

Albanesi  (iil-ba-na'-ze),  Luigi,  b. 
Rome,  March  3, 182 1  —  Naples,  Dec. 
4,  1897;  pianist  and  composer. 

Albert,  Eugen  d',  add  that  he  c. 
further  operas  Kain  and  Der  Improvi- 
sator (both  Berlin,  1900),  Tiejland 
(Prague,  1903),  Flauto  solo  (Prague, 
igo5), Tragaldabas  (Hamburg,  1907), 
Die  Verschenkte  Fran  or  The  Bar- 
tered Wife  ( 1 9 1 2 ,  Munich) .  His  opera 
Tiefland  (based  on  Guimera's  play, 
Marta  of  the  Lowlands)  has  had 
immense  success;  in  BerHn  alone 
(prod.  1907)  it  reached  its  400th  per- 
formance in  Feb.,  191 2;  it  was  sung  at 
the  Met.  Op.,  N.  Y.,  and  throughout 
Europe.  He  married  Hermine  Finch, 
the  singer,  in  1895.  His  edition  of 
Bach's  "Well  Tempered  Clavier"  was 
pub.  1907. 

Alfven  (alf'-vTn),  Hugo,  b.  Stock- 
holm, May  I,  1872;  violinist;  studied 


84s 


846 


THE  MUSICAL  GUIDE 


at  the  Cons,  and  with  Cesar  Thom- 
son; 1900  received  Jenny  Lind  scholar- 
ship for  3  years  foreign  study;  from 
1904  prof,  of  comp.  Stockholm  Uni- 
versity: from  1 910  mus.  dir.  Upsala 
Univ.  in  19 12  conducting  a  concert  of 
Upsala  students  in  Berlin;  c.  3  sym- 
phonies; symph.  poem  "Aus  den 
Scharen";  cantata  "  The  Bells,"  "  The 
Lord's  Prayer,"  for  chorus;  scene 
with  orch.,  male  choruses,  etc. 

Al'Ien,  Hugh  Percy,  b.  Reading, 
Dec.  23,  1869;  organifit  at  11,  1887  — 
1892  org.  Chichester  Cathedral;  since 
1901  at  Oxford,  where  he  was  made 
Mus.  Doc.  1898,  and  University 
Choregus  since  1909;  since  1908,  mus. 
dir.  Reading  University  College. 

Al'lison,  Horton  Claridge,  b.  Lon- 
don, July  25,  1846;  pianist;  pupil 
R.  A.  M.  and  Leipzig  Cons.;  Mus. 
Doc.  (Dubhn),  c.  piano  and  organ 
music  and  songs. 

Alois  (a'-lo-es),  Ladislaus,  b.  Prague, 
r86o;  'cellist;  pupil  Paris  Cons.; 
soloist  Royal  orch.,  St.  Petersburg; 
c.  concertos,  etc. 

Alpheraky  (Sl-fa-ra'-ke),  Ach.  N., 
b.  Charkov,  Russia,  1846;  c.  piano 
pieces,  including  "Serenade  levantine"; 
and  songs. 

Alt'mann,  Wilhelm,  b.  Adelnau, 
April  4,  1862;  editor  and  historian. 

Alvarez  (al-va'-r6th),  (i)  Fermin 
Maria,  b.  Saragossa;  d.  Barcelona, 
1898;  c.  popular  songs,  etc.  (2) 
(al-va-rez),  stage  name  of  Albert 
Raymond  Qourron ;  b.  Bordeaux; 
tenor;  pupil  of  A.  de  Martini;  debut 
at  Ghent,  later  at  Paris  Opera  as 
leading  tenor  for  many  years;  1898, 
Met.  Op.  House  of  New  York. 

Al'wood,  Richard,  flourished  ca. 
1550;  English  priest;  c.  mass  and 
organ  pieces. 

Amato  (a-ma'-to),  Pasquale,  bar>'- 
tone;  debut  Naples,  1900;  sang  at 
Milan,  then  after  a  period  of  financial 
distress  sang  at  Trieste,  etc.,  1909, 
Manhattan  Opera;  from  191 1  Met.  Op. 

Am'brosch,  Joseph  Karl,  Kruman, 


Bohemia,  1759 — Berlin, Sept.  8,  1822; 
operatic  tenor;  c.  songs. 

Ames,  Philip,  1837  — Duiham,  Feb. 
10,  1908;  organist  Durham  Cathedral 
1861-1906;  prof,  of  music,  Durham, 
from  1897. 

Amft,  Qeorg.,  b.  Oberhannsdorf, 
Silesia,  Jan.  25,  1873;  music  teacher; 
pupil  at  Royal  Inst,  for  church  mus. 
Berlin;  teacher  in  Habelschuerdt; 
editor  and  composer. 

Amicis,  De,  vide  De  Amicis. 

Amps,  William,  d.  Cambridge,  May 
20,  1909;  EngHsh  organist  and  cond. 

Andersen  (i)  Joachim,  Copen- 
hagen, April  29,  1847  —  May  7,  1909. 
Soloist  at  13.  Toured  widely;  court 
musician,  Copenhagen,  Petersburg 
and  Berlin;  for  8  years  solo  flutist  and 
assistant  conductor  of  Berlin  Phil. 
Orch.,  of  which  he  was  one  of  the 
founders;  1895-1909,  the  ruling  musi- 
cal force  in  Copenhagen,  as  conductor 
of  the  Palace  concerts,  the  TivoH 
Orchestra,  the  Municipal  Summer 
concerts,  his  orchestral  school,  and 
Inspector  (with  rank  of  Captain)  of 
all  the  mihtary  music  of  Denmark. 
Made  Knight  of  Dannebrog  Order 
by  King  Charles  IX;  received  the 
"Palms"  of  the  Acad,  from  the  Pres. 
of  France,  and  was  made  "Prof."  by 
King  Frederik  of  Denmark.  (2) 
Vigo,  Copenhagen,  April  21, 1852  — 
Chicago,  Jan.  29,  1895;  solo  flutist 
with  Thomas  orch.;  brother  of  (i) 

Anderson,  Thomas,  Birmingham, 
England,  April  15,  1836  —  Sept.  18, 
1903;  critic,  organist  and  c. 

Andrieu  (dan-dri-u'),  Jean  Fr.  d' 
Paris,  1684  —  Jan.  16,  1740;  org. 
and  comp. ;  1 7  24  royal  cond.  at  Paris. 

Angeli  (dan-ja'-le),  Andrea  d',  b. 
Padua,  Nov.  9,  1868;  historian;  c. 
opera  " L'hmocente"  (Bologna),  etc. 

An'gerer,  Gottfried,  Waldsee,  Feb. 
3,  1851 — Zurich,  Aug.  19,  1909,  c. 
male  choruses. 

Androt  (an-dro),  Albert  Auguste, 
Paris,  1781  —  Aug.  9,  1804;  c.  opera, 
requiem,  etc. 


i 


DICTIONARY  OF  MUSICIANS     847 


Angrisani  (an-gre-sa'-ne),  Carlo,  b. 
Reggio,  ca.  1760;  bass;  sang  in  Italy 
and  Vienna;  1817  at  London;  c.  songs. 

Ansorge  (an-s6r'-ge),  (i)  Max,  b. 
Striegau,  Silesia,  Oct.  i,  1862;  organ- 
ist; son  of  a  cantor;  studied  at  Berlin; 
c.  songs,  motets,  etc.  (2)  Konrad 
(Eduard  Reinhold),  b.  Buchwald, 
Silesia,  Oct.  15,  1862;  pianist;  pupil 
Leipzig  Cons,  and  of  Liszt;  toured 
America;  c.  for  orchestra,  and  piano. 

Antino'ri,  Luigi,b.  Bologna,  ca.  1697; 
tenor;  sang  in  London, 17 25-1 7 26. 

An'tipov,  Constantin,  b.  Russia, 
Jan.  18,  1859;  c.  symph.  allegro  for 
orch.,  and  piano  pieces. 

Antoniot'to,  Giorgio, lived  at  Milan, 
1740;  theorist  and  c.  of  'cello-sonatas. 

Arbos  (ar'-vos),  E.  Fernandez, 
b.  Madrid,  Dec.  25,  1863;  violinist; 
his  grandfather  and  father  were  band- 
masters in  the  army;  pupil  Madrid 
Cons. ;  took  prizes  at  1 2 ;  then  studied 
with  Vieuxtemps,  Gevaert  and  Joach- 
im; cond.  Berlin  Phil.  Society;  taught 
at  Hamburg,  Madrid,  and  Royal 
College,  London;  c.  comic  opera. 
El  Cientro  de  la  Tierra,  Madrid,  1895; 
also  for  violin  and  orch. 

Archangel'ski,  Alexander  A.,  b. 
Pensa,  Russia,  Oct.  23,  1846;  organ- 
ist and  cond.  since  16;  c.  2  masses, 
a  requiem. 

Arensky,  A.  S.,  b.  July  31,  1861;  d. 
Tarioki,  Finland,  Feb.  25,  1906. 

Ar'gent,  W.  I.,  d.  May  18,  1908; 
organist  and  cond.;  c.  masses,  etc. 

Ark,  Karl  Van,  1842  —  St.  Peters- 
burg,  1902;   pianist  and  teacher. 

Arl'berg,  Qeorg  Ephraim,  F., 
Letsand,  Sweden,  1830 —  Christiania 
Feb.  21,  1896;  barytone. 

Arms'heimer,  Ivan  Ivanovitch, 
b.  St.  Petersburg,  March  19,  i860; 
pupil  at  the  cons.;  c.  i-act  opera 
Sous  la  feuillee  (French  text) ;  2-act 
opera  Der  Oberhofer  (German  text); 
3-act  opera  Jaegerliv  (Danish  text); 
cantatas,  songs,  etc. 

Arnaud  (ar-no),  Qermaine,  b.  Bor- 
deaux, Dec.  20,  1891;  pianist;  pupil 


of  Paris  Cons.,  winning  second  piano 
prize,  1904;  first  prize,  1905;  touredas 
virtuoso,  1908,  with  Boston  Symph. 

Arres'ti,  Giulio  Cesare,  ca.  1630  — 
ca.  1695;  organist  and  c.  at  Bologna. 

Ars,(or  Volkov),  Nikolai, b.  Moscow, 
1857;  composer;  cond.,  studied  at 
Geneva  and  Milan  Cons.;  c.  oper- 
ettas, symph.  poem,  etc. 

Ath'erton  Percy  Lee,  b.  Roxbury, 
Mass.,  Sept.  25,  1871;  composer; 
graduated  Harvard,  1893,  studjang 
music  under  Paine;  studied  two  years 
in  Munich  with  Rheinberger  and 
Thuille,  then  a  year  in  Berlin  with 
O.  B.  Boise;  1900  studied  with 
Sgambati  and  Widor;  lives  at  Boston; 
c.  symph.,  tone  poem  for  orch.,  Noon 
in  the  Forest,  opera-comique  The 
Maharaja,  comic  opera,  and  many 
songs  of  great  importance. 

At'kins,  Ivor  Algernon,  b.  Cardiff, 
Nov.  29,  1869;  organist  and  cond.; 
son  and  pupil  of  an  organist;  later 
pupil  and  assistant  of  C.  L.  Williams; 
since  1897,  org.  Worcester  Cath. 

Att'water,  J.  P.,  d.  April  10,  1909, 
age  46.  org.  and  cond.  in  England. 

Aubry  (6-bre),  Pierre,  b.  Paris,  Feb. 
14,  1874;  historian  of  liturgical  music. 

Auguez  (o-ga),  Numa,  Saleux  (Som- 
me),  1847  —  Paris,  Jan.  27,  1901; 
prof,  at  the  Cons.;  barytone. 

Aus'tin,  (i)  Frederic,  b.  London, 
Mar.  30,  1872;  barytone;  organist  at 
Liverpool  for  some  years;  then  teacher 
at  the  College  of  Music,  there  till 
1906;  then  studied  voice  with  Lunn; 
debut,  1902,  favorite  in  oratorio  and 
in  Wagner  operas;  c.  overture 
Richard  II  (Liverpool,  1900):  rhap- 
sody Spring  (Queens  Hall,  1907), 
symph.  poem  Isabella,  etc.  His 
brother  (2)  Ernest,  b.  London, 
Dec.  31,  1874;  on  the  Board  of  Trade 
till  33  years  old,  then  studied  comp. 
with  J.  Davenport;  c.  symph.,  idyll, 
march;  Love  Songs  from  Don  Quixote, 
for  voices  and  orch.;  piano  sonata,  etc. 

Auxcousteaux  (do-koo-to),  Arthur 
d',   b.  Beauvais,   France;  d.    1656; 


848 


THE  MUSICAL  GUIDE 


cond.  Ste.  Chapelle,  Paris;  c.  sacred 
music. 

Avena'rius,  Thos.,  org.  and  c.  at 
Hildesheim,  1614-1640. 

Ayres,  Frederic,  b.  Binghamton,  N. 
Y.,  March  7,  1876;  composer;  spent 
a  year  at  Cornell  U.,  1892;  music 
pupil  of  E.  S.  Kelley  and  Arthur 
Foote;  1901  went  to  New  Mexico  on 
account  of  health,  since  1902  at 
Colorado  Springs,  Col.,  c.  songs  and 
pf.  pieces. 


B 


Bache,  (batch)  Constance;  correct 
dates,  Edgbaston,  March  11,  1846 — 
Montreux,  June  28,  1903. 

Bac(k)haus  (bak'-hows),  Wilhelm, 
b.  Leipzig,  March  26,  1884;  pianist; 
pupil  of  Reckendorf  and  at  the  Cons., 
later  of  d 'Albert;  from  1900  toured; 
1905,  piano  teacher  R.  C.  M.,  Man- 
chester, but  won  the  Rubinstein 
prize  and  toured  again;  191 1  the  U. 
S.;  from  1907  has  taught  master- 
courses  at  Sondershausen  Cons. 

Badiali  (ba-di-a'-le),  Cesare,  Imola, 
1810  —  Nov.  17,  1865;  basso;  debut, 
Trieste,  1827;  sang  throughout  Italy; 
1859  in  London;  said  to  have  been 
able  to  sing  a  scale  while  drinking 
a  glass  of  claret. 

Baltzell,  Willard  J.,  b.  Shiremans- 
town,  Penn.,  Dec.  18,  1864;  gradu- 
ated Lebanon  Valley  College;  at 
24  took  up  music,  studied  with 
Emery  and  Thayer;  later  in  London 
with  Bridge  and  Parker,  later  with 
H.  A.  Clarke,  Philadelphia,  as  edi- 
tor; taught  musical  history  and 
theory  at  Ohio  W'esleyan  University 
one  year,  then  returned  to  Philadel- 
phia. The  previous  statement  of 
his  death  is  an  exaggeration;  he  is  an 
editor  in  Boston  and  has  edited  a 
"Dictionary  of  Musicians"  (191 1). 

Bantock,  Granville,  add  that  1898 
he  founded  the  New  Brighton  Choral 
Society;  1900  Principal  Birmingham 
and  Midland  Inst.  School  of  Music 


and  cond.  various  societies;  1908 
succeeded  Elgar  in  Peyton  Chair 
of  Music  at  Birmingham  Univ.; 
1898  he  married  Helena  von  Sch- 
weitzer. He  c.  Omar  Khayyam  for 
voices  and  orch.  Part  I  (Birming- 
ham Fest,  1906)  Part  II  (Cardiff 
Fest.,  1907),  Part  III  (Birmingham 
Fest.,  1909);  7  tone-poems  for  orch.; 
2  symphonic  overtures,  comedy 
overture,  The  Pierrot  of  the  Minute, 
1908;  overture  to  Oedipos  at  Kolo- 
nos  (Worcester  Fest.  191 1);  mass  for 
male  voices,  1903;  chamber  music  etc. 

Bar'bi,  Alice,  b.  Bologna,  ca  i860; 
mezzo-sopr.;  pupil  of  Zamboni,  Busi, 
and  Vannucceni;  debut,  Milan,  1882; 
toured  Europe  in  concert;  also  a 
violinist  and  poet. 

Barcewicz  (bar'-tse-vits),  Stanis- 
laus, b.  Warsaw,  April  16,  1858; 
violinist ;  pupil  of  Moscow  Cons. ;  opera 
cond.  at  Warsaw;  since  1885  violin 
prof,  at  the  Cons.;  c.  violin  pieces. 

Bar'nekov,  Christian, b. St. Sauveur, 
France,  July  28,  1837;  organist; 
of  Danish  parentage;  pianist  and 
organist;  pupil  of  Helfstedt,  Copen- 
hagen; c.  women's  choruses  with 
orch.;  chamber  music  and  songs. 

Bart'muss,  Richard,  b.  Bitterfeld, 
Dec.  23,  1859;  organist;  pupil  of 
Grell,  Haupt,  Loschom;  1896  royal 
music  director;  1902,  professor;  c. 
oratorio  Der  Tag  des  Pfingsten;  4 
organ  sonatas  and  much  sacred  music. 

Bartz,  Johannes,  b.  Stargard,  Jan. 
6,  1848;  organist;  pupil  Leipzig  Cons.; 
since  1872  org.  at  Church  of  Sts. 
Peter  and  Paul,  Moscow;  c.  opera, 
Evangelisches  Requiem;  oratorio,  Der 
Himmelsbote,  etc. 

Bary  (ba'-re),  Alfred  F.  von,  b. 
Malta,  Jan.  8,  1873;  tenor;  studied 
and  practised  medicine  at  first;  1902, 
appeared  Dresden  Royal  Opera;  sang 
Parsifal,  Tristan,  etc.,  at  Bayreuth. 

Bath,  Hubert,  b.  Barnstaple,  Eng- 
land, Nov.  6,  1883;  1 90 1  pupil  of 
Beringer  and  Corder  at  R.  A.  M., 
London;  1904,  won  Goring  Thomas 


I 


DICTIONARY  OF  MUSICIANS     849 


scholarship;  c.  i-act  opera,  'T/ie 
Spanish  Student";  symph.  poems; 
cantata  The  Wedding  of  Shon  Mac- 
lean; variations  for  orch.  (1904),  and 
many  songs. 

Dat'ka,  Richard,  b.  Prague,  Dec.  14, 
1868;  critic,  historian  and  librettist. 

Bax,  Arnold  E.  Trevor,  b.  London, 
Nov.  8,  1883;  pupil  of  Matthay  and 
Corder  at  the  R.  A.  M.;  c.  a  sym- 
phony, symph.  pictures,  Eire;  string 
quintel,  Celtic  Song  Cycle,  etc. 

Bayer  (bi'-er),  (i)  Aloys,  Sulz- 
bach,  July  3,  1802  —  Grabenstadt, 
July  7,  1863;  tenor;  (2)  Josef,  b. 
Vienna,  Mar.  6,  1852;  composer  of 
ballets  and  operettas;  studied  at 
Vienna  Cons.;  cond.  at  Court  Opera. 

Bay'ley,  John  Clowes,  d.  Oct. 
10,  1909,  age  75.  English  composer 
of  anthems  and  part  songs. 

Beach,  John,  b.  Gloversville,  N. 
Y.,  Oct.  II,  1877;  composer;  grad- 
uated at  New  England  Cons.,  1898; 
studied  further  with  Clayton  Johns, 
and  in  Paris  with  Harold  Bauer. 
Taught  piano  and  theory,  Univ.  of 
Minnesota,  two  years;  in  New  Orleans 
three  years;  then  in  Boston.  Since 
1910  in  Paris  studying  with  Gedalge, 
c.  operettas,  Gipsy  Trail  for  bar.  and 
orch.,  songs,  etc. 

Beauvarlet  =  Charpentier  (bo-var- 
la-shar-pant-ya),  (i)  Jean  Jacques, 
Abbeyville,  1730  —  Paris,  1794;  or- 
ganist and  comp.  (2)  Jacques 
Marie,  Lyons,  July  3,  1776  —  Paris, 
Nov.  1834;  organist  and  comp.,  son 
of  (i). 

Beck'er,  Hugo,  b.  Strassburg,  Feb. 
13,  1864;  'cellist;  son  of  Jean  B.; 
pupil  of  his  father,  Griitzmacher, 
Piatti,  etc.;  'celhst  at  the  Opera 
Frankfort,  1884-86  and  1890-1906; 
1896,  Royal  Prof.;  succeeded  Piatti 
as  'cellist  at  London  Monday  concerts. 

Beck'mann,  Wm.  Qv.,  b.  Bochum, 
Jan.  16,  1865;  pupil  Royal  Inst,  for 
church  mus.;  Berlin;  organist,  critic, 
and  teacher  at  Berlin. 

Beck'with,  John  Charles,  1778  — 


Oct.  II,  1819;   son  and  successor  of 
J.  Christmas  B.  as  organist,  Nor- 
wich Cathedral. 
Beechgard   should  be  Bechgaard, 

on  p.  409. 

Beethoven,  Ludwig  van,  add  that 
a  symphony  supposed  to  be  a  youth- 
ful work  of  his  was  discovered 
191 1  in  the  library  of  the  Universi- 
ty of  Jena,  by  Prof.  Fritz  Stein,  was 
performed  there  Jan  17,  1910,  and 
published  1911;  performed  in  Leip- 
zig, Nov.  191 1, and  by  Boston  Symph., 
191 2.  It  is  not  generally  accepted 
as  Beethoven's  but  is  found  weak  and 
uninteresting,  of  Haydnlike  simplic- 
ity, with  echoes  of  Mozart. 

Behaim  (be-him'),  Michel,  Sulz- 
bach,  1416  —  murdered  there,  1474; 
soldier  and  minnesinger. 

Belch'er,  William  Thomas,  d. 
Birmingham,  May  6,  1905,  age  78. 
mus.  d.;  organist. 

Bell,  William  Henry,  b.  St.  Albans, 
Aug.  20,  1873;  pupil  at  the  R.  A.  M.; 
won  Goss  scholarship,  1889;  since 
1903,  prof,  of  harmonj^,  there  c. 
symphonies  Walt  Whitman  (1900), 
and  The  Open  Road,  3  s>Tnph.  poems 
to  the  Canterbury  Tales;  symph. 
poems,  Love  Among  the  Ruins  (1908); 
The  Shepherd  (1908),  etc. 

Bellaigue,  (bel-leg),Camille,b.Paris, 
May  24,  1858;  critic  and  essayist; 
pupil  of  Paladilhe  and  Marmontel. 

Bellincioni,  Gemma,  add  that  she 
was  b.  Como,  Italy,  Aug.  18,  1866; 
widow  of  the  tenor,  Stagno. 

Bendix  (i)  Otto,  correct  birth  date, 
July  26,  1845.  (2)  Victor,  correct 
birth  date.  May  17,  1851.  (3)  Fritz, 
b.  Copenhagen,  Jan.  12,  1847;  brother 
of  (i)  and  (2);  'cellist;  pupil  of 
Griitzmacher;  plays  in  Royal  Orch. 
at  Copenhagen. 

Benoit  (bun-wa),  Camille,  pupil 
of  Cesar  Franck;  1888-1895,  assist- 
ant conservator  at  the  Louvre;  since 
1895  conservator;  c.  overture,  1880; 
text  and  music  of  opera  Cleopatre,  etc. 
author     of     Souvenirs,     1884,     and 


850 


THE  MUSICAL  GUIDE 


Musiciens,  poetes  et  philosophes,  1887; 
also  translator. 

Ber'ber,  Felix,  b.  Jena,  March  11, 
187 1 ;  violinist;  pupil  of  Dresden  Cons, 
and  Leipzig  Cons.;  concertmaster  in 
various  cities;  IQ04-1907  prof.  Royal 
Acad.,  Munich;  1907  at  Frankfort-on- 
Main;  since  1908  at  Geneva  Cons.; 
toured  widely;  1910,  America. 

Bern'eker,  Constanz,  Darkehmen, 
E.  Prussia,  Oct.  31,  1841  —  Konigs- 
berg,  June  6,  1906;  conductor  and 
comp. 

Bernhardt,  August,  b.  St.  Peters- 
burg, Jan.  15,  1852;  pupil  at  the 
Cons,  and  since  1898,  director. 

Berteau,  (Berteaud  or  Berthau), 
(ber'-to),  (i)  Martin,  Valenciennes, 
(?)  —  Paris,  1756;  the  first  important 
'cellist;  c.  violin  sonatas.  (2)  Qa= 
briel,  c.  'cello  concerto  about  1800. 

Bestandig  (be-sten'-dikh).  Otto,  b. 
Striegau,  Silesia,  Feb.  21,  1835; 
cond.  and  comp.;  pupil  of  Mettner, 
etc.  in  Breslau;  founded  a  conserv'a- 
tory  in  Breslau;  c.  oratorio  Der 
Tod  Baldiirs  and  Victoria  Crucis,  etc. 

Betts,  Thomas  Percival  Mil= 
bourne,  d.  Aug.  27,  1904,  age  53. 
English  critic. 

Beyschlag  (bi'-shlakh),  Adolf,  b. 
Frankfort-on-]SIain,  March  22,  1845; 
cond.  pupil  of  V.  Lachner;  conductor 
at  Frankfort,  later  at  Belfast,  Man- 
chester, Leeds;  since  1902  at  Berlin; 
1907  made  Roj-al  Prof.;  author  and 
comp. 

Biaggi,  correct  birth  date  is  1819. 

Bibl  (beb-'l),  (i)  Andreas,  Vienna, 
1 79  7-1 8  78  organist  and  composer. 
His  son  and  pupil  (2)  Rudolf, 
Vienna,  Jan.  6,  1832  —  Aug.  2,  1902; 
pupil  of  Lechter;  organist  and  com- 
poser of  organ  sonata,  etc. 

Bidez  (be-des),  L.  Aloys,  b.  Brussels, 
Aug.  19,  1847;  teacher  and  com- 
poser of  operetta  The  Stratagem;  piano 
concerto,  etc.;  lived  in  the  U.  S., 
1876-1901;  then  returned  to  Brussels. 

Bie  (be),  Oskar,  b.  Breslau,  Feb.  9, 
1864;  critic;  pupQ  of  Ph.  Scharwenka; 


1886,  Dr.  Phil.;  1890,  Privat  Docent 
at  Technical  High  School,  Berlin; 
author  of  books;  also  comp. 

Biehr  (ber),  Oskar,  b.  Dresden,  1851; 
vioUnist;  pupil  of  David;  for  twenty- 
five  years  member  of  Munich  court 
orchestra. 

Biernacki  (be-er-nat'-ske),  Michael 
Marian,  b.  LubUn,  Sept.  9,  1855; 
comp.;  pupil  of  Warsaw  Cons.;  di- 
rector there;  comp.  2  masses.  Prologue 
for  orch.,  etc. 

Bin'der,  Fritz,  b.  Baltimore,  1873; 
pianist;  at  7  toured  Europe  in  con- 
cert; studied  with  Leschetizky  and 
at  Cologne  Cons.;  from  190 1,  dir.  of 
the  Danzig  Singakademie. 

Bird,  Henry  Richard,  b.  Nov.  14, 
1842;  organist;  son  of  George  B., 
an  organist;  at  9,  became  org.;  pupil 
of  Turle;  since  1872  org.  at  St.  Mary 
Abbots,  London;  conducted  concerts, 
and  won  prominence  as  accompanist. 

Bishop,  Ann,  or  Anna,  London, 
1814  — New  York,  March  18,  1884; 
soprano;  daughter  of  Jules  Riviere; 
married  Sir  Henr>'  Bishop,  1831, 
deserted  him  for  the  harpist  Bochsa, 
with  whom  she  toured  the  world  in 
concert;  after  his  death,  in  1856,  she 
married  a  Mr.  SchuLz. 

Bishop,  John,  1665  —  Winchester, 
Dec.  19,  1737;  organist  and  composer. 

Bispham,  David,  correct  birth  date 
is  Philadelphia,  Jan.  5,  1857. 

Bitt'ner,  Julius,  composer  of  operas, 
Die  Rote  Grat  (Vienna,  1907),  and  Der 
Miisikant  (Dec.  2,1911, Leipzig  Opera) 

Black,  Andrew,  b.  Glasgow,  Jan. 
15,  1859;  bar>-tone;  at  first  an  organ- 
ist; then  pupil  of  Randegger  and 
Scafati;  sang  at  the  Cr>^stal  Palace, 
1887;  toured  America;  famous  as 
"Elijah";  1893,  Prof,  of  singing 
R.  CM.,  Manchester. 

Black'burn,  Vernon,  d.  Padding- 
ton,  London,  Feb.  14,  1907,  age  40. 
Prominent  English  critic;  for  many 
years  on  the  "Westminster  Gazette," 
London;  author  of  "The  Fringe  of  an 
Art." 


ElJitt. 


DICTIONARY  OF  MUSICIANS     851 


Blanc  (blan),  Claudius  (rightly 
Claude),  Lyons,  March  20,  1854 — 
June  13,  1900;  pupil  of  Paris  Cons., 
winning  first  harmony  prize,  1875, 
2nd  Prix  de  Rome,  1877;  Dir.  Mus. 

•  school  Marseilles,  1887-9,  then  cho- 
rus master,  Paris  Op.;c.  "Ste.  Gene- 
vieve de  Paris"  for  orch.  and  songs. 

Blaser'na,  Pietro,  b.  Fiumicello, 
Feb.  29,  1836;   teacher  and  theorist. 

Blauvelt,  Lillian  Evans,  correct 
birth  date  is  Brooklyn,  N.  Y.,  March 
16,  1873;  she  made  her  debut  in 
opera  in  "Faust"  at  Covent  Garden, 
1903,  with  success. 

Blavet,  (bla-va),  Michel,  Besangon, 
Mar.  13,  1700  —  Paris,  Dec.  28,  1768; 
composer  of  comic  operas,  etc. 

Bleech,  (blakh)  Leo,  b.  Aachen,  April 
22,  1 871;  conductor;  pupil  of  Berlin 
Hochschule;  1893- 1896,  cond.  at 
Municipal  Theatre,  Aachen,  and  pupil 
of  Humperdinck;  1899-1906,  cond. 
German  Laudestheatre  at  Prague; 
1906,  Royal  Opera,  Berlin;  1908, 
cond.  first  East-Prussian  Festival  at 
Konigsberg;  c.  3  symph.  poems, 
very  successful  i-act  opera.  Das 
War  Ich,  (Dresden,  1902);  3-act 
opera  Aschenhrodel  (Prague,  1905); 
Versiegelt  (Hamburg,  1908;  New 
York,  191 2),  etc. 

Bleichmann  (blikh'-man),  Julius 
Ivanuvitch,  b.  St.  Petersburg,  Dec. 
5,  1868;  conductor;  pupil  at  the 
Cons.,  and  of  Reinecke  and  Jadas- 
sohn; cond.  various  orchs.  at  St. 
Petersburg;  c.  2  operas,  chamber 
music,  etc. 

Bleyle  (bll'-le),  Karl,  b.  Feldkirch, 
May  7,  1880;  pupil  of  Wehrle  and  de 
Lange;  later  at  Stuttgart  Cons,  and  of 
Thuille;  gave  up  violin  on  account  of 
nervous  affliction  of  the  arm;  hves  in 
Munich;  c.  symph..  An  den  Mistral 
(from  Nietzsche),  for  mixed  chorus 
and  orch.,  Lernl  lachen  (from  Nietz- 
sche's '  Zarathuslra"),  do.;  symph. 
poem  Flagellantenztig,  Berhn;  Mun- 
ich, 1908;  Berlin,  191 1,  etc. 

"Blind  Tom,"  vide  Wiggins, 


Blon  (blon),  Franz  Von,  b.  Berlin, 
July  16,  1 861;  cond.;  pupil  of  Stem's 
Cons.;  1898,  c.  operettas  Sub  rosa 
(Liibeck,  1887);  Die  Amavone  (Mag- 
deberg,  1903),  etc. 

Blondeau  (bl6n-do),  Pierre  Au= 
guste  Louis,  Paris,  Aug.  15,  1784- 
1865;  viola-player  at  the  Opera; 
pupil  of  the  Cons.,  taking  the  Prix  de 
Rome,  1808;  c.  opera,  ballet,  etc. 

Blu'menberg,  Franz,  b.  Remagen, 
Feb.  28,  1869;  organist  at  Cologne; 
c.  songs,  male  choruses,  etc. 

Blumenfeld,  (i),  Felix  M.,  correct 
birth  date  to  April  19;  since  1898 
cond.  Imperial  Opera,  St.  Petersberg. 
His  brothers  are  (2),  Stanislaus, 
Kiev,  1850-1897,  pianist  and  teacher; 
(3)  Sigismund,  b.  Odessa,  Dec. 
27,  1852;  song-composer,  living  in  St. 
Petersburg. 

Blumenschein  (bloo'- men -shin), 
William  Leonard,  b.  Brensbach, 
Dec.  16,  1849;  pupil  of  Leipzig 
Cons.;  since  1879  organist,  teacher 
and  cond.  at  Dayton,  Ohio;  1891-96, 
chorus  master  at  the  Cincinnati  May 
Festivals;  c.  anthems,  piano  pieces, 
etc. 

Blumenthal,  Jacques,  correct  birth 
date  is  1829,  d.  Chelsea,  May  17, 1908. 

Blumer,  (bloo'-mer),  Fritz,  b. 
Claris,  Aug.  31,  i860.  Swiss  pianist; 
pupil  of  Geneva  and  Leipzig  Cons, 
and  of  Liszt;  since  1886  teacher  at, 
Strassburg  Cons. 

Bodenstein  (bo'-den-shtin),  Her= 
mann,  Gandersheim,  March  27, 1823 
— Braunschweig,  April  12,  1902; 
organist. 

Bodin,  (bo-dan),  Frangois  Etienne, 
Paris,  March  16, 1793 — Aug.  13, 1862; 
teacher  of  theory  at  Paris  Cons.; 
author  of  a  treatise. 

Bodi'nus,  Sebastian,  flourished 
1 7  25-1 7 56;  born  in  duchy  of  Alten- 
burg;  violinist  and  composer. 

Boheim,  (ba'-him),  Joseph  Mi= 
chael,  Prague,  1748  —  Berlin,  July 
4,  1811;  actor  and  singer. 

Boismortier    (bwa-m6rt-ya),    Josef 


852 


THE  MUSICAL  GUIDE 


Bodin  De,  Perpignan,  ca.  1691 — • 
Paris,  ca.  1765;  c.  ballet  operas, 
cantatas,  etc. 
Bolsche  (bel'-she),  Franz,  b.  Wegen- 
stedt,  near  Magdeburg,  Aug.  20, 
1869;  theorist;  pupil  Beriin  Royal 
Hochschule;  1896,  teacher  Cologne 
Cons.;  c.  overture  Judith,  etc. 
Bonci  (bon'che),  Alessandro,  b. 
Cesena,  n.  Bologna,  1870;  famous 
lyric  tenor;  at  7  sang  in  choir, 
studied  singing  with  Coen  at  Pesaro 
Lyceum  for  5  years;  then  member 
of  choir  at  Loreto;  operatic  debut  in 
"Falsh^ff";  sang  with  great  success 
at  Covent  Garden,  1900,  and  in  1908; 
sang  at  Metropolitan  Opera  House; 
toured  U.  S.,  I9ii-i9i2;sings  in  Italy. 
Bo'niforti,  [Carlo,  Arona,  Sept.  25, 
1818  — Trezzo  d'Adda,  Dec.  10,  1879; 
organist  and  comp. 
Bonini  (bo-ne'-ne),  Severo,  b.  Flor- 
ence, 17th  centurjr;  Benedictine 
monk,  one  of  the  first  writers  in  mono- 
die  style;  c.  madrigals,  etc.,  1607- 
1613. 
Booth,  Robert,  b.  St.  Andrews, 
Dec.  29,  1862;  English  organist;  c.  for 
orch.;  church  music,  etc. 
Bopp,  Wilhelm,  b.  Mannheim, 
Nov.  4,  1863;  pupil  of  Leipzig  Cons., 
and  of  Emil  Paur;  1884,  dir.  in  Frei- 
burg; 1886,  assistant  to  Mottl  at 
Ba>Teuth;  1889,  teacher  at  Mann- 
heim Cons.;  1900,  opened  a  High 
School  of  Rlusic;  1907  dir.  Royal 
Cons.,  Vienna;  cond.  His  wife,  bom 
Qlaser,  is  a  court  opera  singer  at 
Stuttgart. 
Borchers  (b6r'-khgrs),  (i)  Bodo, 
1835  —  Leipzig,  June  6,  1898;  opera 
singer  and  teacher  in  Leipzig.  (2), 
Qustav,  b.  Braunschweig,  Aug.  18, 
1865;  pupil  Leipzig  Cons.;  cantor  and 
teacher  of  song;  since  1898,  directed 
a  singing-school  at  Leipzig. 
Bordes  (bord),  Charles,  Vouvray- 
sur-Loire,  May  12,  1863; — Toulon, 
Nov.  8,  1909;  composer;  important 
figure  in  the  revival  of  French  church 
music;  pupil  of  Cesar  Franck;  1887, 


church  -  conductor  at  Nogent  -  sur  - 
Mame;  1889  commissioned  by  the 
govt,  to  collect  Basque  folk  music; 
from  1890  chapel-master  at  St.  Ger- 
vais,  Paris;  founder  of  the  "Associa- 
tion of  the  Singers  of  St.  Gervais"  and 
of  the  "Schola  Cantoriim  de  St.  G.," 
1898  with  d'Indy  and  Guilmant;  1905 
retired  to  Montpellier  and  founded  a 
Schola  there;  1909  went  to  Nice  to 
give  a  concert  and  died  on  his  way 
home.  He  resuscitated  many  for- 
gotten master  works,  and  wrote  many 
articles  on  them;  c.  Phantasie  and 
Rapsodie  Basque  for  orch.;  opera  Les 
trois  V agues,  religious  music,  choruses, 
and  songs  and  piano  pieces. 

Bo'rek,  Christoph,  d.  1557;  Polish 
composer  and  conductor. 

Bo'ri  (rightly  Borgia),  Lucrezia, 
soprano;  studied  at  Milan;  1911-12 
at  La  Scala.  In  1910  singing  in  Paris 
with  the  Met.  Op.  Co.  of  N.  Y.  She 
was  engaged  for  New  York  191 2-13. 

Born'hardt,  Johann,  Braunschweig, 
March  19,  1774  —  April  19,  1840;  c. 
Singspielen,  etc. 

Borosini  (bor-o-se-ne),  (i),  Fran= 
cesco,  b.  Bologna,  ca.  1695;  oper- 
atic tenor  in  1723  at  the  Grand 
Opera,  Prague,  and  1724-1725  in 
London,  with  his  wife  (2),  Leonora 
d'  Ambreville,  a  contralto  of 
French  birth. 

Bosch,  Pieter  Joseph,  Hoboken, 
Holland,  1736  —  Antwerp,  Feb.  19, 
1803;  organist  at  Antwerp  Cathedral; 
c.  sonatas. 

Boschetti  (b6s-ket'-te),  Viktor,  b. 
Frankfort-on-Main,  Aug.  13,  1871; 
pupil  of  Prague  Cons.;  from  1896, 
organist  at  Vienna  and  Dir.  Court 
Opera,  1900-3;  c.  5  operas,  church 
music,  etc. 

Botelho  (bo-tel'-yo),  Manuel  Joa= 
^uim  Pedro,  Lisbon,  1795  — April 
9,  1873;  flutist  and  teacher  of  theorj'. 

Bottini,  (b6t-te'-ne),  Marianna 
Andreozzi,  the  Marchesa,  Lucca, 
Nov.  7,  1802  —  Jan.  24,  1858;  she 
composed  masses,  overtures,  etc. 


II 


DICTIONARY  OF  MUSICIANS      853 


Boucheron  (boosh-r6n),Raimondo, 
Turin,  Mar.  15,  1800  —  Milan,  Feb. 
28, 1876;  cond.,theorist  and  composer. 

Bouhy  (boo'-e),  Jacques,  b.  Pcpin- 
ster,  Belgium,  1848;  barytone;  pupil 
at  Liege  Cons.,  then  Paris  Cons.; 
1871,  the  Opera  Paris;  after  1872  at 
Opera  Comique,  creating  the  Torea- 
dor role  in  "Carmen,"  etc.;  1885-89, 
director  of  New  York  Conservatory; 
returned  to  Paris  Opera;  later  a 
famous  teacher;  c.  songs. 

Bouman  (boo'-man),  Martin  T., 
b.  Herzogenbusch,  Holland,  Dec.  29, 
1858;  pupil  of  Bree  and  Holl;  city 
director  at  Gouda;  c.  operas,  masses, 
etc. 

Bouval     (boo-val),    Jules     Henri, 

b.  Toulouse,  June  9,  1867;  pupil  of 
Paris  Cons.,  taking  first  harmony 
prize  1889;  org.  St.  Pierre  de  Chaillot; 

c.  i-act  operas,  ballets  "Lo  Chaine 
d' Amour"  for  voice  and  orch.,  songs, 
etc. 

Bo'wen,  York,  b.  London,  Feb.  22, 
1884;  composer  and  pianist;  1898- 
1905,  pupil  of  the  R.  A.  M.;  c.  3  con- 
certos; symph.  fantasia  for  orch. 
brought  out  by  Richter;  concerto 
and  sonata  for  the  viola,  etc. 

Boyle,  Geo.  Frdk,  b.  Austraha; 
teacher  at  Peabody  Cons.,  Baltimore; 
c.  piano  concerto,  which  he  cond.  with 
success  Feb.  191 2  at  New  York  Phil. 

Boyvin  (bwa-van),  Jacques,  d. 
Rouen,  ca,  1706;  organist  there  in 
1674;  c.  organ  music. 

Brad 'ford,  Jacob,  b.  London,  June 
3,  1842;  organist;  pupil  of  Goss  and 
Steggal;  Mus.  Doc.  Oxford,  1878; 
since  1892  organist  at  St.  Mary's, 
Newington;  c.  oratorio  "Jtidith"; 
Sinfonia  Ecclesiasiica  with  double 
chorus;  overtures,  etc. 

Brady,  Sir  Francis,  d.  Co.  Tyrone, 
Ireland,  1909;  well-known  amateur 
musician  and  one  of  the  founders 
of  the  Royal  Irish  Academy  of  Music; 
c.  several  songs,  etc. 

Brandl,  Johann,  b.  Kirchenbirk, 
Bohemia,  Aug.  30,  1835;  c.  operettas. 


Brandram,  Rosina  (Mrs.  But= 
cher),  d.  Southend-on-Sea,  Feb. 
28,  1907,  age  61.  Noted  contralto  in 
Gilbert  and  SuUivan  operas. 

Brandt,  Herman,  Hamburg,  1852 
—  New  York,  Dec.  27,  1910;  pupil 
Leipzig  Cons.;  settled  in  San  Fran- 
cisco; later  cond.  the  Philh.  orch. 
there;  then  taught  in  N.  Y.;  at  one 
time  was  concertmaster  Theodore 
Thomas  Orch. 

Bran'dukov,  Anatol  Andreje= 
vitch,  b.  Moscow,  Jan.  6,  1859;  'cel- 
list; pupil  Moscow  Cons.;  spent  many 
years  in  Paris;  founded  a  quartet 
there  with  Marsick;  1890  returned 
to  Moscow;  c.  for  'cello  and  orch.,  etc. 

Brassart,  Johannes,  priest,  com- 
poser and  singer;  in  Papal  Choir 
in  143 1 ;  probably  same  as  Johannes 
de  Ludo;  c.  sacred  music. 

Braun,  (i)  Anton,  Cassel,  Feb.  6, 
1 729-1 790;  violinist  and  c;  perhaps 
the  son  of  (2)  Braun,  whose  flute 
compositions  were  pub.  in  Paris  1729- 
1740.  His  brother  (3)  Johann, 
Cassel,  1753  —  Berlin,  1795,  vio- 
linist and  comp.  (4)  Johann  Fr., 
Cassel,  1759  —  Ludwigslust,  1824; 
oboist  and  comp.;  father  of  (5)  Karl 
A.  P.,  b.  Ludwigslust,  1788;  oboist; 
and  of  (6)  Wilhelm,  b.  Ludwigs- 
lust, 1 791;  oboist,  whose  wife  was  his 
cousin  (7)  Kathinka  B.,  a  singer. 

Bredal  (bra'-dal),  (i)  Niels  Krog, 
Drontheim,  1733  —  Copenhagen, 
Jan.  26,  1778;  theatre-director  and 
comp.  of  cantatas.  (2)  Ivar  Fred= 
erick,  Copenhagen,  June  17,  1800- 
March  25,  1864;  viola  player;  c.  op- 
erettas; cantata  "Judas  Iscariot, "  etc. 

Breithaupt,  (brit-howpt)  Rudolf, 
Maria,  b.  Braunschweig,  Aug.  11, 
1873;  critic  and  teacher;  pupil  Leipzig 
Cons.,  1897;  c.  songs. 

Brend'ler,  Erich,  b.  1800  — Stock- 
holm, 183 1 ;  c.  opera  "Ryno"  with 
Prince  Oskar  of  Sweden  (prod. 
Stockholm,  1834),  etc. 

Brescianello  (bre'-sha-ngl'-lo),  Giu= 
seppe    Antonio,  Mus.  Director  at 


854 


THE  MUSICAL  GUIDE 


Stuttgart,  1 71 7-1 757;  published  vio- 
lin concertos,  etc. 
Bress'Ier=Qianoli  (ja-no'-le)  Mme. 

b.  Geneva,  i87o(?);  d.  there  after 
operation  for  appendicitis.  May  12, 
191 2.  Operatic  mezzo-sopr;  studied 
Paris  Cons.,  debut  Geneva,  at  19; 
1900,  Paris  Op.  Com.,  1903  with  New 
Orleans  Op.  Co.,  from  1907  sang  with 
success  at  Manhattan  Opera,  N.  Y.; 
1910  with  Metropolitan  Opera,  N.  Y.; 
her  "Carmen"  was  famous. 

Breton  y  Hernandez  (bra-t6n 
e  er-nan'-deth),  Tomas,  b.  Salam- 
anca, Dec.  23,  1850;  leading  Spanish 
composer  of  zarzuelas,  an  oratorio 
Apocalypsia  (1882),  for  orch.  "Att- 
dalusian  scenes";  funeral  march  for 
Alfonso  XII,  etc. 

Breval,  Lucienne,  Add  that  her  cor- 
rect name  is  Berthe  A.  L.  Schill^ 
ing,correct  birth  date,  Berlin,  Nov. 
4, 1869;  pupil  of  Warot  at  Paris  Cons.; 
debut.  Opera,  1892;  sang  there  till 
1900,  then  at  Op.  Com.;  1902  re- 
turned to  the  Opera. 

Breville  (bra-vel),  Pierre  Onfroy 
de,  b.  Bar-le-Duc,  France,  Feb.  21, 
1861;  composer  and  critic,  diplo- 
matic career;  then  studied  at  Paris 
Cons,  and  with  Cesar  Franck; 
teacher  at  the  Schola  Cantorum;  c. 
masses,  sacred  chorus  with  orch., 
Sainte  Rose  de  Lima;  symph.  poem, 
Nuit  de  decembre;  overture,  Prhiccsse 
Maleine,  music  for  Les  sept  Princesses, 
and  Sakiintala,  etc.,  orch.  fantasie 
"Portraits  des  Musiciens";  songs,  etc. 

Bridge,  (i)  Sir  John  Frederick; 
1902,  made  member  of  the  Vic- 
torian Order;  1903,  King  Edward 
Prof,  of  Music,  London  University; 
(2)  Frank,  b.  Brighton,  Feb.  26, 
1879;  viola  player;  pupil  of  R.  A.  M., 
gaining  a  scholarship  in  composition; 

c.  prize  quartet  in  E.  Minor  (Bologna 
competition);  string  quartet  "Three 
Idylls";  rhapsody  for  orch.  and  sjTnp. 
poem,  "Isabella"  (igoj). 

Briesemeister,  ( bre'-  ze-mi-ster ), 
Otto,   Amswalde,May   18,  1866  — 


I. 


Berlin,  June  17,  1910;  tenor;  at  first  a 
doctor,  then  a  pupil  of  Wiedemann; 
debut,  1893,  Detmold. 

Bright,  Dora  Estella,  b.  Sheffield, 
Aug.  16, 1863;  pianist;  pupil  R.  A.  M., 
London;  1892  married  Capt.  Knatch- 
bull;  c.  2  piano  concertos  ;  variations 
with  orch.,  etc. 

Bron'ner,  Qeorg,  Holstein,  1666  — 
Hamburg.  1724;  organist ;  c.  for  the 
Hamburg  Opera  "Echo  and  Nar- 
cissus," "Venus,"  etc. 

Brons,  Simon,  b.  Rotterdam,  April 
19,  1838;  composer;  teacher  and 
^vTiter;  author  of  theoretical  works; 
Uves  at  The  Hague. 

Broschi,  Carlo;  real  name  of  the 
great  male  soprano  "called  Farinelli, 
perhaps  after  his  uncle  who  was  a 
composer. 

Brounoff(broo'-n6f),  Platen,  b.  Eli- 
zabethgrad,  Russia,  1869;  composer; 
pupil  of  Rubinstein  and  Rimsky- 
Korsakov,  St.  Petersburg  Cons.; 
cantata  "The  Angel"  prod,  at  court; 
hves  in  New  York  as  cond.  of  Russian 
choral  society,  etc.;  c.  piano  suites 
and  songs. 

Bruch,  Max.  Add  that  he  received 
in  1908  the  Prussian  order  for  merit 
in  art  and  learning,  and  many 
honors  from  England,  France,  etc. 
His  fiu-ther  compositions  include  the 
secular  oratorio,  Giisiav  Adolf^  (1898), 
Nal  nnd  Damajant  (1903);  Die  Macht 
des  Gesanges,  for  barytone,  mixed: 
chor.  and  orch.  (1912.) 

Bru'dien,  Juan,  Spanish  priest; 
cond,  at  Cathedral  of  Urgel,  1585; 
later  at  Barcelona;  c.  madrigals,  etc. 

Bruneau,  Alfred.  Note  that  Octave 
Sere,  in  his  Musiciens  franqais  d'au- 
jourd'hui  (Paris,  191 1),  gives  the 
date  of  Bruneau's  birth  as  IMarch  ist. 
not  3rd.  Add  to  his  compositions  the 
operas,  all  to  Zola's  texts:  UOuragan, 
(Op.  Com.  1901);  lyric  comedy  in 
3  acts,  L' Enfant  Roi  (Op.  Com.  1905);!! 
i-act  lyric  drama  Lazare  (1905); 
incid.  music  to  La  Fante  de  I'Abl^ 
Mouret  (Odeon,  1907);  lyric  dranaj^trfr 


DICTIONARY  OF  MUSICIANS      855 


work 


,b.EI 

ipffit! 

;imsb 

COE; 

icomt 

RlEH 


![  mem 
maii 

iidetli 

■,1898! 


pne! 
L  ijii 
;ak. 
iOcta« 


jrctii 
tionsi 


iVaw  Micoulin  (Monte  Carlo,  1907); 
Les  Qiiatre  Journees  (accepted  at 
the  Op.  Com.);  also  songs,  etc. 

Bruns,  (broons)  (Molar)  Paul,  b. 
Werden,  June  13,  1867;  tenor,  bary- 
tone, and  teacher;  studied  in  Leipzig 
and  Italy;  gave  historic  song-recitals; 
since  1902  teacher  of  singing  in  Berlin; 
author  of  a  vocal  method,  etc. 

Buchmayer  (bookh'-mi-gr),  Rich= 
ard,  b.  Zittau,  April  19,  i8s7;pupil 
Dresden  Cons.;  later  piano  teacher 
there;  1907  Royal  Saxon  Prof.;  gave 
many  concerts  of  ancient  clavier 
music  and  then  devoted  himself  to 
musical  history. 

Buchner  (bookh'-ner),  (i)  Hans, 
Ravensburg,  Dec.  26,  1483-1540; 
organist  and  comp.  (2)  Philipp  Fr., 
Wertheim,  1614  —  Wiirzburg,  1669; 
cond.  and  comp. 

Buchner  (bukh'-ner),  b.  Pyrmont, 
1825;  flutist  and  composer;  from 
1856,  soloist  at  St.  Petersburg  Royal 
Opera,  and  Prof,  at  the  Cons. 

Buck,  (i)  Dudley;  retired  from 
church  work  1903;  d.  Brooklyn,  N.  Y. 
Oct.  6,  1909.  (2)  Percy  Carter, 
b.  West  Ham.,  March  25, 1871;  pupil 
at  R.  A.  M.,  London;  won  scholarship 
1891-4,  organist  at  Oxford;  1893, 
Mus.  Doc;  1896-9,  organist  Wells 
Cathedral,  1899-1901,  Bristol  Cathe- 
dral; 1910,  prof,  of  music  Dublin 
University,  vice-Pres.;  c.  overture 
"Coeiir  de  Lion";  chamber  music,  etc. 

Buhl  (bill),  Joseph  David,  b.  Am- 
boise,  1 781;  famous  trumpet-player 
at  Paris;  author  of  trumpet-method. 

Bullerian  (bool-la'-ri-an),  Rudolf, 
b.  Berlin,  Jan.  13,  1858;  director; 
pupil  Stem  Cons.;  played  in  orches- 
tras from  his  i6th  year;  1884, 
municipal  director  at  Gottingen;  1890 
in  Russia,  settling  at  Moscow,  con- 
ducting in  other  cities;  since  1902  in 
America. 

Biimler  (bim'-ler),  Qeorg  Hein=- 
rich,  Berneck.,  Oct.  10,  1669  — 
Ansbach,  Aug.  26,  1745;  cond.  and 
comp.  of  church  music. 


dri! 


Buonamici,  Carlo,  b.  Florence, 
June  20,  1875;  pianist;  son  and  pupil 
of  Giuseppe  (q.  v.),  later  studied  at 
Wiirzburg  Royal  Musicsch.,  with 
Van  Zeyl,  taking  first  prize;  after 
year  in  the  army,  settled  in  Boston, 
1896,  as  teacher  and  pianist  with 
Boston  Symph.  Orch.,  etc.;  1908 
toured  Europe. 

Buongiorno  (boo-6n-j6r'-no),  Cres= 
cenzo,  Bonito,  1864  —  Dresden , 
Nov.  7,  1903;  c.  operas. 

Busoni,  F.,  add  that  in  1907  he  suc- 
ceeded Sauer  as  teacher  of  the  master 
class  at  Vienna  Cons.;  191 1  toured 
America,  c.  symph.  tone-poem 
"Pojohla's  Tochter,"  festival  over- 
ture, 1897;  music  to  "Berceuse  ele- 
giaque,"  for  orch.;  Schiller's  "Turan- 
dot";  transcribed  Bach's  organ  works 
for  piano;  wrote  "  Entunirf  einer  neiien 
Aesthetik  der  Tonkunst.'"  His  opera, 
"Der  Braidwahl,"  was  prod.  Ham- 
burg, April  13,  1912,  based  on  Hoff- 
man's "  Serapeons'  Brilder." 

Butler,  Thomas  Hamly,  London, 
1762  —  Edinburgh,  1823;  comp. 


Cabezon  (ka'-ba-th6n),  (i)  (Felix), 
Antonio  De,  Santander,  March 
30,1510  —  May  26,  1566;  composer; 
cembalist  and  organist  to  Philip  II; 
called  "The  Spanish  Bach";  blind 
from  birth;  c.  harp  and  flute  pieces, 
published  in  1578  by  his  son  (2) 
Hernando,  who  succeeded  him. 

Cad'man,  Charles  Wakefield,  b. 
Johnstown,  Pa.,  1881;  at  13  began 
piano  studies,  at  19  composed  a 
comic  opera,  prod,  at  Pittsburg,  but 
did  not  study  composition  till  20; 
pupil  of  W.  K.  Steiner  (organ),  Luigi 
von  Kunits  (orchestration),  with 
critical  advice  from  Emil  Paur;  took 
up  Indian  music,  1906  published 
"Four  Indian  Songs";  1909  spent 
summer  among  the  Omaha  Indians, 
taking  phonograph  records  and 
transcribing    them;    gives    lecture- 


856 


THE  MUSICAL  GUIDE 


recitals  on  Indian  music,  c.  Three 
Moods  for  symph,  orch.;  chamber 
music;  cantata  for  male  voices  The 
Vision  of  Sir  Laimfal,  Japanese 
romance  for  two  voices,  Sayonara; 
three  Songs  to  Odysseus;  Indian  songs, 
etc. 

Cahier  (ka-her'),  Mme.  Charles 
(nee  Walker, ),  contralto;  b.  Ten- 
nessee; sang  in  concert  as  Mrs.  Mor- 
ris Black,  then  studied  with  Jean  de 
Reszke;  debut  in  opera  as  "Orfeo" 
(Nice,  1904);  sang  in  other  cities  and 
from  1909  at  Vienna  Royal  Opera. 
191 2  at  Met.  Op.,  N.  Y. 

Caland  (ka'-lant),  Elizabeth,  b. 
Rotterdam,  Jan.  30,  1862;  teacher 
and  author  of  piano  methods. 

Camar'go,  (i)  Feli.x  Antonio,  b. 
Guadalajara,  i6th  cent.;  cathedral 
cond.  at  Valladohd;  c.  remarkable 
h>Tnn  to  St.  lago,  etc.  (2)  see  Cupis 

Camerloher  (kam'-^r- lo-Sr),  (i) 
Placidus  Von,  Mumau,  1710  — 
Freising,  1776;  c.  operas,  etc.;  his 
brother  (2)  Anton,  d.  Munich, 
1743;  c.  opera. 

Calve,  Emma,  b.  Decazeville,'France 
—  not  at  Madrid,  1863  (1866?);  mar- 
ried the  tenor  Mario  Gaspary,  191 2. 

Camet'ti,  Alberto,  b.  Rome,  May 
S,  1871;  organist;  pupil  at  Acad- 
emy of  St.  Cecilia;  organist  of  the 
French  church  of  St.  Louis  at  Rome; 
historian  of  music  and  comp. 

Campanini  (kam-pa-ne'-ne),  Cleo= 
fonte,  conductor;  pupil  Milan 
Cons.,  later  teacher  there;  cond.  at 
La  Scala,  Covent  Garden,  and  1906- 
II  at  Manhattan  Opera  House,  New 
York,  191 2  at  London;  married  Eva 
Tetrazzini,  operatic  soprano  (sister 
and  teacher  of  Luisa). 

Campbell  =  Tipton,  Louis,  b. 
Chicago,  Nov.  21,  1877;  studied  in 
Chicago,  Boston  and  Leipzig;  lives  in 
Paris  ;his  important  compositions  have 
been  much  played  abroad,  notably  his 
''Heroic"  sonata  for  piano,  piano 
suites,  ''The  Four  Seasons,"  "Suite 
Pastorale, "  for  piano  and  violin. 


Canal    (ka'-nal),    Abbate    Pietro, 

Crespano,  April  13,  1807  —  Dec.  15, 
1883;  historian  and  comp. 

Canale  (or  Canali )  (ka-na'-le), 
Floriano,  organist  at  Brescia, 
1585-1603;  c.  church  music. 

Canob'bio,  Carlo,  violinist  at  Im- 
perial Theatre,  St.  Petersburg,  1779- 
1800;  c.  2  operas,  ballets,  etc. 

Cantor,  Otto,  b.  Creuznach,  Rhen- 
ish Prussia,  1857. 

Capel'len,  Qeorg,  b.  Salzuflen, 
Lippe,  April  i,  1869;  theorist  and 
comp.;  took  up  music  in  1901;  author 
of  important  works  on  modem  har- 
monic analysis. 

Caplet,  (kap-la),  Andre,  b.  Havre, 
1879;  pupil  of  Wollett;  violinist  at 
Havre  Theatre,  1896;  pupil  of 
Lerou.x  at  Paris  Cons.,  winning  first 
harmony  prize,  1898,  and  Prix  de 
Rome,  1901;  lived  in  Rome,  then  in 
Germany;  acted  as  assistant  to 
Colonne,  1898;  1900,  was  the  first 
to  cond.  Debussy's  Martyre  de  San 
Sebastien;  1911-12  cond.  at  Boston 
Op.;  c.  prize  quintet  for  wind  instrs., 
etc. 

Capri,  (ka-pre)  Julius,  b.  Marseilles, 
1837;  pianist  and  teacher  in  St.  Pe- 
tersburg after  1853;  pupil  Marseilles 
Cons.;  c.  opera  Leoriore,  etc. 

Capuzzi  (ka-pood'-ze),  Giuseppe 
Antonio,  Brescia,  1753-1818;  c. 
5  operas,  etc. 

Cara  (ka'-ra),  Marco,  called  Mar- 
chetto,  court  composer  at  Mantua, 
1495-1525. 

Carlez  (kar-l6s),  Jules  Alexis,  b. 
Caen,  Feb.  10,  1836;  organist,  his- 
torian and  comp. 

Car'nall,  Arthur,  Petersborough, 
May  7,  1852  —  Penge,  June  30,  1904; 
from  1873  organist  at  St.  John's, 
Penge;  c.  overture,   2  quintets,  etc. 

Caro  (ka'ro),  Paul,  b.  Breslau,  Dec 
25,  1859;  pupil  of  SchaSer  and. 
Scholz,  and  Vienna  Cons.;  c.  2  operas, 
4  symph.,  30  string-quartets,  etc. 

Caron  (ka-r6n),  (i)  Firmen,  should 
be  Philippe;  (2)  Rose  Lucile  (n& 


ai 


li 


DICTIONARY  OF  MUSICIANS      857 


Meuniez),  b.  Monerville,  France, 
Nov.  17,  1857;  soprano;  after  her 
marriage  entered  Paris  Cons.,  1880, 
as  pupil  of  Tharset,  later  of  Marie 
Sasse;  debut  Brussels,  1883;  1885-8, 
Paris  Opera;  1888-90,  Brussels;  from 
1890,  Opera  Paris;  also  at  the  Op. 
Com.,  from  1902  prof,  at  the  Cons. 
She  created  many  of  the  chief  rdles 
in  modern  French  Opera  and  in 
French  versions  of  Wagner.  She 
sang  Salammbo  at  the  Opera,  1908. 

Car'penter,  John  A.  b.  Park  Ridge, 
111.,  1876;  pupil  of  his  mother  (a 
pupil  of  Marchesi  and  Shakespeare), 
Amy  Fay,  Seeboeck;  then  graduated 
at  Harvard,  1897,  studying  music 
under  Paine  and  taking  highest 
musical  honours,  submitting  a  piano 
sonata;  1907;  studied  with  Elgar  in 
Rome,  and  thereafter  in  Chicago  with 
Bemhard  Ziehn;  c.  violin  and  piano 
sonata  (191 2)  and  many  songs. 

Carse,  A.  Von  Ahn,  b.  Newcastle- 
on-Tyne,  May  19,  1878;  pupil  R.  A. 
M.,  with  the  Macfarren  scholarship; 
made  an  associate  there  in  1902;  c. 
symph.  in  C  minor  (prod.  1906); 
symph.  in  G  minor  (1908),  revised 
and  prod.  1909,  symph.  poem,  "/w  a 
Balcony"  (1905);  concert  overture 
(1904),  etc. 

Carter,  Thomas,  Dublin,  May, 
1769  —  Nov.  8,  1800;  mus.  director 
at  Calcutta;  c.  songs. 

Caruso  (ka -roo'-s6),  Enrico,  b. 
Naples,  Feb.  25,  1873;  famous  Italian 
tenor;  pupil  of  Vergine;  debut,  1895, 
winning  gradual  success  in  Italy 
(Naples,  1898;  1899  La  Scala),  and 
creating  the  tenor  r6les  in  Giordano's 
'^Fedora,"  Cilea's"  Leconvreur,"  and 
Franchetti's  " Germanla" ;  1899-1903 
sang  in  St.  Petersburg,  and  Buenos 
Ayres;  1902,  appeared  with  Melba 
at  Monte  Carlo,  began  his  tre- 
mendous vogue;  1902  at  Covent 
Garden;  1903,  Met.  Op.  House,  N. 

.  Y.  Since  then  he  has  sung  at 
both  operas  almost  every  year  with 
luiri vailed  favor;  1908,  his  voice  was 


threatened,  but  an  operation  restored  ! 

it.     He  created  the  tenor  role  in  Puc-  I 

cini's" Girl  of  the  Golden  West,"  and 
has  sung  throughout  Europe  always  ! 

with  sensational  effect  and  unequalled  1 

prices.     He  is  an  ingenious  caricatu-  1 

rist,  and  has  composed  songs,  one  of  j 

them  being  sung  in  the  farce  "  The 
Million"  (New York,  i9i2),byachar-  j 

acter  called  "The  Bowery  Caruso. " 

Casals',    Pablo,    b.  Beudrell,  Spain,  ! 

Dec.  30,  1876;  'ceUist;  pupil  of  Jose  ; 

Garcia,  Rosereda  and  Breton;  since  j 

1897,  prof,  at  Barcelona  Cons. ;  toured 
widely ;  c.  La  Vision  de  Fray  Martin,  ! 

for  chorus  and  orch. ;  'cello  pieces,  etc.  I 

Casati    (ka-sa'-te),     Qasparo,     d.  j 

Novara,  1 643 ;  cond.  at  Novara  Cathe-  j 

dral;  c.  church  music.  i 

Case,    Qeorge    Edward,    d.  Nov.  j 

29,  1909,  age  54.      Writer  and  prof,  of  ■ 

trombone  at  R.  C.  M.,  London.  I 

Casimiro  (ka-se-me'-ro),  da  Silva 
Joaquim,  Lisbon,  May  30,  1808 — 
Dec.    28,  1862;  Portuguese  comp.  of  ! 

church  music.  ' 

Castillon   (kas-te-yoh),    Alexis    de,  | 

Vicomte  de  Saint  Victor,  Char-  1 

tres,    Dec.    13,  1838  —  Paris,  March 

5,  1873;   composer;  pupil  of  Masse 
and    Cesar    Franck;    c.    symphony; 
overture,  Torquato   Tasso,  Psalm  84  \ 
with  orch.;  piano  concerto  and  im-  j 
portant  chamber  music. 

Cas'tro,   Ricardo,    Durango,   1866-  \ 

1908;  dir.  Nat.  Cons,  of  Mexico.  ■ 

Catalan!    [(kat-a-la'-ne),     Alfredo,  j 

Lucca,  June  19,  1854  —  Milan,  Aug.  j 

6,  1893;  pupil  of  his  father,  an  organ- 
ist; at  14,  c.  a  mass  sung  at  the  cathe-  ' 
dral;  pupil  of  Magi,  and  of  Paris  Cons. 

and  M ilan  Cons . ;  c .  operas  "La Fake ' ' 
(Milan,  iSys);  "Elda"  (Turin,  1880; 
revised  as  "Loreley,"  1890);  "La 
Wally"  (La  Scala,  1892);  c.  symph. 
poem  "Era  e  Leandro,"  etc. 
Catoir  (kat-wSr),  Qeorg  L.,  b. 
Moscow,   April    27,    1861;   pupil   of  1 

Klindworth,  Willborg,  and  Liadov; 
c.  symphony;  symph.  poem.  Mzyri; 
cantata,  Riissalka,  etc. 


858 


THE  MUSICAL  GUIDE 


Caudel'la,  ( i )  Franz,  d.  Jassy, 
Roumania,  1868;  'cellist  and  dir.  of 
the  Jassy  Cons.;  his  son  (2)  Eduard, 
b.  Jassy,  June  3,  1841;  violinist;  pupil 
of  his  father,  and  of  Alard,  M assart, 
and  Vieuxtemps;  1894-1901,  dir.  of 
education  at  Jassy;  c.  opera,  etc. 

Chabran  (sha-bran),  or  Ciabrano 
(cha-bra'-n5),  Francesco,  b.  Pied- 
mont, 1723;  vioHnist  and  comp.; 
1751,  toured  Europe  with  success. 

Chabrier,  A.  E.,  add  that  after  his 
death  in  1894  his  unfinished  opera 
"Briseis,"  was  given  at  the  Op^ra 
Paris,  1899;  his  opera  "Gwendoline" 
(text  by  Catulle  Mendes),  at  the  Op. 
Com.,  1911. 

Chad'field,  Edward,  Derby,  Aug. 
I,  1827  —  Hastings,  March  31,  1908; 
organist  at  Derby;  pupil  of  Smart, 
Rosellen  and  Korbach. 

Chadwick,  Q.  W.,  add  that  the  fol- 
lowing compositions  were  played  in 
the  Boston  Symph.  Orch.,  overtures 
"Adonais,"  (1900);  "Euterpe" 
(1904);  "Cleopatra"  (1906);  sym- 
phonic sketches  (1908);  theme  varia- 
tions and  fugue  for  organ  and  orch. 
(1909);  Sinjonietta  (1910);  Sitite 
Symphoniqne  for  orch.  winning  $700 
prize  of  Nat.  Federation  of  Clubs 
(1910);  c.  also  "Noel"  (1909); 
"Lochinvar,"  ballad  for  barytone  and 
orch.,  1909.  "Jtidith"  lyric  drama, 
Worcester  Feast  1900  incid.  music 
to  " Everywoman"  (191 1);  symph. 
poem  "Aphrodite"  (Norfolk.  1912), 
In  1905  a  concert  of  his  comps.  was 
was  given  by  the  Leipzig  Concordia 
Verein. 

Chaine  (shgn),  Eugene,  b.  Charle- 
ville,  Dec.  i,  18 19;  pupil  and  after 
1875  teacher  at  Paris  Cons.;  c.  2 
symph.,  and  important  violin  pieces. 

Chaliapine  (shal-ya'-pen),  Fedor 
Ivanovich,  b.  Kazan,  Feb.  11, 
1873.  Russian  bass;  pupil  of  Oussa- 
tov,  in  Tiflis;  sang  in  various  cities, 
finally  at  Moscow,  and  with  immense 
success  in  European  capitals;  1908, 
New  York. 


Champs  (du-shan),    Ettore   de,   b. 

Florence,  Aug.  8,  1835  ;  pianist  and 
c.  of  operas,  masses,  etc. 

Chapi  (y  Lorente)  (cha-pe'elo- 
ren'-t6)  Ruperto,  Villena,  March 
27,  1851 — Madrid,  March  25,  1909; 
pupil  Madrid  Cons.;  c.  operas 
and  78  zarzuelas;  also  a  symph.; 
oratorio,  etc. 

Charlier  (sharl-ya),  Theo.,  b. 
Seraing,  Belgium,  July  17,  1868; 
trumpet-virtuoso  and  teacher;  c. 
opera,  ballets,  etc. 

Chausson  (sh6s-s6h),  Ernest,  Paris, 
June  21, 1855 — (killed  in  bicycle  acci- 
dent), Limay  n.  Nantes,  June  lor 
1899;  pupil  of  Massenet  and  Cesa, 
Franck;  c.  symph.;  symph.  poems 
Vivians  and  Les  caprices  de  Marianne; 
opera  Helene,  Le  roi  Arthus  (Brussels, 
1903;  text  by  the  composer);  songs 
and  piano  pieces. 

Chemin  -  Petit  (  shu-man-pG-te' ), 
(i)  Maurice,  c.  opera,  "Alfred 
/AeGrea/,"  (Halle,  1858).  (2)  Hans 
c.  operas,  including  "  Der  Liebe 
Augustin"    (Brandenburg,    1906). 

Chesh'ire,  John,  d.  New  York, 
Sept.  21,  1910,  age  73.  English 
harpist;  pupil  and  later  teacher  in 
Royal  Academy  of  Music;  prolific 
composer  for  harp. 

Chessin  ( ches'-sen ),  Alexander 
Borissovich,  b.  St.  Petersburg  Oct.) 
19,  1869;  conductor;  pupil  of  the 
Cons.,  and  of  Nikisch  at  Leipzig;  sinceS 
1901,  cond.  at  St.  Petersburg  andt 
since  1903  of  Philharmonic  concerts; 
at  Moscow;  c.  cantata,  etc. 

Chevillard,  Camille,  add  that  in 
1898  he  acted  as  substitute  cond.; 
for  Lamoureux,  called  abroad;  on  thf 
death  of  L.  Dec.  21,  1899;  he  became 
cond.  of  the  Association  des  Concerts- 
Lamottreux.  Add  to  his  comps.  incid 
mus.  to  La  Roussalka  (1903);  allegrc, 
for  horn  and  piano,  1905;  piano  piece 
and  songs.  | 

Chop  (kh6p).  Max,  b.  Greuszen 
Thuringia,  May  17, 1862;  Mus.  writer 
critic    in    Berlin,    under    the    nami 


DICTIONARY  OF  MUSICIANS       859 


"Monsieur  Charles;"  c.  piano  con- 
certo, etc. 

Chopi  n ,  Fr. ,  The  controversy  as  to  the 
date  of  his  birth  has  been  recently 
ended  by  the  dircovery  of  the  certifi- 
cate, establishing  it  as  Feb.  22,  1810. 

Chretien  (krat-yah),  Hedwige 
Louise  Marie,  b.  Compiegne, 
July  5,  1859;  pupil  Paris  Cons.,  taking 
first  harmony  prize,  1881;  first 
counterpoint  and  fugue,  1887;  teacher 
there,  1890-2;  c.  orch.  pieces,  cho- 
ruses, songs,  etc. 

Christ  (krest),  Wilhelm,  Geisen- 
heim,  Aug.  2,  1831  —  Munich,  Feb. 
8,  1906;  historian  and  theorist. 

Chueca(chwa'-ka),  Federico,  1846 
—  Madrid,  June  20,  1908;  composer 
of  zarzuelas. 

Chva'la  (shva'-la),  Emanuel,  b. 
Prague,  Jan.  i,  1851;  pupil  of  Forster 
and  Fibich;  historian  and  c.  of  cham- 
ber music,  etc. 

Chybiriski  (khe-ben'-ye-shki),  Ad= 
olf,  b.  Cracow,  March  29, 1880;  his- 
torian of  Polish  music. 

Ciconia  (chi-kon'-ya),  Johannes, 
canon  at  Padua  about  1400;  theorist 
and  comp. 

Cilea  (che'-le-a),  Francesco,  b. 
Palmi,  July  29,  1866;  leading  Italian 
opera  comp.;  at  9  had  c.  a  notturno 
and  a  mazurka;  at  15  entered  the 
Naples  Cons. ;  while  yet  a  student  he ' 
had  success  with  a  suite  for  orch.,  and 
a  3-act  opera  Gina,  (1889);  1896- 
1904,  professor  at  Royal  Institute, 
Florence;  c.  operas  La  Tilda,  (1892); 
V Arlesiana  (Milan,  1896);  Adrianna 
Lecouvreur  (Milan,  1902,  Covent 
Garden,  1904);  Gloria,  (La  Scala, 
Milan,  1907). 

Cirri  (cher'-re),  (i)  Ignazio,  organ- 
ist and  comp.;  his  son  (2)  Giovanni 
Baptista,b.  ForH,  ca.  1740;  'cellist; 
spent  many  years  in  London,  then 
returned  to  Italy;  c.  important 
'cello  music. 

Clauss'nitzer,  Paul,  b.  Nieder- 
schona,  near  Freiberg,  Dec.  9,  1867; 
teacher  and  comp. 


Clave   (kla-va'),   Jose    Anselmo, 

Barcelona,  April  21,  1824  —  Feb., 
1874;  founder  of  male  choral  societies 
in  Spain;  c.  very  popular  songs  and 
choruses. 

Clavijo  Del  Castillo  (kla-ve'-ho 
del  kas-tel'-yo),  Bernardo,  d.  Ma- 
drid, Feb.  1626;  Spanish  organist 
and  comp. 

Clay'ton,  Thomas,  ca.  1670  —  ca. 
1730.     English  manager  and  comp. 

Clem'ens,  Charles  Edwin,  b. 
Plymouth,  England,  March  12,  1856; 
organist;  1 889-1 895,  organist  at  the 
English  church,  and  to  Empress 
Frederick  in  Berlin,  and  teacher  at 
Scharwenka  Cons.;  then  moved  to 
Cleveland,  Ohio;  author  of  organ - 
methods. 

Clement  (or  Clemens  or  Clem= 
enti),  Johann  Qeorg,  b.  Bres- 
lau  ca.  1710;  cond.  at  Breslau,  1735, 
till  after  1785;  c.  masses  etc.;  left  two 
sons  —  one  at  Vienna,  the  other  a 
violinist  and  cond.  at  Carlsruhe,  1793, 
taking  the  name  Clementi. 

Clemm,  (i)  John  (Johann  Gott- 
lieb Klemm),  Dresden,  1690  — 
Bethlehem,  Pa.,  1762;  organ  builder, 
came  to  America,  1736;  built  first  or- 
gan for  Trinity  Church,  N.  Y.,  1741, 
of  which  his  son  (2)  John  was  the 
first  organist. 

Clerambault  (kla-ran-bo),  Louis 
Nicolas,  Paris,  1749;  organist  and 
comp. 

Cleve  (kl6v),  (i)  Johannes  De, 
Cleve  (?)  1529  —  Augsburg,  1582; 
court  tenor  at  Vienna  and  Prague;  c. 
church  music;(2)  Half  dan,  b.Kongs- 
berg,  Norway,  Oct,  5,  1879;  pianist; 
pupil  of  his  father  and  of  Raif  and 
the  two  Scharwenkas  at  Berlin;  c. 
piano-concertos,  etc. 

Cliffe  (klif),  Frederick,  b.  Lowmoor, 
May  2,  1857;  organist;  pupil  of 
SulHvan,  Stainer,  and  at  R.  C. 
M.;  toured  Europe  with  success; 
c.  2  symph.;  symph  poem  "Clouds 
and  Suiishine'\-  alto  solo  with  orch., 
"The  Triumph  of  Alcestis,"  etc. 


86o 


THE  MUSICAL  GUIDE 


Clough=Leiter     (kluf-li'-ter)     (i) 
Henry,,    b.     Washington,     D.    C; 
1874;  composer  and  musical  editor; 
pupil  of  his  mother,  Edw.  Kimball, 
H.  Xandet,  and   Dr.   J.   H.   Anger; 
org.    at    Washington    and    various 
churches   at    Providence,    R.    I.   c. 
Lasca     for     tenor      and     orch.;      4 
cantatas,     A    Day  of    Beauty,     for 
string  quintet;  200  songs  of  unusual 
color    and    sweep,     etc.      His    wife, 
(2)  Grace  Cotton   Marshall,  b. 
Nineveh,     Ind.,      Aug.     20,     1885; 
pupil  of  her  mother;  1902 — 5  com- 
pleted  seven-year    course    at   Met. 
School  of  Music,  Indianapolis,  grad- 
uating with  highest  honors;  studied 
then  in  Boston  with  Carlo  Buonamici 
and  H.   C.   L.,   whom  she  married. 
She  has  published  many  piano  pieces 
and  songs  under  the  name  Q.  Mar= 
schal=Loepke. 
Coates,    John,    b.  Girlington,  June 
29,  1865;  tenor;  sang  in  his  father's 
choir  at  5;  pupil  of  Burton  and  Bridge 
later  of  Shakespeare;  sang  in  light 
opera,     London    and    America,     as 
barytone,  1 893-1 899;  decided  he  was 
a   tenor;   studied   and   made   debut, 
1900,  at   Covent   Garden;  favourite 
festival  tenor;  also  in  opera  in  Ger- 
many and  1 910  chief  tenor  at  Beech- 
am's  season. 
Cob'bold,     William,    St.    Andrew, 
Norwich,  Jan.  5,  1559-60  —  Beccles, 
Nov.  7,  1639;  org.  and  comp. 
Coccia    (kot'-cha),    Maria    Rosa, 
Rome,    Jan.    4,    1759  —  after _  1783; 
woman    composer    of    great    impor- 
tance in  her  own  day;  c.  Magnificat, 
etc. 
Coignet  (kwan-ya),  Horace,  Lyons, 
1736  —  Paris,  Aug.  29,  1821;   comp. 
Colborne,  Langdon,  London,  Sept. 
15,  1837  —  Hereford,  Sept.  16,  1899; 
organist  at  Hereford  Cathedral,  1877- 
1899;  c.  oratorio  ^'Samuel,"  etc. 
Cole,  (i)  Belle,  d.  London,  Jan.  6, 
1905,  age  60.  American  contralto.  (2) 
Rossetter,     Q.,     b.    near   Clyde, 
Mich.  Feb.  5,  1866;  composer;  1888, 


graduated  from  Michigan  Univ., 
taking  musical  courses  also;  at  his 
graduation  the  Univ.  Mus.  Soc. 
performed  his  cantata  with  orch. 
"The  Passing  of  Summer";  1888 — 90, 
he  taught  English  and  Latin  in  high 
schools;  1890 — 92  in  Berhn,  winning 
competitive  scholarship  at  Royal 
Master-school,  and  stud3dng  with 
Max  Bruch;  1892 — 4,  prof,  of  music 
Ripon  College;  1894 — 1901,  Iowa 
College;  from  1902  in  Chicago  as 
teacher,  and  from  1908  also  in  charge 
of  summer  music  classes  of  Columbia 
Univ.,  N.  Y.  c.  "King  Robert  of 
Sicily,"  and  "Hiawatha's  Wooing," 
as  musical  backgrounds  for  recita- 
tion, ballade  for  'cello  and  orch; 
sonata  for  violin  songs,  etc. 

Coleridge  =  Taylor,  Samuel,  add 
that  he  was  made  cond.  Handel 
Society,  1904;  his  "Hiawatha"  was 
developed  as  a  trilogy,  "Hiawatha's 
Wedding  Feast,"  (R.  CM.,  London, 
1898),  "The  Death  of  Minnehaha" 
(North  Staffordshire  Fest.,  1899; 
"Hiawatha's  Departure"  (London, 
1900),  the  overture  the  same  year;  c. 
also  for  voices  and  orch.,  "  The  Blind 
Girl  of  Castel-Cuille,  (Leeds  Fest., 
1 901),  "Meg  Blane,"  (Sheffield  Fest., 
1902),  "The  Atonement,"  (Hereford 
Fest.,  1903),  "Kubla  Khan,"  (Han- 
del Society,  1906);  incid.  music  to 
Stephen  Phillips's  plays,  "Herod," 
"Ulysses,"  "Nero,"  and  "Faust," 
(1908);  concert  march,  "Ethiopia 
Saluting  the  Colors";  5  ballads  by 
Longfellow,  with  orch.,  (Norwich 
Fest.,  1905);  "A  Tale  of  Old  Japan," 
voices  and  orch.  (London,  i9i2),etc. 
He  died  Sept.  i,  191 2,  in  London. 

Colom'bi,  Giuseppe, Modena,  1635- 
1694;  conductor  and  comp. 

Colombini  (k6-l6m-be'-ne),  Ugo, 
b.  Milan,  1878;  tenor;  sang  at  Milan 
Royal  Theatre,  Madrid,  and  Imp. 
Operas  in  Russia;  1910-11,  Montreal. 

Colyns  (ko-lans),  Jean  Baptiste, 
Brussels,  Nov.  25,  1834  — Oct.  31, 
1902;  violinist  and  comp. 


DICTIONARY  OF  MUSICIANS       86] 


Com'fort,  Ambrose  H.,  d.  April 
26,  1905  at  Cape  Town,  age  42. 
Pianist  and  teacher. 

Conried  (kan'-red),  Heinrich,  Bie- 

litz,  Silesia,  Sept.  13,  1855— Meran, 
April  27,  1909;  impresario;  in  1873 
an  actor  at  the  Vienna  Burgtheater, 
came  to  New  York  1878;  founded 
German  company  from  1887  at  Irv- 
ing Place  Theatre;  1901,  succeeded 
Grau  as  manager  of  the  Metro- 
politan Opera  House,  where  in 
1903  he  made  the  first  production 
outside     Ba>Teuth     of     "Farsifal"; 

1905,  Franz  Leopold  decorated  him 
and  gave  him  the  privilege  of  the 
prefix  "von";  ill  health  forced  his 
retirement  in  1908. 

Conseil  (koh-sa),  Jean  De,  d. 
Paris,  1535;  composer,  and  1526 
singer  in  Papal  chapel. 

Con'solo,  Frederigo,  Ancona,  1841 
—  Florence,  Dec.  14,  1906  ;  violinist 
and  comp. 

Co'nus  (or  Conius  or  Konius),  (i) 
Qeorge  Edwardovich,  composer; 
b.  Moscow,  Dec.  i,  1862  ;  theorist; 
pupil  of  the  Cons.  ;  1891-9  teacher 
of  theory  there;  since  1902  prof,  at 
the  Opera  School;  c.  symph.  poem 
"From  the  Realm  of  Illusions,"  orch. 
suite,  "Child-Life,"  cantata,  etc. 
His  brother,  (2)  Julius,  b.  Moscow, 
1869;  gold  medallist  at  the  Cons,  and 
later  teacher  of  vioUn  there;  c.  violin 
concerto,  etc.  (3)  Leo,  pianist; 
pupil  at  the  Cons.;  later  founded  a 
school  of  his  own. 

Converse,  Frederick  Shepherd, 
b.  Newton,  Mass.,  Jan.  5,  1871; 
composer;  graduated  at  Harvard  Uni- 
versity and  studied  music  with 
Bahrmann  and  G.  W.  Chadwick; 
1896-8  with  Rheinberger,  then 
taught  theory  and  comp.  at  the  New 
England  Cons.;  c.  operas  "The  Pipe 
of  Desire"  (in  concert  form,  Boston, 

1906,  as  an  opera.  Met.  Op.,  N.  Y. 
1910,  Boston  Op.,  191 1);  symph. 
(1907);  overtures,  "Youth"  and 
" Euphrosyne" ;  orch.  romance,  "The 


Festival  of  Pan";  orch.  fantasie, 
"The  Mystic  Trumpeter";  symph. 
poem  "Ormazd,"  (Boston  Symph. 
Orch.,  191 2);  violin  concerto  and 
sonata,  etc. 

Conver'si,  Qirolamo,  b.  Correg- 
gio,  i6th  cent.;  c.  madrigals,  etc. 

Coquard,  Arthur,  add  that  his 
birth  date  is  May  26th;  c.  operas 
"Jahel"  (Lyons,  1900),  "La  troupe 
Jolicoeur"  (1902),  etc. 

Cornette  (kor-net),  Victor,  Amiens, 
1795  —  Paris  after  1850;  Mus.  Di- 
rector; pupil  Paris  Cons.;  cond.  and 
comp.  for  wind  instruments;  author  of 
many  methods. 

Coronaro  (i)  Antonio,  b.Vincenza, 
i860;  brother  of  Qaetano  C,  and 
comp.  of  operas;  his  son  was  (2) 
Arrigo,  Vincenza,  1880  —  October, 
1906;  c.  opera  Turiddu  (Turin,  1905). 

Corri=Paltoni,  Frances,  b.  Edin- 
burgh, 1801;  mezzo-soprano;  niece  of 
Domenico  R.  Corri;  toured  Europe 
till  after  1830. 

Cortellini  (kor-tel-le'-ne),  Camillo, 
called  "  II  violino"  from  his  skill; 
at  Bologna,  1583,  as  municipal  musi- 
cian and  comp. 

Cortesi  (kor-ta'-ze),  Francesco, 
Florence,  1830  —  Jan.  3,  1904;  con- 
ductor, composer  of  operas,  and 
teacher  of  voice; 

Cossoul  (kos'-sool),  Quilherme  An= 
tonio,  Lisbon,  April  22,  1828  — 
May  26,  1880;  'cellist  and  comp. 

Cotes  (ko'-tes),  Ambrosio  De, 
d.  Seville,  Sept.  9,  1603;  Spanish 
composer  and  cond. 

Cre'ser,  William,  b.  York,  Sept. 
9,  1844;  organist  and  composer; 
pupil  of  Macfarren;  1880,  Mus.  Doc. 
Oxford;  1881,  org.  at  the  Parish 
church,  Leeds;  conducted  perform- 
ances of  Bach;  1891-1902,  org.  Chapel 
Royal;  St.  James,  and  comp.  to 
Chapel  Royal :  married  Amelia  Clarke 
a  prominent  mezzo-soprano;  c.  orato- 
rio, {"Micaiah";  cantatas  " Eudora" 
(Leeds,  1882) ; "  The  Sacrifice  of  Freia" 
(Leeds,  1889),  etc. 


862 


THE  MUSICAL  GUIDE 


Crevel'li,  Domenico,  Brescia,  June  7, 
1793  —  London,  Feb.  11,  1857;  comp. 

Cro'mer,  (i)  Jose  Antonio,,  Lis- 
bon, March  11,  1826  — Sept.  28, 
1888;  flutist;  his  brother,  (2)  Raph= 
ael  Jose,  Lisbon,  March  26,  1828  — 
Cascaes,  Sept.  22,  1884;  clarinettist 
and  oboist. 

Cul'bertson,  Sasha,  b.  1893;  vio- 
linist ;  pupil  of  Suchorukoff;  at  9 
entered  Cons,  at  Rostoff;  in  1905 
pupil  of  Sevcik,  Prague;  debut,  Vienna 
1908;  toured  Europe  and  America. 

Culp  (koolp),  Julia,  b.  Amsterdam; 
mezzo-soprano;  well  kno\ATa  Lieder- 
singer;  pupil  of  Amsterdam  Cons, 
and  of  Etelka  Gerster;  has  toured 
Europe  with  great  success;  engaged, 
191 2,  to  tour  America. 

Culwick  (kul'-lik),  James,  C,  West 
Bromwich,  April  28,  1845  —  Dublin, 
Oct.  s,  1907;  organist,  theorist  and 
comp.  Prof.  Alexandria  College,  Dub- 
lin; cond.  Dublin  Philharmonic  Soc, 
etc.  1903,  Mus.  Doc.  Univ.  of 
Dublin. 

Cupis  (kii-pe),  (i)  (Frangois  de 
Camargo),  Brussels,  1719  —  Paris, 
1764;  violinist  and  comp.  His  son, 
(2)  Jean  Baptiste,  Paris  ca. 
1 741  —  ca.   1794;  'cellist  and  comp. 

Cur'ry,  Arthur  Mansfield,  b. 
Chelsea,  Mass.,  Jan.  27,  1866;  violin 
pupil  of  Franz  Kneisel,  and  of  Mac- 
Donald  in  harmony;  teacher  and 
cond.  in  Boston;  c.  overture  " Blomi- 
don"  (Worcester,  Mass.,  Fest. 
1902);  symph.  poem 'Mia/a"  (Boston 
Symph.,  1911);  "The  Winning  of 
Amarac";  Keltic  legend  for  a  reader, 
chorus  and  orch. 

Cursch  =  Buhren  (koorsh-bii'-ren), 
Franz  Theodor,  Troppau,  Jan. 
10,  1859  —  Leipzig,  March  11,  1908; 
cond.,  editor  and  comp.  of  Sing- 
spiele,  including  " E-ffiol-As,"  a  satire 
on  R.  Strauss's  "Salome" 

Cut'ter,  Benjamin,  Woburn,  Mass., 
Sept.  6, 1857 — Jamaica  Plains,  Mass., 
May  10,  1910;  composer;  violin  pupil 
of  Eichberg  in  Boston,  1877;    1881  of 


Singer  in  Stuttgart,  studied  harmony 
with  Emery,  Goetschius  and  Seifriz; 
member  of  Boston  Symph. Orch.  many 
years,  c.  important  mass  in  D;  trio 
for  piano,  violin  and  'cello,  etc. 

Czapek  (cha'-pek),  (i)  Joseph,  b. 
Prague,  March  9,  1825;  organist  and 
director;  pupil  of  the  Cons.;  c.  sym- 
phonies, masses,  etc.  (2)  pen-name 
under  which  J.  L.  Hatton  c.  many 
songs. 

Czernohorsky  ( cher-n6-h6r'-shki ), 
Bohuslav,  Nimburg,  Bohemia, 
Feb.  26,1684  —  Graz,  July  2,  1740. 
Franciscan  monk,  organist  and  comp. 


Daff'ner,  Hugo,  b.  Munich,  May 
2,  1882;  author  and  comp.;  pupil  of 
Thuille,  Schmid-Lindner  and  Max 
Reger;  1904,  Ph.D.;  c.  symph., 
sonatas,  etc. 

Dahl  (dal),  Balduin,  b.  Copen- 
hagen, Dec.  6,  1834;  dir.  of  TivoH 
concerts  at  Copenhagen,  and  comp.  of 
dance-music. 

Dalcroze  (dal-kroz),  EmileJaques, 
b.  Vienna,  July  6,  1865,  of  Swiss 
parentage;  important  Swiss  com- 
poser; pupil  of  Fuchs,  Bruchner 
and  DeHbes;  teacher,  lecturer  and 
critic  at  Geneva  Cons.;  c.  lyric  come- 
dies "Janie"  (Geneva,  1,893),  and 
Sancho  Panza  (1897);  Podnie  Alpestre 
for  voices  and  orch.  (1896,  London, 
1897);  a  violin  concerto  of  great  orig- 
inality played  by  Marteau  on  his 
tours,  and  Swiss  songs  of  great  popu- 
larity and  national  feeling. 

Dale,  Benjamin  James,  b.  Crouch 
Hill,  London,  July  17,  1885;  organ- 
ist; pupil  of  R.  A.  M.;  c.  symph., 
2  overtures,  successful  piano  sonata 
in  D  Minor,  etc. 

Dalmores,  (dal-mo'-res),  Charles, 
b.  Nancy,  France,  Jan.  i,  1872; 
tenor;  pupil  Paris  and  Lyons  Cons.; 
sang  in  France;  1896,  at  Manhattan 
Opera,  N.  Y.;  since  then  at  Metro- 
politan, N.  Y. 


DICTIONARY  OF  MUSICIANS      863 


Da'tnon    (or    Daman),   William, 

ca.  1540  —  ca.  1592;  musician  to 
Queen  Elizabeth;  c.  psalm  tunes,  etc. 

Da  Mot'ta,  Jose  Vianna,  b.  Isle 
St.  Thomas,  Africa,  1868;  Portuguese 
pianist;  studied  at  Lisbon;  debut  there 
1 88 1,  then  studied  Scharwenka  Cons., 
with  Liszt  and  Von  Biilow;  toured 
widely;  c.  symph.  "Ati  das  Vater- 
land,"  5  Portuguese  rhapsodies  on 
native  melodies,  etc.;  also  critic  and 
author. 

Damse  (dam'-s6),  Joseph,  Soko- 
lov,  Galicia,  Jan.  23,  1788  —  Rudno, 
near  Warsaw,  Dec.  15,  1852;  clari- 
nettist; c.  operas,  masses,  and  popu- 
lar Polish  songs  and  dances. 

d'Andrieu  or  Dandrieu,  vide  An= 
drieu. 

Dannstrom  (dan'-stram),  Isidor, 
Stockholm,  Dec.  15,  1812  —  Oct.  17, 
1897;  barytone  in  opera,  teacher  and 
comp. 

Davaux  (da-vo),  Jean  Baptiste, 
C6te-St-Andre,  1737  —  Paris,  Feb. 
22,  1822;  c.  many  symphonies,  cham- 
ber music,  etc. 

Da'vey,  Henry,  b.  Brighton,  Nov. 
29,  1853;  historian  and  writer  on 
musical  topics. 

Dautresme  (do-trgm),  Lucien,  El- 
beuf,  Normandy,  May  21,  1826  — 
Paris,  Feb.,  1892;  senator;  c.  2  operas, 
etc. 

Da'vis,  John  David,  b.  Edgbaston, 
Oct.  22,  1869;  pupil  Raff  Cons.,  and 
Brussels  Cons.;  since  1889,  teacher  at 
Birmingham;  c.  opera  "  The  Cossacks" 
(Antwerp,  1903),  also  symph.  varia- 
tions, (London,  1905),  symph.  bal- 
lade "The  Cenci";  symph.  poem 
"The  Maid  of  Astolat";  chamber 
music;  prize  "Coronation  March" 
(1902),  etc. 

Daw'son,  Frederick  H.,  b.  Leeds, 
July  16,  1868;  pianist,  pupil  of  his 
father,  a  pianist,  and  of  Halle. 

Day,  (i)  John,,  March  7, 1830  —  Pim- 
lico,  Nov.  4,  1905;  organist  and  for  53 
years  violinist  in  Queen  Victoria's 
private  band.     (2)   Charles   Rus= 


sell,     Horstead,     Norfolk,     i860—  1 

killed  Feb.  1 8,  ^900,  in  the  battle  of  j 

Paardeberg;  major  in  British  army 
and  writer  of  books  on  musical  instru- 
ments. 

Dayas,  W.  H.,  correct  birth  date, 
1863;  d.  Manchester,  England,  May  j 

3,  1903-  j 

De  Amicis  (da  a-me'-ches),  (i)  Anna  ] 

Lucia,    b.   Naples,   c.   1740  —  d.  j 

after  1789;  sang  in  London,  1763-  I 

1 771;   in   1773   created   the   r61e  of  I 

Giunia  in  Mozart's  Lucia  Silla;  m. 
Buonsollazzi,  secretary  of  King  of 
Naples;  (2)  Domenico,  brother  or 
husband  of  (i),  sang  with  her  in  Lon-  ^ 

don  in  1763. 

Debefve   (du-buv'),  Jules,  b.  Liege  ' 

Jan.  16,  1863;  pianist;  pupil  and  later 
teacher  at  the  Cons.;  c.  opera,  rhap- 
sody for  orch.,  etc. 

DeBoeck  (dg-book),  Auguste,  b. 
Merckem,  Belgium,  May  9,  1865; 
organist,  son  of  an  organist;  pupil  of 
Brussels  Cons.,  later  a  teacher  there; 
c.  symph.,  Rhapsodie  Dahomienne  for 
orch.,  organ  music,  etc.  { 

Debussy,  A.  C,  add  that  the  correct  | 

birth  date  is  St.  Germain,  Paris,  Aug.  1 

22,  1862;  he  re-wrote  his  cantata 
" L' Enfant  Prodigue"  for  the  Sheffield  j 

Fest.,    1908;   his   opera   "Felleas   et  , 

Melisande"  has  been  widely  played,  j 

1907,  Berlin,  1909,  New  York,  etc.;  c.  j 

also  incid.  mus.  to  "Dionysos" 
(Orange,  1904);  operas  "Chiniine," 
"Tristan  and  Isolde,"  "As  Ymi  Like  ', 

It,"  3  nocturnes  for  women's  voices  ; 

and  orch.,  "Nuages,  Fetes,  Sirenes"; 
a  series  of  three  "Images"  for  orch., 
I,  "Gigue  triste"  _(NS),  II,  "Ronde  des 
Printemps"  (Paris,  1910,  N.  Y.  Phil., 
1910,  Boston  Symph.,  1910),  III, 
"Iberia"  (Paris  Colonne  orch.,  1910, 
N.  Y.,  Phil.,  1911,  Boston  Symph., 
1911),  etc. 

Deck'er  =  Schenk,  Johann,  b. 
Vienna,  1826;  singer,  guitar-virtuoso, 
and  director  of  operas  in  St.  Peters-  j 

burg;  c.  for  guitar,  balalaika,  etc. 

Degner    (dekh'-ner),    Erich    Wolf, 


864 


THE  MUSICAL  GUIDE 


near  Chemnitz,  April  8,  1858  — 
Weimar,  Nov.  18,  1908;  organist, 
theorist  and  teacher;  c.  symph.,  choral 
work  "Martha  and  the  Mother"; 
overture,  etc. 

Degtarev,  (dekh'-ta-rgv),  Stepoan 
Ankiewitsch,  1766-1813;  Rus- 
sian director  in  St.  Petersburg  and 
Italy;  c.  60  concertos,  and  church 
choral  music. 

Deichmann  (dikh'-man),  Carl,  d. 
July  5,  1908,  age  81.  For  60  years 
well  kno\\Ti  violinist  in  England. 

Del'ius,  Frederick,  b.  Bradford, 
England,  1863,  of  German  parentage; 
important  composer,  largely  self- 
taught;  from  1883  on  an  orange 
plantation  in  Florida;  later  studied 
at  Leipzig  Cons,  with  Jadassohn  and 
Reinecke;  from  1890  lives  in  France; 
1897  his  incid  music  to  Norwegian 
plan  "Folkcraadet"  with  burlesque 
of  national  anthem  led  a  spectator  to 
fire  several  shots  at  the  composer;  c. 
operas  "Koanga,"  based  on  G.  W. 
Cables  ''The  Grandissimes"  (Elber- 
feld  1904);  "Romeo  iind  Julia  aiif 
dem  Dorfe"  (Berhn  1907;  London 
Covent  Garden  1910);  i-act.  "Margot 
la  Rouge";  5  symph.  poems  "Life's 
Dance"  (1898),  "Paris"  (1899),  "Ap- 
palachia"  (1903,  London  1907), 
"Brigg  Fair"  (London  1908)  "In  a 
Summer  Garden"  (London  1908);  for 
soli,  chor  and  orch.  "A  Mass  of  Life" 
(London  1909),  "Sea  Drift"  based  on 
Walt  Whitman,  for  barj^tone,  chor. 
and  orch.  (1904),  songs,  etc. 

Del'ler,  Florian,  Wurttemberg,  ca. 
1730  —  Munich,  1774;  court  comp. 
of  ballets,  etc. 

Delmas  (del-mas),  Jean  Fr.,  b. 
Lyons,  France,  April  14,  1861;  bass; 
pupil  Paris  Cons.;  1886,  joined  the 
Opera  where  he  created  many  r61es 
with  great  success. 

Delune  (du-liin),  Louis,  b.  Char- 
leroi,  March  15,  1876;  Belgian  cond. 
and  pupil  at  Brussels  Cons.,  winning 
prize,  1900,  and  Prix  de  Rome,  1903; 
c.  sonatas  and  songs. 


Demar  (da'-miir),  Josef  Seb., 
Gauafschach,  Bavaria,  June  29, 
1763  —  Orleans,  1832  ;  org.  and 
comp. 

Dercks,  Emil,  b.  Donnerau,  Silesia, 
Oct.    17,    1849;   organist  and  comp. 

Dereyne,  (de-ren'),  Fely,  b.  Mar- 
seilles, May  12,  1883;  pupil  of  Blasini; 
debut,  Marseilles,  1903,  sang  then  at 
Nice,  Vichy,  etc.;  1907  sang  at  Bos- 
ton Opera;  1908-9,  Covent  Garden, 
also  at  Met.  Op.,  N.  Y.,  has  sung  at 
Lisbon,  Buenos  Ayres,  and  191 1 
again  in  Boston. 

Deruyts  (de-roits'),  Jean  Jacques, 
Liege,  1790 — April  11,  187 1  ;  teacher 
of  Cesar  Franck;    c.  church  music. 

Deslandres  (de-lan'-dru),  Adolphe 
Eduard     Marie,,    b.    Paris,    Jan. 

22,  1840  ;  organist  ;  pupil  Paris 
Cons.;  organist  at  St.  Marie  at  Bat- 
ignolles,  where  his  father  was  direc- 
tor; c.  operettas  and  church  music. 

Dessoir  (des-swar),  Susanne  (nee 
Triepel),  b.  Griinberg,  Silesia,  July 

23,  1869;  pianist  at  first,  then  pupil  of 
Amalie  Joachim;  singer  of  Lieder; 
married,  1899,  Dr.  Max  Dessoir 
(b.  BerUn,  Feb.  8,  1867),  author  of 
works  on  musical  aesthetics. 

Destinn,  Emmy,  add  that  her  real 
name  was  Kittl  —  she  chose  "Des- 
tinn" in  honour  of  her  teacher;  she 
sang  at  Bayreuth,  1891;  from  1908 
she  has  had  great  success  at  the  Met. 
Op.,  N.  Y.,  also  at  Covent  Garden 
and  Berhn  Royal  Op.,  she  created  the 
role  of  "Minnie"  in  Puccini's  "Fan- 
ciidla  del  West. " 

Dib'bern,  Karl,  b.  Altona,  June  17, 
185s;  conductor,  later  regisseur  at 
the  Amsterdam  Opera;  c.  librettos 
and  music  of  operas  and  operettas. 

Dieckmann     (dek'-man),      Ernst, 

b.  Stade,  July  17,  1861;  organist; 
pupil  of  Haupt  and  Loschom;  since 
1900   cathedral   organist  in  Verden; 

c.  choral  works  and  songs. 
Diepenbrock,     (de'-pgn-brok),    A. 

J.  M.,  b.  Amsterdam,  Sept.  2,1862; 
teacher  and  comp.  of  church  music. 


DICTIONARY  OF  MUSICIANS      865 


Dima  (de'-ma),  George,  b.  Cron- 
stadt,  Oct.  10, 1847;  teacher  and  cond. 
of  Roumanian  societies  there;  c. 
songs,  etc. 

Dip'pel,  Andreas,  after  many  years 
of  success  as  tenor,  became  im- 
presario; associated  with  Gatti- 
Casazza  in  management  of  Metro- 
politan Opera  House,  New  York, 
1908;  since  then  directed  opera  sea- 
sons in  Chicago  and  Philadelphia. 

Dixon,  George,  Norwich,  June 
5,  1820  —  Finchley,  June  8,  1887; 
organist,  c.  of  church  music. 

Dohrn  (dorn),  Georg,  b.  Bahren- 
dorf,  near  Magdeburg,  May  23, 1867; 
cond.;  at  first  lawyer,  then  pupil 
Cologne  Cons.,  since  1901  at  Breslau 
as  cond.  and  director  of  the  Sing- 
akademie. 

Domanievski  (do-man-yef'-shki), 
Boleslaus,  b.  Gronowek,  Poland, 
1859;  famous  Polish  piano  teacher; 
pupil  of  Jos.  Wieniawski  and  Rubin- 
stein; 1 890-1 900,  prof,  at  Cracow 
Cons.,  since,  director  Warsaw  Music 
School;  author  of  piano  methods. 

Domnich  (dom'-nikh),  (i)  Hein=- 
rich,  Wiirzburg,  May  13,  1767  — 
Paris,  June  19,  1844;  horn  virtuoso; 
first  teacher  of  the  horn  at  Paris  Cons. , 
1795;  author  of  methods.  His  brothers 
also  played  the  horn.  (2)  Jakob,  b. 
1758,  went  to  America.  (3)  Arnold, 
Wurzburg,   1771  —  Neiningen,  1834. 

Donaudy  (do-na'-oo-de),  Stefano, 
b.  Palermo,  Feb.  21,  1879;  c.  operas 
Folchetto  (Palermo,  1892);  Theodor 
Korner  (Hamburg,  1902),  and  Sper- 
duti  nel  Biiio  (Palermo,  1907). 

Doret  (do-ra),  Gustave,  b.  Aigle. 
France,  1866;  studied  violin  with 
Joachim  and  Marsick,  and  composi- 
tion at  Paris  Cons.;  lives  at  Paris  as 
cond.;  c.  operas  Les  Armailles  (Op. 
Com.,  1906),  and  Le  nain  de  Hassli, 
(Geneva,  1908),  oratorio,  etc. 

Drago'ni,  Giovanni  Andrea,  Men- 
dola,  ca.  1540  —  Rome,  1598;  com- 
poser; pupil  of  Palestrina;  cond.  at 
the  Lateran. 


Drese,  (dra'-ze),  Adam,  Thiiringen, 
Dec.  1620  —  Arnstadt,  Feb.  15,  1701; 
director  and  comp. 

Dreyer  (dri'-er),  Alexis  De,  b.  Rus- 
sia, 1857;  c.  piano  pieces. 

Drozdovski     (drosh-dof'-shki),    Jan, 

b.  Cracow,  Feb.  2, 1858;  piano  teacher, 
pupil  Vienna  Cons.;  since  1889,  prof, 
at  Cracow  Cons.;  author  of  methods. 

Druffel  (droof'-fel),  Peter,  b. 
Wiedenbriick,  Oct.  8,  1848;  composer 
of  old  German  Liederspiel  "Der 
Erloser,"  etc. 

Drys'dale,  F.  Learmont,  Edin- 
burgh, 1866 — June  18,1909;  pupil 
of  R.  A.  M.,  won  Lucas  prize, 
1890;  c.  prize  overture,  "Tam  0' 
Shanter";  ''The  Plague,"  a  mystic 
play  (1896,  Edinburgh);  ''The  Red 
Spider"  (Dundee,  1898),  and  light 
operas. 

Ducasse  (dii-kas),  Roger,  pupil 
Paris  Cons.,  with  Gabriel  Faure, 
winning  Prix  de  Rome,  1902;  from 
1909  inspector  in  elementarj^  schools; 

c.  suite  jranqaise  for  orch.  (Colonne 
concerts,  1909,  twice.  Boston  Symph., 
1910);  "Variations  plaisantes  sur  un 
theme  grave"  for  harp  and  orch.  (Col- 
onne concerts,  1909),  piano  pieces, 
etc. 

Dukas  (du-kas),  Paul,  b.  Paris,  Oct. 
I,  1865;  one  of  the  most  original  of 
French  composers;  pupil  at  the  Cons, 
of  Dubois,  Mathias  and  Guiraud;  won 
prize  in  counterpoint,  1888,  second 
Prix  de  Rome  with  cantata  "  Velleda"; 
spent  a  year  in  Rome,  then  a  year  of 
military  service;  his  overture  "Poly- 
eiide"  was  played  by  Lamoureux  in 
1892;  his  symphony,  1896,  and  else- 
where; 1897  "L'Apprenti  Sorcier  "; 
1900,  piano  sonata;  1906,  Villanelle 
for  horn  and  piano;  1907,  his  opera 
"  Ariane  et  Barbe  Blene"  made  a  great 
stir  and  was  played  in  Vienna,  1908, 
Met.  Op.,  N.  Y.,  191 2,  etc.  He  is 
prof,  of  instrumentation  at  the  Cons, 
and  a  critic;  has  edited  texts  of  Ram- 
eau,  and  c.  for  piano  "  Variations, 
Interlude  et  Final,"  on  a  theme  of 


866 


THE  MUSICAL  GUIDE 


Rameau's  igo2;  Prelude  elegiaque  on 
the  name  of  Haydn,  1909;  also  a 
ballet  La  Peri  dance-poem  in  one  act 
(Paris  1911). 

Dulichius  (do-likli'-i-oos)  also 
(Deulich  or  Deilich)  Philip, 
Chemnitz  (christened  Dec.  19),  1562 
—  March  25,  1631 ;  teacher  and  comp. 

Dumont  (dii-mon),  Henri,  Villers, 
near  Liege,  1610  —  Paris,  May  8, 
1684;  organist  and  comp. 

Dunc'an,  William  Edmond=- 
stoune,  b.  Sale,  Cheshire,  1866; 
organist;  at  16  an  associate  of  the 
Royal  College  of  Organists;  1883, 
obtained  scholarship  at  R.  C.  M., 
pupil  of  Parry,  Stanford  and  Mac- 
farren;  critic  for  some  years,  then 
prof,  at  Oldham  College;  c.  successful 
odes  with  orch.,  notably  "  Ye  Mar- 
iners of  England"  (1890),  etc. 

Dunham,  Henry  Morton,  b. 
Brockton,  Mass.,  July  27,  1853; 
graduated  New  England  Cons.,  as 
pupil  of  G.  E.  Whiting,  (organ),  J. 
C.  D.  Parker  (Piano),  Emery  and 
Paine  (theory);  held  various  church 
positions  till  191 1,  and  gave  organ 
recitals  on  the  Great  Organ  at 
Boston,  at  St.  Louis  Exposition,  etc.; 
prof,  of  organ  at  N.  E.  Cons.;  author 
of  an  organ  method;  c.  symph.,  poem 
"Easter  Morning,"  a  book  of  organ 
studies,  Meditation  for  organ,  harp 
and  violin;  3  organ  sonatas,  etc. 

Dunkl  (doonk'-'l),  Joh.  Nepomuk, 
b.  Budapest,  1832;  pianist;  pupil  of 
Liszt  and  Rubinstein. 

Dunkler  (doonk'-ler),  Frangois, 
Namur,  1816  —  Hague,  1878;  mili- 
tary director. 

Duparc  (dii-par),  (Fouques  Du= 
pare),  Henri,  b.  Paris,  Jan.  21, 
1848;  pupil  of  Cesar  Franck;  soldier 
in  war  of  1870-71;  ill  health  led  to  a 
life  of  seclusion  to  C6sar  Franck's 
great  regret;  c.  symph.  poem  Lenore, 
an  orch.  suite  rehearsed  in  1873,  but 
found  impossible;  other  pieces  de- 
stroyed and  many  songs  of  the  high- 
est importance. 


Dupuis  (dii-pwe),  (i)  Thomas 
Sanders,  London,  Nov.  5,  1733 — 
July  17,  1796;  comp.  and  organist  of 
Chapel  Royal  London;  of  French 
parentage,  but  lived  in  London,  and  is 
buried  in  Westminster  Abbey.  (2) 
Albert,  b.  Verviers,  France,  1875; 
prod,  opera  L'Idylle,  (Verviers, 
1896);  Bilitis  (Verviers,  1899);  won 
Prix  de  Rome  at  Brussels  with  opera 
Hans  Michel,  igoy,  c.  cantata,  etc. 


Eaton,  Louis  H.,  b.  Taunton,  Mass. 
May  9,  1861;  organist;  pupil  of  Guil- 
mant;  from  1901,  org.  at  San  Fran- 
cisco. 

Ebert  (a'-bert),  Ludwig,  b.  Kla- 
drau,  Bohemia,  April  13,  1834;  'cel- 
list; pupil  Prague  Cons.;  1854-74, 
first  'ceUist  at  Oldenburg;  1875-88, 
teacher  at  Cologne  Cons.;  1889, 
foimded  Cons,  at  Koblenz;  c.  'cello 
pieces. 

Ebner  (ap'-ner),  Wolfgang,  Augs- 
burg, ca.  1610 — Vienna,  Feb.,  1665; 
organist  and  comp. 

Eck'ardt  Johann  Gottfried,  Augs- 
burg, 1735 — Paris,  Aug.,  1809;  comp. 

Edelmann  (a'-ddl-man)  Joh.  Fr., 
Strassburg,  May  6,  1 749  —  Paris, 
July  17,  1794;  c.  opera,  ballets,  etc. 

Edwards,  (i)  Henry  Sutherland, 
b.  London,  Sept.  5,  1829;  writer; 
historian  and  critic  for  many  years 
of  the  St.  James  Gazette;  (2) 
Frederick  George,  London,  Nov. 
II,  1853  —  Nov.  28,  1909;  organist; 
ed.  "Musical  Times."  (3)  Henry 
John,  b.  Barnstaple,  Feb.  24, 1854; 
son  and  pupil  of  an  organist,  then 
pupU  of  Bennett,  Macfarren;  1885, 
Mus.  Doc.  Oxford;  c.  oratorios,  etc. 

Egidi  (a'-khe-de),  Arthur,  b.  BerUn, 
Aug.  9,  1859;  organist;  pupU  of  Kiel 
and  Taubert;  teacher  at  the  Hoch 
Cons.,  Frankfort-on-Main;  since 
then  org.  at  Apostel  Paulus  Church, 
Berlin,  and  Royal  Prof.;  c.  overture, 
etc. 


DICTIONARY  OF  MUSICIANS      867 


Eichner  (ikh'-nSr),  Ernest,  Mann- 
heim, 1740  —  Potsdam,  i777;  c. 
important  symphonies,  concertos,  etc. 

Eijken  (i'-ken)  (or  Eyken),  van  ( i ) 
Jan  Albert,  Amersfoort,  Holland, 
April  25,  1822  — Elberfeld,  Sept.  24, 
1 868 ;  organist  and  comp. ;  his  broth- 
er, (2)  Gerhard  Isaak,  b.  May 
5,  1832;  organist  and  teacher  in 
Utrecht;  (3)  Heinrich,  Elberfeld, 
July  19,  1 86 1  — Berlin,  Aug._  28, 
1908;  son  of  Jan.;  pupil  of  Leipzig 
Cons.;  teacher  of  theory;  c.  songs 
with  orch. 

Eijkens  (i'-kens),  Daniel  Simon 
Antwerp,  Oct.  13,  1812  — Oct.  9, 
1891;  composer. 

Eisler  vide  Eysler. 

El'gar,  Sir  Edward,  add  that  as 
part  of  his  early  training  he  was 
bandmaster  1879-1884  at  the  Coun- 
ty Lunatic  Asylum  with  attendants 
as  musicians;  he  retired  to  Malvern  in 
1 89 1  discouraged  with  his  prospects 
in  London;  hved  as  teacher  and  oc- 
casionally cond.  His  "King  OlaJ  " 
(1896)  brought  his  first  real  success, 
which  his  orch.  variations,  (1899), 
increased  and  the  "Dream  of  Geron- 
tius,"  (1900)  established;  Cambridge 
made  him  Mus.  Doc.  that  year; 
Strauss  cond.  "Gerontius"  in  Ger- 
many, 1902;  1904  an  Elgar  Festival 
was  given  for  3  days  at  Covent 
Garden,  and  the  same  year  he  was 
knighted.  He  c.  Imperial  March, 
2  military  marches,  called  "Pomp  atid 
Circumstance,"  "Sea  Pictures,"  con- 
tralto and  orch.;  Coronation  Ode 
(1902),  "The  Apostles"  (Birming- 
ham Fest.,  T903);  Symphony  No.  2 
in  E  flat  "  To  the  Memory  of  Edward 
VII,"  (London  Mus.  Fest.,  191 1, 
and  the  same  year  by  Cincinnati 
Symph.,  N.  Y.  Phil.,  Boston  Symph., 
etc.). 

El'lenson,  Hans,  b.  Stuttgart;  tenor; 
a  chimney  sweep  in  Stuttgart  be- 
friended by  Karl  Muck;  pupil  of 
LiUi  Lehmann,  Vogel  and  Schwarz; 
debut   1906   at  Erfurt;   engaged  as 


leading  tenor  at  Vienna  Royal  Opera; 
renewed  for  1911-16. 
El'licott,    Rosalind    Frances,    b. 

Cambridge,  Nov.  14,  1857;  daugh- 
ter of  the  Bishop  of  Gloucester  and 
Bristol;  studied  at  R.  A.  M.,  and  with 
T.  Wingham;  c.  "Dramatic  Overture," 
(Gloucester  Fest.,  1886),  concert 
overture  (London,  1886);  cantata 
"Elysium"  (Gloucester  Fest.,  1889); 
also  chamber  music  and  songs. 

El 'man,  Mischa,  b.  Stalnoje,  Rus- 
sia, Jan.  20,  1892  (some  say  Jan.  21, 
1 891);  violinist;  played  at  5  in  public; 
studied  16  months  at  Odessa  with 
Fidehnann,  1903  invited  by  Auer  to 
become  his  pupil;  debut  at  St.  Pe- 
tersburg, 1904,  and  greeted  as  a 
great  artist  though  only  12;  toured 
widely;  1908,  America;  1911-12  toured 
America  for  third  time,  playing  12 
times  with  Boston  Symph.  Orch.;  c. 
songs,  etc, 

El'wes,  Qervase  Cary,  b.  North- 
ampton, Nov.  15, 1866;  tenor;  studied 
Vienna,  Paris,  etc.;  at  first  in  diplo- 
matic life;  professional  debut,  1903; 
has  sung  in  Europe  and  America; 
excels  in  Brahms  songs. 

Endler   (ent'-ler),  Wm.  Gottfried, 

(also  Endele  (in) ),  Bayreuth,  May  21, 
1 72 2-1 793;  composer. 

Enesco  ( a-nes'-koo),  Georges, 
b.  Cordaremi,  Roumania,  Aug.  7, 
1 881;  violinist;  at  4  played  and 
composed,  at  7  was  admitted  to 
Vienna  Cons.,  by  Helhnesberger,  in 
whose  family  he  lived;  at  11,  took 
first  prizes  for  violin  and  harmony; 
1896,  studied  in  Paris  Cons,  with 
Marsick  and  Faure;  in  1897,  he  took 
second  accessit  for  counterpoint  and 
fugue,  and  a  concert  of  his  works  was 
given  in  Paris,  including  a  violin 
sonata,  a  piano  suite,  quintet,  'cello 
pieces  and  songs;  1898,  Colonne  prod, 
his  "Poeme  Roumain"  for  orch.;  1899, 
he  took  first  viohn  prize  at  the  Cons.; 
toured  and  became  court  vjolinist  to 
the  Roumanian  Queen;  c.  symph. 
(Colonne  orch., 1906;  N.  Y.  Phil.,1911) 


868 


THE  MUSICAL  GUIDE 


2nd  symph.  in  E  flat,  op.  13  (Berlin 
19 1 2)  Pastoral  fantasie  for  orch.  (Col- 
onne  orch.,  1899);  Dixtuor,  or  sym- 
phony for  wind  instrs.,do.  for  'cello 
and  orch.  (Lamoureux  orch.,  1909); 
for  suite  orch.  (Boston  Symph.,  19.11); 
3  Rhapsodies  Roumaines,  (191 1),  etc. 

Engelsberg,  E.  S.,  (pen-name  of 
Dr.  Ed.  Schon),  Engelsberg,  Silesia, 
Jan.  23,  1825 — Mahren,  May  27, 
1879;  councillor  of  the  ministry,  Dr. 
Schon  published  many  humorous 
male  quartets  under  the  pen-name; 
he  was  a  pupil  in  theory  of  Storch; 
he  c.  also  orchestral  works. 

Erlebach  (er'-le-bakh).  Ph.  H., 
Essen,  July  25,  1657  —  Rudolstadt, 
April  17,  1814;  court-cond.;  c.  over- 
tiu-es,  etc. 

Ernst,  Henry  Wilhelm,  Briinn, 
Moravia,  May  6,  1814  —  Nice,  Oct. 
8,  1867;  violinist;  pupil  Vienna  Cons, 
and  with  Bohm  and  Mayseder;  fol- 
lowed Paganini  about  to  learn  his 
methods;  1832-38  hved  at  Paris; 
1838-44  toured  Europe  with  greatest 
success;  c.  violin-concerto,  etc. 

Er'tel,  Jean  Paul,  b.  Posen,  Jan. 
22,  1865;  critic  and  composer;  pupil 
of  Tauwitz,  Brassin  and  Liszt;  self- 
taught  in  instrumentation;  teacher 
at  Brandenburg  Cons. ;  1897-1905,  ed- 
ited the  "  Deutsche  Musike  r  Zeltimg  "; 
c.  symphony  "Harald  ";  symph. 
poems  "Maria  Stuart,"  "  Der 
Meiisch,"  "Belsazar,"  "Hero  und 
Leander"  (1909);  a  double  fugue  for 
orchestra  and  organ,  etc. 

Espo'sito,  Michele,  b.  Castellam- 
mare,  near  Naples,  Sept.  29,  1855; 
pianist;  pupil  of  Naples  Cons.,  under 
Cesi;  1878-82,  at  Paris;  from  1882, 
piano-prof..  Royal  Irish  Acad,  of 
Music,  Dublin;  1899  organized  and 
cond.  an  orchestra  in  Dublin;  c.  can- 
ta.ta.  " Deirdre"  winning  Feis  CeoU 
prize  (1897);  operetta,  "The  Post- 
bag,"  "Irish"  symph.  (Feis  Ceoil 
prize,  1902).  etc. 

Eulambio,  (a-oo-lam'-bi-o)  Michele 
A. ;   young  Italian  composer,  pupil 


Leipzig  Cons,  where  he  c.  a  piano 
concerto;  his  2-act  opera  Ninon  von 
Lenclos  was  prod,  with  success  at 
Leipzig  City  Opera,  April  27,  1912. 

Expert  (ex-par),  Henri,  b.  Bordeaux, 
May  12,  1863;  pupil  of  Cesar  Franck 
and  Gigout;  authority  on  1 5-1 6th 
century  music  and  editor  of  many 
important  texts;  from  1909  Ubrarian 
Paris  Cons.,  succeeding  Weckerlin. 

Eysler  (Is'-ler),  or  Eisler,  Edmund, 
b.  Vienna,  Mar.  12,  1874;  c.  operettas 
"The  Feast  of  Lucullus"  (Vienna 
1 901),  and  "Brother  Straubinger" 
(1903),   "Vera  Violetta,"   1907,  etc. 


Fahrmann  (far'-m2,n)  Ernst  Hans, 
b.  Beicha,  Dec.  17,  i860;  organist; 
1892,  teacher  at  Dresden  Cons.;  c. 
organ  sonatas,  etc. 

Falchi  (fal'-ke),  Stanislaus,  b. 
Terni,  1855;  composer  of  operas;  "II 
trillo  del  diavolo"  (Rome,   1899),  etc. 

Falkenberg  (fal-kan-bar),  Georges, 
b.  Paris,  Sept.  20,  1854 ;  composer; 
teacher  of  piano. 

Fall,  Leo,  composer  of  light  operas; 
"Irrlicht"  (Mannheim,  1905),  "Der 
Rebell"  (Vienna,  1905),  "Der  fidele 
Bauer"  (Mannheim,  1907),  "Die 
•Dollar  Princessin,"  (Vienna,  1907, 
London  and  America  as  "  The  Dollar 
Princess"),  etc. 

Fal'ler,  Nikola  Von,  b.  Iwano- 
wetz,  Croatia,  April  22,  1862;  pupil 
of  Bruckner  in  Vienna,  Massenet  and 
DeUbes  in  Paris;  since  1887  at  Agram 
as  teacher  in  the  Cons.;  opera  direc- 
tor and  comp. 

Fanel'li  —  b.  1861  ;  studied  Paris 
Cons. ;  viohnist ;  played  in  cafes, 
dance  halls,  acted  as  music  cop3ast  and 
to  obtain  such  work  in  191 2  showed  his 
symphony  "Tableaux  Symphoniques, " 
written  in  1883;  had  its  first  prod. 
March  16, 191 2,  by  the  Colonne  orch., 
received  with  greatest  approval.  It 
is  based  on  Th.  Gautier's  "Romance 
of  a  Mummy." 


DICTIONARY  OF  MUSICIANS       869 


Farina  (fa-re'-na),  Carlo,  b.  Man- 
tua; one  of  the  earliest  of  violin 
virtuosos;  1625  court  chamber  musi- 
cian at  Vienna;  c.  viohn  pieces. 

Far'jeon,  Harry,  b.  Hohokus,  N.  J., 
May  6,  1878;  composer;  of  English 
parentage,  and  taken  to  England  in 
infancy ;  pupil  of  Landon  Ronald, 
Storer,  and  1895-1901,  R.  A.  M.; 
prod,  operetta  " FlorcUa,"  1899;  from 
1903,  prof,  of  theory  at  the  R.  A.  M.; 
c.  piano  concerto,  orch.  suite  "Hans 
A>idersen";  symph.  poems,  "Mow- 
gli,"  and  "Summer  Vision";  cham- 
ber music,  songs,  etc. 

Farmer,  (i)  John,  important  En- 
ghsh  composer  of  madrigals;  author 
of  a  treatise  pub.  1591,  and  madrigals, 
1599-1602.  (2)  Thomas,  d.  1694  (?); 
composer;  graduated  at  Cambridge, 
1684;  published  songs,  stage  music, 
etc.,  i675-i695;Purcell  wrote  an  elegy 
to  Nahum  Tate's  words,  on  his  death. 

Farrar',  Qeraldine,  b.  Melrose, 
Mass.,  Feb.  28,  1882;  soprano;  at  12, 
pupil  of  J.  H.  Long,  Boston;  later  of 
Trabadello  and  LilU  Lehmann;  1901, 
debut  Berhn  Royal  Opera;  ^vith  great 
success  has  sung  there  since,  and  in 
the  chief  European  capitals;  regularly 
engaged  also  at  the  Op.  Com.,  Paris, 
and  since  1906,  at  the  Met.  Op. 
House  in  N.  Y.,  creating  the  role 
of  the  Goosegirl  in  Himiperdinck's 
"  Koiiigskiiider." 

Far'well,  Arthur,  correct  birth  date 
is  St.  Paul,  Minn.,  April  23,  1872.  He 
conducted  the  important  Wa-Wan 
press  publications  till  1912,  bringing 
to  light  much  otherwise  hidden 
American  genius.  He  has  done 
valuable  work  in  New  York  and 
elsewhere  in  developing  municipal 
music,  free  concerts  in  parks,  piers, 
etc.  His  comps.  include  for  orch. 
"Dawn,"  "The  Domain  of  Hurakan," 
"Navajo  War-Dance"  (all  in  Indian 
themes).  "Cornell"  overture,  and 
"Love  Song";  for  piano  many  pieces 
of  Indian  theme  and  numerous  fine 
songs. 


Faure,  Gabriel  U.,  add  that  1905 
he  became  Director  of  the  Paris 
Cons.;  c.  music  to  "  Promethee" 
(Beziers,  1900),  "Julius  Ccesar" 
(igos),  "Felleas  et  Melisaiide,"  i&g&; 
arranged  as  an  orch.  suite,  1901;  also 
much  chamber  music,  and  religious 
choruses,  piano  pieces  and  many 
highly  important  songs. 

Felix  (fa-Ieks),  Dr.  Hugo,  b.  Vienna, 
Nov.  19,  1866;  c.  operettas  " ///f^arew- 
blut,"  Vienna,  1894;  "Rhodope," 
Berlin,  1 900;  "Mme.  Sherry  "  (Berlin, 
1902,  since  with  great  success  in 
America,  1910). 

Fel'ton,  Rev.  Wm.,  Cambridge,  1713 
—  Dec.  6,  1769  ;  vicar,  harpsi- 
chordist and  comp. 

Feneir  (or  Ffinell ),  d.  Dublin, 
Sept.  20,  1709;  Irish  composer;  organ- 
ist at  St.  Patrick's  Cathedral,  1689- 
1694,  and  buried  there. 

Ferling  (fer'-link),  (i)  Franz  Wm. 
Halberstadt,  Sept.  20, 1796  —  Braun- 
chweig,  Dec.  18,  1874;  olDoist;  his  sons 
(2)  Qustav,  b.  Braunschweig,  July 
8,  1835;  oboist  at  Stuttgart,  and 
teacher  at  the  Cons. ;  (3)  Robert, 
Braunschweig,  July  4,  1843  —  St. 
Petersburg,  Mar.  24,  1881  ;  royal 
chamber  musician  at  St.  Petersburg. 

Ferra'ri,  Qabrielle,  b.  Paris;  pupil 
of  Ketten,  Duprato,  later  of  Gounod 
and  Leborne;  at  12  debut  as  pian- 
ist, Naples;  c.  opera  " Lc  Colzar" 
given  at  Monte  Carlo  in  one  act,  en- 
larged to  two  (Paris  Opera,  191 2); 
also  orch.  suites  and  many  popular 
songs. 

Fet'terode,  L.  Adrian  van,  b. 
Amsterdam,  July  25,  1858;  pupil  of 
Coenen  and  Heinze;  teacher  at 
Amsterdam;  c.  piano  suite,  fantasie 
for  2  pianos,  etc. 

Fiebach  (fe'-bakh).  Otto  b.  Ohlau, 
Silesia,  Feb.  9,  1851;  director  of  an 
institution  at  Konigsberg;  royal  con- 
ductor; c.  operas,  and  an  oratorio; 
author  of  "Die  Physiologie  der 
Tonkunsi"  (1891). 

Fiedler,  Max;  in  1903,  became  direc- 


870 


THE  MUSICAL  GUIDE 


tor  of  the  Hamburg  Cons.;  1904  cond. 
the  Philharmonic  concerts;  1908-12, 
cond.  Boston  Symphony  Orchestra 
with  great  success  during  the  leave 
of  absence  of  Karl  Muck  (q.  v.),  c. 
'cello  sonata  (Boston,  1909),  cham- 
ber music,  etc. 

Fil'by,  Wm.  Chas.,b.  London,  1836; 
organist;  studied  in  Paris;  since  1884 
organist  at  St.  Paul's;  c.  masses,  etc. 

Fil'ke,  Max,  b.  Staubendorf-Leob- 
schiitz,  Silesia,  Oct.  5,  1855;  organist 
and  singing  teacher;  pupil  of  Brosig 
and  Leipzig  Cons.;  since  1891,  cathe- 
dral cond.  at  Breslau,  teacher  at  the 
Priest's  Seminary,  and  since  1893  at 
the  Royal  Inst,  for  Church  music; 
1899,  Royal  Music  director;  c.  works 
of  great  importance  in  modem  Catho- 
lic music,  several  masses  with  orch.; 
Salve  Rcgina,  op.  102;  choruses,  etc. 

Fil'lunger,  Marie,  b.  Vienna,  Jan. 
27,  1850;  soprano;  pupil  at  Vienna 
Cons,  and  of  Marchesi,  and  after 
1874  at  the  Berlin  Hochschule  ; 
sang  in  oratorio  and  concert  with 
great  success  in  Europe,  and  from 
1889  in  London,  where  she  afterward 
settled;  toured  Australia,  1891;  South 
Africa,  1895;  from  1904  teacher  at 
R.  C.  M.,  Manchester. 

Filtz  (Fieltz,  Fils,  Filsl  or  Filz), 
Anton,  b.  probably  in  Bohemia, 
ca.  1725  ;  d.  1760  at  Mannheim, 
where  he  was  court  'cellist ;  c.  many 
important  symphonies,  2  masses,  etc. 

Finch,  Edward,  1664 — Feb.  14, 1738; 
composer  of  church  music;  son  of  Earl 
of  Nottingham,  and  prebendary  of 
York. 

Fioc'co,  (i)  Domenico,  early  com- 
poser of  a  mass  ;  dates  unknown.  (2) 
Pietro,  Antonio,  d.  Brussels,  Nov. 
3,  1704;  composer  of  masses,  etc., 
came  from  Venice;  court  musician  at 
Brussels,  1696;  from  1706  cond.;  his 
two  sons  (3)  Jean  Josef,  succeeded 
Pietro  as  cond.,  in  17 14,  and  was 
succeeded  by  his  brother  Qioseffo 
Hector,  prominent  as  harpsichord- 
ist and  composer;  died  after  1737. 


Fiore    (fi-o'-re)    Stefano    Andrea, 

Milan,  1675 — Turin,  1739;  composer 
of  operas. 

Fisch'er,  Johann  Kaspar  Ferdi= 
nand,  ca.  1650  —  ca.  1738;  impor- 
tant composer  for  organ  and  clavier; 
cond.  to  Markgraf  Ludwig  in  Bo- 
hemia, 1688;  his  works  were  published 
1695  —  1715;  his  "Ariadne  Musica, 
Neo-Organoediim  per  XX  Fugas,  etc.," 
1702,  includes  preludes  and  fugues  in 
all  modem  keys  except  five,  resem- 
bling and  preceding  Bach's  "  Well- 
tempered  Clavichord,"  which  was  not 
begun  till  after  1723,  and  not  pub- 
lished till  1810. 

Fitelberg  (fe'-tel-berkh),  Qeorg, 
b.  Dunaburg,  Oct.  18,  1879;  impor- 
tant Polish  composer;  pupil  Warsaw 
Cons.,  taking  Paderewski  prize  with 
a  violin  sonata,  1896,  and  1901  the 
Zamoyski  prize  with  a  piano  trio; 
concertmaster,  and  1908  conductor 
Warsaw  Philharmonic;  191 2,  engaged 
for  6  years  to  cond.  Vienna  Royal 
Opera;  c.  2  symphonies,  including  E 
Minor  (1905);  symph.  poems  "The 
Song  of  Falken"  (1906),  and  " Protes- 
ilas  and  Leodatnia,"  etc. 

Flecha  (fle'-cha),  Juan,  music 
teacher;  Catalonia,  1483-1553;  Car- 
melite monk  and  teacher;  his  nephew 
(2)  Fray  Matheo,,  1520  —  Feb. 
20,  1604,  was  an  abbot  and  cond. 
to  Charles  V  at  Prague;  both  were 
composers. 

Flesch,  Karl,  b.  Moson,  Hungary, 
Oct.  9, 1873;  violinist;  pupil  of  Griino 
at  Vienna,  and  Marsick  at  Paris  Cons.; 
com.  1897-1902  prof,  at  Bucharest 
Cons. ;  and  chamber  musician  to  the 
Roumanian  Queen;  1903-8,  teacher  at 
Amsterdam  Cons.;  since  at  Berlin. 

Flin'tof,  Rev.  Luke,  Worcester, 
(?)  —  London,  Nov.  3,  1727;  1715 
Gentleman  of  the  Chapel  Royal; 
buried  in  Westminster  Abbey;  said 
to  have  invented  the  double  chant  of 
which  his  is  the  first  known  example. 

Flo'derer,  Wilhelm,  b.  Briinn,  May 
10,  1843;  composer  of  operas. 


DICTIONARY  OF  MUSICIANS      871 


Flon'dor,  Theodor  Joh.  Von.,  d. 

Berlin,  June  24,  1908;  Roumanian 
composer  of  operas. 
Florence,  Evangeline,  b.  Cam- 
bridge, Mass.,  Dec.  12,  1873;  stage 
name  of  Miss  Houghton,  soprano  of 
remarkable  compass,  g-c  "";  married 
Alex.  Crerar,  1894. 
Floridia,  Pietro,  add  that  his  real 
name  is  Baron  Napolino  di  San 
Silesto.  He  came  to  America  in  1904, 
was  for  a  year  piano-prof,  at  Cin- 
cinnati Cons.,  and  was  commissioned 
to  write  the  opera  "Paoletta,"  for  the 
Exposition  of  1910;  the  opera  had 
great  success.  His  symphony,  con- 
sidered the  representative  symphony 
of  Italy,  has  been  much  played  by 
the  Cincinnati  Symph.  Orch.,  19 10, 
etc.;  c.  also  opera  "  The  Scarlet  Letter," 
a  splendid  "Madrigal"  for  barytone 
and  orch.,  songs,  etc.;  lives  in  New 
York;  his  opera  "Maruzza"  has  had 
2,000  performances  in  Italy. 
Flow'er,  Eliza,  Harlow,  Essex,  April 
19,1803  —  Dec.  12,  1846;  composer 
of  hymns. 
Fogliani  (or  Fogliano  or  Folia= 
nus),  (2)  Qiacomo,  Modena, 
1473  —  April  4,  1548;  brother  of 
Ludovici  P.,  organist  and  comp. 
Fohlstrom  (fol'-stram).  Alma,  b. 
Helsingfors,  Jan.  2,  1861;  concert 
soprano,  pupil  of  Mme.  Nissen- 
Saloman  in  St.  Petersburg. 
Foote,  Arthur,  add  that  he  gave 
up  the  organ  of  the  First  Unitarian 
Church  in  19 10  after  32  years;  still 
teaching  piano  in  Boston;  lectured 
during  summer  of  191 1  at  University 
of  California.  Later  comps.  include 
orch.  suite  in  D  minor  (played  in 
Boston,  London,  N.  Y.,  etc.)  Suite 
for  strings  (do.);  4  character  pieces 
for  orch.  (Thomas  Orch.,  Boston 
Symph,  191 2,  etc.)  "  Bedouin  Song, " 
male  chorus  sung  very  widely;  organ 
suite  in  D  (played  by  Guilmant  on 
American  tour);  two  piano  suites,  5 
poems  from  Omar  Khayydm  for 
piano,  songs,  etc. 


Fornia,    Rita     (P.    Newman),    b. 

San  Francisco,  July  17,  1879;  soprano; 
pupil  of  Jean  de  Reszke  and  Frau 
Kempner;  debut,  1901,  Hamburg 
Stadttheater;  sings  at  Covent  Gar- 
den and  Met.  Op.,  N.  Y. 
Fos'ter,  Muriel,  b.  Sunderland,  Nov. 
22,  1877;  contralto  of  remarkable 
range,  g  to  b  "  flat;  pupil  of  Anna  Wil- 
liams at  the  R.  A.  M.,  winning  a 
scholarship,  1897;  debut  1896  in 
oratorio;  sang  with  her  sister  Hilda 
in  1899;  and  at  frequent  festivals 
since;  has  sung  also  in  Germany, 
Russia  and  America. 
Fowles,  Margaret  F.,  Ryde,  Isle 
of  Wight,  1846  —  Detroit,  Michigan, 
August  6,  1907;  pianist;  organist; 
cond. 
Fragerolle  (fra-zhg-rul),  Georges 
Auguste,  b.  Paris,  March  11,  1855; 
pupil  of  Guiraud;  c.  patriotic  songs, 
operettas,  pantomimes,  etc. 
Franchetti,  Alberto,  his  opera 
"Germania"  (prod.  Milan,  1902), 
has  been  performed  widely  at  Covent 
Garden  1907  and  191 1  at  the  Metro- 
poHtan  Opera  House,  N.  Y. 
Frank'o,  (i)  Sam,  b.  New  Orleans, 
Jan.  20,  1857;  violinist,  pianist, 
and  cond.;  pupil  of  Wilhelmj,  Joachim 
and  Vieuxtemps;  toured  with  Patti; 
cond.  concerts  of  ancient  music  in 
New  York,  191 2,  Berlin;  his  brother, 
(2)  Nahan,  b.  New  Orleans,  July 
23,  1861;  violinist  and  cond.;  at  8, 
toured  the  world  with  Patti;  later 
studied  with  Rappoldi,  De  Ahna, 
Wilhelmj,  and  Joachim;  member  of 
Met.  Op.  orchestra,  N.  Y.;  from  1883 
concertmaster;  1905-7  conductor; 
since  has  cond.  his  own  orchestra. 
Fraschini  (fras-ke'-ne),  Gaetano, 
Pavia,  1815  —  Naples,  May  24,  1887; 
tenor  in  Italy  and  England. 
Fremstad  (frem'-shtat),  Olive  (An= 
na  Olivia),  b.  Stockholm;  dra- 
matic soprano  ;  at  9,  a  pianist; 
brought  to  America  by  her  parents, 
at  12;  1890,  soloist  at  St.  Patrick's 
Cathedral,  N.  Y.;  1893-94,  pupil  of 


872 


THE  MUSICAL  GUIDE 


Lilli  Lehmann  at  Berlin;  1895,  debut; 
1896   sang  at   Bayreuth;    189  7-1 900 
Vienna  Royal  Opera;  later  at  IMunich, 
Covent   Garden   and   since    1903   at 
Met.  Op.  House,  N.  Y.;  officer  of  the 
French  Academy,  and  1907  of  Pubhc 
Instruction. 
Freudman,.Ignatz,  vide  friedman. 
Friderici   (or  Friederich)  Daniel, 
Eisleben  (?)  before  1600 — after  1654; 
cantor  at  Rostock  ;  c.  madrigals,  etc. 
Fried   (fret),  Oskar,  b.  Berlin,  Aug. 
10,  187 1 ;  pupil  of  Humperdinck;  since 
1904  director  Stern  Gesangverein  and 
the   Gesellschaft   der  IMusikfreunde; 
c.   choral  works  ^\ath  orch.,   double 
fugue  for  strings;  a  work  for  13  wind 
instruments  and  2  harps,  etc. 
Friedenthal    (fre'-den-tal),  Albert, 
b.    Bromberg,    Sept.    25,    1862 ;   pi- 
anist; pupil   of   Fr.    and    W.  Stein- 
brunn,  and  of  Kullak;  has  toured  the 
world. 
Friedheim,  Arthur,    add    that  he 
spent    many    years    in    America    as 
teacher   and   pianist;   later   prof,   at 
R.  C.  M.,  Manchester,  England,  till 
1904;    c.     opera      "Z)z'e     Tdnzerin" 
(Cologne,    1905);    toured    America, 
1911-1912. 
Friedman,     (fret'-man),    Ignaz,    b. 
Podgorze,  near  Cracow,  Feb.  14, 1882, 
pianist;  pupil  of  his   father  and  of 
Leschetizki;  toured  Europe  with  suc- 
cess; c.  piano  pieces  and  songs. 
Friedlander  (fret'-len-der),  Thekia, 
soprano;      pupil      of      Hiller      and 
Schneider;  debut,  Leipzig,  Dec.   11, 
1873;  popular  in  England,  1875-1886. 
Frischen,      (frish'-en),     Josef,      b. 
Garzweiler,    July    6,    1863;    singing 
teacher;  pupil  Cologne  Cons.;  1888, 
city    musical    director    at    Lucerne; 
1892,  dir.  Musikakademie,  Hanover; 
teacher     and     Royal     Director     at 
Braunschweig;  c.  choral  works,  etc. 
Fris'kin,  James,   b.  Glasgow,  Mar. 
3,  1886;  pianist;  pupil  of  London  R. 
C.  M.,  winning  scholarship  in  1900 
and  composition  scholarship  1905;  c. 


successful  piano  quintet  in  C  minor 

(1907),  'cello  sonata,  etc. 
Fritz   (or    Friz),  Qaspard,  Geneva 

1716-1782;  violinist;  c.  6  symphonies, 

etc. 
Fuenllana     (fwen-li-an'-na),     Mig=- 

uel    de,    flourished  1554   in    Spain; 

lute-virtuoso    and    court    composer; 

blind  from  birth. 
Fugere  (fu-zhar),  Lucien,  b.   Paris, 

March  3,  1848;    bar>i;one;    pupil  of 

Raguenau;  debut,  1870. 


Gabriel  (ga'-bri-el),  Richard,  b. 
Zackenzin,  Pomerania,  Sept.  3,  1874; 
organist;  pupil  Royal  Inst,  for  church 
music  and  Humperdinck's  Master- 
school;  since  1902  org.  at  Sagan;  c. 
spring  overture,  choral  work  with 
orch.,  "Nach  WaUiall,"  etc. 

Qabrilowitsch,  Ossip,  add  that 
in  191 2  he  cond.  the  Konzertverein 
orch.,  Munich. 

Gailhard  (gi'-yar),  Pierre,  b.  Tou- 
louse, Aug.  I,  1848;  bass;  pupil 
Paris  Cons.;  debut  1867,  Op.  Com., 
Paris;  later  at  the  Opera,  of  which  he 
was  director  1899-1007. 

Gal'eotti,  (i)  Stefano  (or  Salva= 
tore),  c.  'cello  sonatas  pub.  in  Lon- 
don, Paris  and  Amsterdam,  1750- 
-60;  (2)  Cesare,  b.  Pietrasanta, 
June  5,  1872;  c.  opera  "Anton  " 
(La  Scala,  j\iilan,  1900). 

Gal'kiri,  Nikolai  Vladimirovich, 
St.  Petersburg,  Dec.  18,  1856  — 
May  21,  1906;  vioUnist  and  com- 
poser for  violin;  pupil  of  Kamin- 
sky,  Auer,  Joachim,  Sauret  and 
Wieniawski;  toured  Europe  and  after 
1877  was  cond.  in  St.  Petersburg  and 
from  1880  teacher  at  the  Cons.;  from 
1892,  prof. 

Gall,  Jan,  b.  Warsaw,  Aug.  18,  1856; 
pupil  of  Krenn  and  Rheinberger 
1886,  teacher  of  song  at  Cracow  Cons, 
then  pupil  of  Mme.  Lamperti,  later 
director  of  the  Lemberg  "Echo" 
society;  composer  of  some  400  vocal 
numbers.  ft 


J^ 


DICTIONARY  OF  MUSICIANS      873 


Gallet'ti  =  Qianoli  ( ja-no'-le),  Isa= 
bella,  Bologna,  Nov.  ii,  1835  — 
Milan,  Aug.  31,  1901;  operatic  so- 
prano; later  contralto. 

Qansbacher  (gens-bakh-er) ,  Josef, 
1829  —  Vienna,  June  5,  191 1;  famous 
singing  teacher; 

Ganz  (gants),  Rudolph,  b.  Zurich, 
1877;  debut  at  10  as  'cellist,  at 
12  as  pianist;  then  pupil  of  his 
uncle,  Eschmann-Dumur,  and  later  of 
Busoni;  debut  as  pianist  and  composer 
Berlin,  1899;  1901-5  succeeded 
Friedheim  in  Chicago;  has  toured 
widely;  c.  "Lake"  cycle  of  songs 
(1906),  etc. 

Qar'diner,  H.  Balfour,  b.  Lon- 
don, Nov.  7,  1877;  pupil  of  Knorr  at 
Frankfort;  c.  symph.  (Queens  Hall 
1904  and  1908);  'Fantasy  "  (1908); 
overture,  chamber  music,  etc. 

Gates,  Bernard,  ca.  1685  — North 
Acton,  Nov.  15,  1773;  English  singer 
and  comp. 

Gatti=Casazza  (gat'-ti  ka-sat'-sa), 
Giulio,  b.  Ferrara,  Feb.  5,  1869;  at 
first  a  naval  engineer;  1894-8  dir. 
Municipal  Theatre  at  Ferrara;  1898- 
1909,  dir.  La  Scala,  Milan,  making  it. 
a  home  of  modem  opera;  1909  co- 
director  with  A.  Dippel  of  the  Metro- 
poUtan  Opera  House,  N.  Y.;  since 
1 910  in  full  charge;  he  has  prod,  three 
native  American  operas,  and  given 
the  first  prods,  anywhere  of  Humper- 
dinck's  ''Konigskinder, "  and  Puccini's 
"Girl  of  the  Golden  West." 

Gat'ty,  Nicholas  Comyn,  b.  Brad- 
field,  Sept.  13,  1874;  composer;  critic, 
organist  and  comp.,  pupil  R.  C.  M., 
where  he  produced  orch.-variations 
on  "Old  King  Cole  ";  from  1907 
critic  on  "Pall  Mall  Gazette";  assist- 
ant at  Covent  Garden;  c.  i-act  operas 
"Greysteel"  (Sheffield,  1906),  and 
"Dicke  or  Devil  "  (Manchester,  1909); 
Milton's  "Ode  on  Time,"  for  chorus 
w.  orch.,  (SheSield  Festival,  1905). 
Qavron'ski,  Woitech,  b.  Seimony 
near  Wilna,  June  27,  1868;  pupil  War- 
saw Mus.  Inst.;  toured  Russia,  taught 


in  Orel  and  Warsaw;  c.  sjrmph.;  2 
operas  and  a  string  quartet,  (Paderew- 
ski  prize,  Leipzig,  1898). 

Gayarre  (ge-yar-ra'),  Julian,  Roncal 
(?),  Jan.  9,  1844  —  Madrid,  Jan.  2, 
1890;  operatic  tenor,  son  of  a  black- 
smith. 

Gebhard  (gep'-hart),  Heinrich, 
b.  Sobernheim,  near  Bingen,  July  25, 
1878;  pianist;  taken  to  America  at 
10;  pupil  of  Clayton  Johns,  debut, 
1896,  Boston;  playing  his  violin  and 
piano  sonata,  then  studied  with 
Leschetizky  and  Heuberger;  1899 
reappeared  Boston  \vith  symph.  orch. 
1900-4,  pianist  of  Longy  Club;  c. 
quartet,  piano  pieces,  etc. 

Gehrmann  (gar'-man),  Hermann, 

b.  Wemigerode,  Dec.  22,  1861;  his- 
torian and  theorist;  pupil  Stern  Cons., 
BerUn;  1908,  Royal  Prof.;  c.  string- 
quartet  and  songs. 

Gep'pert,  Liberatus,  b.  Jauering 
(Austrian  Silesia)  Feb.  15,  1815  — 
Feb.  7,  1881;  c.  40  masses,  10  re- 
quiems, etc. 

Ger'hardt,  Paul,  b.  Leipzig,  Nov. 
10,  1867;  organ- virtuoso;  pupil  at  the 
Cons.;    since  1898  org.   at  Zwickau; 

c.  organ  works,  etc. 
Gerhauser  (ger'-hi-zer),  tenor;  de- 
but Munich;  sang  there  and  at 
Carlsruhe;  1902,  Met.  Op.,  N.  Y.; 
gave  up  singing,  became  stage-direc- 
tor, Stuttgart  Royal  Op. 

Giacobbi  (jak-kob'-be),  Girolamo, 
Bologna,  ca.  1575  —  Nov.  30,  1630; 
church  cond.  and  one  of  the  first  com- 
posers of  opera;  "Andromeda  "  (1610) 
also  church  music. 

Giarda  (jar'-da),  Luigi  Stefano, 
b.  Cassolnovo,  Pavia,  March  19, 1868; 
'cellist;  pupil  Milan  Cons.;  teacher  at 
Padua,  1893-7;  after,  at  Royal  Cons., 
Naples;  c.  opera  "Rejetto  "  (Naples, 
1898),  'cello-music  and  method. 

Gib'son,  George  Alfred,  b.  Not- 
tingham, Oct.  27,  1849;  violinist; 
pupil  of  his  father  and  of  Henry 
Farmer;  soloist  at  12;  from  1871  at 
Covent  Garden;  1893,  leader  of  the 


874 


THE  MUSICAL  GUIDE 


Queen's  private  band;  prof,  at  R.  A. 
M.,  and  Guildhall. 

Qigault  (zhe-go),  Nicolas,  b.  Brie, 
ra.  1645;  organist  at  Paris  and 
composer. 

Gilbert  (i)  Alfred,  Salisburj-,  Oct. 
21,  1828  —  London,  Feb.  6,  1002; 
organist  and  composer;  his  brother, 
(2)  Ernest  Thos.  Bennett,  Salis- 
bury, Oct.  22,  1833  —  London,  May 
II,  1885;  organist,  teacher  and  com- 
poser. (3)  Walter  Bond,  b.  Exe- 
ter, April  21,  1829;  organist;  pupil 
of  Wesley  and  Bishop;  1886,  Mus. 
Doc.  Oxford;  1889,  came  to  New  York; 
c.  oratorios,  etc.  (4)  Henry  Frank= 
lin  Belknap,  b.  Somerville,  Mass., 
Sept.  26, 1868;  violin  pupil  of  Mollen- 
hauer;  studied  harmony  with  G. 
H.  Howard  and  for  3  years  with  Mac- 
Dowell;  1892-1901  in  business,  then 
took  up  con.  position.  His  work  is 
full  of  originality,  and  character;  c. 
Comedy  Overture  on  negro  themes 
(Boston  Symph.,  1911);  American- 
esque,  Two  Episodes,  I,  Legend;  II, 
Negro  Episode,  Boston  (1896,  and 
often  elsewhere);  " Salammbo's  Invo- 
cation to  Tanith"  for  soprano  and 
orch.  (1906);  "American  Dances  in 
Rag-Time"  for  orch. ;  fantastic  symph. 
poem,  ''The  Dance  in  Place  Congo"; 
for  piano  "Indian  Scenes,"  "Negro 
Episode",  etc.,  many  beautiful  songs, 
including  the  well-known  "Pirate 
Song." 

Qille  (gH'-le),  Karl,  b.  Eldagsen,  Han- 
over, Sept.  30, 186 1 ;  pupil  of  J.  Fischer, 
Bott  and  Metadorf;  theatre-cond.  in 
various  cities;  189 1-7  court  cond., 
Schwerin;  1S97  succeeded  Mahler  at 
Hamburg  Stadttheater;  1906,  first 
cond.  Vienna  Volksoper,  and  during 
the  summer  of  1908-9,  at  the  Gura- 
Opera,  Berlin. 

Qil'man,  Lawrence,  b.  Flushing,  N. 
Y.  July  5,  1878;  critic  for  "Harper's 
Weekly";  biographer  of  MacDowell 
(1905),  author  of  numerous  books 
showing  an  enthusiasm  for  modernity 
which  appears  also  in  his  own  compo- 


sitions, such  as  the  musical  back- 
ground to  Yeats'  poem  "  The  Curlew. " 

Qil'son,  Paul,  correct  birth  date 
Brussels,  June  15,  1865;  since  1904 
teacher  of  hannony  Antwerp  Cons., 
and  critic  of  the  "Soir";  has  become 
one  of  the  most  important  Belgian 
composers,  with  his  operas,  "Gens 
de  mer,"  (based  on  Victor  Hugo's 
novel,  Brussels,  1902;  Antwerp,  1904) 
and  " Prinses  Zonnenschijn,"  (An- 
twerp, 1903);  ballet,  "La  Captive," 
Brussels,  1902;  sjonph.  "La  Mer," 
1892;  orch.  fantasy  on  Canadian  folk- 
songs, symph.  poems,  etc. 

Qinera  (he-na'-ra),  Salvador, 
Valencia,  Jan.  17,  1832  —  Nov.  3, 
191 1 ;  pupil  of  Gascons;  dir.  Valencia 
Cons.;  c.  a  symph.  "The  Four  Sea- 
sons," operas,  etc. 

Giordano,  Umberto,  prod,  opera 
"Fedora"  (Milan,  1898),  Siberia, 
(do,  1903,  Leipzig,  1907),  and  Mar- 
cella,  (Milan,  1907). 

Giorgetti  (j6r-jet-te),  Ferdinando, 
Florence,  1 796-1867;  violinist,  teacher 
and  comp. 

Glaz(o)unow,  Alex.  Constanti= 
novich,  add  that  from  1899  he 
was  prof,  of  instrumentation,  St. 
Petersburg  Cons.;  from  1909-12 
director,  also  dir.  the  Imperial  Musi- 
cal Society.  He  has  c.  7  symphs. 
4  overtures,  a  symph.  poem,  "Stenka 
Rasin,"  a  symphonic  fantasy, 
"  Through  Night  to  Light, "  and  a  great 
number  of  other  orch.  works,  chamber 
music  in  large  cjuantity  and  high 
quahty,  cantatas,  the  "Memorial," 
(Leeds,  Fest.,  1901),  ballets,  violin 
concerto  (1904),  etc. 

Glickh  (glikh),  Rudolf,  b.  Vienna, 
Feb.  28,  1864;  'ceUist;  c.  operas, 
etc. 

Gliere  (gle-ar),  Reinhold  Moritz= 
ovich,  composer;  b.  ELiev,  Dec. 
30,  1874  (O.  S.),  or  Jan.  11,  1875, 
(N.  S.);  pupil  of  Moscow  Cons.,  win- 
ning gold  medal;  c.  2  popular  sym- 
phonies, chamber  music,  etc.  His 
latest   symphony   "Ilia  Mouromctz" 


DICTIONARY  OF  MUSICIANS      875 


was   prod,   at   Moscow,  April   191 2, 
with  great  success. 
Glover, J.  Wm.,  Dublinjune  19, 1815 
—  Jan.  15,  1900;  violinist  and  choir- 
master at  the  Cathedral  from  i860; 
c.    opera    "The    Deserted     Village" 
(London,  1880),  etc. 
Gluck  (glook),  Alma    (nee    Reba 
Fierson),    b.     Bucharest,    Rouma- 
nia.  May  11,    1866;  taken    to  New 
York  at  6;  pupil  of  Bouzzi-Peccia, 
debut  New  Theatre,  N.  Y.,  1909,  the 
same  year  at  the  Met.  Op.;  has  sung 
there  since,  and  in  concert. 
Qluth   (gloot),  Victor,  b.  Pilsen, 
May  6,  1852;  pupil  Royal  Akademie 
der    Tonkunst,    Munich;    c.    operas 
"  Zlatorog"  and  ''  Horand  mid  Hilde." 
Godowsky,   Leopold,   add    that  he 
has  achieved  a  place  as  one  of  the 
world's   most   brilliant   pianists   and 
teachers;  succeeded  Busoni  in  1910, 
as  head  of  the  INIaster-School  of  the 
Vienna  Imperial  Academy;  1904,  he 
married  Frieda  Saxe;  gives  frequent 
recitals    in    Europe;    c.    symphonic 
Dance-pictures  from  Strauss  "  Fled- 
ermaus";  sonata  E  minor,  for  piano; 
left-hand    transcriptions    of    Chopin 
Etudes,  50  etudes  on  Chopin's  Etudes, 
and  many  briUiant  piano  works. 
Gohler   (ga'-ler),    Karl    Qeorg,    b. 
Zwickau,  June  29,  1874;   author  and 
comp.;  pupil  of  Vollhardt  and  Leip- 
zig Cons.;   1896,   Ph.D.;   from   1898 
director  of  the  Riedelverein,  also  from 
1903  court  cond.  at  Altenburg;  1907- 
9  at  Carlsruhe;  c.  2  s>Tnphs.;  orch. 
suite  "Indian  Songs." 
Qomiz  (go-meth)  Jose  Melchior, 
Valencia,  Jan.  6,  1791  —  Paris,  July 
26,   1836;   military  bandmaster  and 
singing  teacher  at  Paris;  c.  operas  and 
patriotic  songs. 
Qomolka   (go-mool'-ka),  Nikolaus, 
Cracow,  (?)  1539  —  Jazlowiec,  March 
5,  1609.     Polish  composer  and  court 
musician; 
Gom'pertz,    Richard,    b.  Cologne, 
April  27,  1859;  violinist;  pupil  at  the 
<J-  n>..  and  of  Joachim;  toured,  then 


invited  to  teach  at  Cambridge  Uni- 
versity; from  1883,  teacher  at  R.  C. 
M.,  1895,  prof.;  from  1899  at  Dres- 
den; c.  viohn  sonatas,  etc. 

Qood'son,  Katharine,  b.  Watford, 
England,  June  18,  1872;  pianist; 
at  12  pupil  at  the  R.  A.  M.,  till 
1892,  then  four  years  with  Leschet- 
izky  —  debut,  1896,  London  Pop. 
Concerts;  has  toured  widely;  1903, 
married  Arthur  Hinton  (q.v.). 

Qoossens  (gos'-sens),  Eugene,  Bel- 
gium, i845(?) — >  Liverpool,  Dec.  31, 
1906;  choirmaster;  cond.;  studied  at 
Bruges;  prize  winner  Brussels  Cons.; 
prof,  music,  Liverpool. 

Qorczycki  (g6r-chet'-ski),  Qregor 
Gabriel,  before  1650 — Cracow,  1734; 
mus.  dir.  at  the  Cathedral;  c.  church 
music. 

Qorner  (ger'-ner),  (i)  Jno.  Gott- 
lieb, Penig,  1697  —  Leipzig,  1778; 
organist;  his  brother,  (2)  J.  N.  Val= 
entin,  b.  Penig,  1702,  cond.  at 
Hamburg  Cathech-al;  c.  songs. 

Gott'hard,  (i)  Jn.  Peter,  b. 
Drahanovitz,  Moravia,  Jan.  19,  1839; 
cond.  at  Vienna;  c.  operas;  with  his 
brother  (2)  Franz  Pazdirek,  pub- 
lished a  musical  hand  book. 

Qourron  vide  alvarez(2). 

Qrabov'sky  (or  Qraboffsky),  (i) 
Countess  Clementine,  Posen, 
1771  —  Paris,  183 1 ;  anist;  pianist 
and  comp.  (2)  Stanislaus,  d. 
Vienna,  1852;  piano-prof.  and.  c. 
popular  polonaises,  etc.  (3)  Adolph, 
b.  Hamburg,  Oct.  14,  1867,  violinist 
and  teacher  at  Sondershausen  Cons. 

Graf  (graf),  (i)  Fr.  Hart  man, 
Rudolfstadt,  1727  —Augsburg,  1795; 
flutist  and  comp. 
Grahl  (gral),  Heinrich,  b.  Stralsund, 
Nov.  30,  i860;  concert  tenor  in  Ber- 
Un;  pupil  of  Frl.  Schmidt. 
Grainger  (gran'-jer),  Percy,  b. 
Brighton,  AustraUa,  July  8,  1882; 
pianist;  pupil  of  Louis  Pabst;  at  11 
gave  recitals  and  earned  money  for 
European  study  with  Kwast  and 
Busoni,    settling    in    London,    1900, 


876 


THE  MUSICAL  GUIDE 


playing  at  important  concerts;  chosen 
by  Grieg  to  introduce  his  piano  con- 
certo; toured  Australia  and  South 
Africa;  made  piano  arrangements  of 
folk-songs,  etc. 

Qranados  y  Campina  (gra-na'- 
dhos  e  kam-pe'-na),  Enrique,  b. 
Lerida,  July  27,  1867;  pianist;  c. 
operas  and  songs. 

Qrandjean  (gran-zhan),  Axel,  b. 
Copenhagen,  March  9,  1847;  pupil  of 
the  Cons,  there;  1869,  debut  in  opera, 
retired  after  one  season;  c.  operas,  etc. 

Qrau(grow),  M  a  u  r  i  ce  ,  Brunn, 
Austria,  1848 — Paris,  March  13,  1907; 
impresario  of  Met.  Op.  House,  N.  Y. 

Gray,  Alan,  b.  York,  Dec.  23,  1855; 
organist;  studied  law,  then  music 
under  Dr.  E.  G.  Monk;  1883-92, 
musical  dir.  Wellington  College;  then 
org.  Trinity  College,  Cambridge,  and 
cond.  of  the  University  Musical 
Society;  c.  cantatas  "Arethiisa" 
(Leeds  Festival,  1892),  and" A  Song 
oj  Redemption"  (do.,  1898),  etc. 

Qreatheed,  Rev.  Samuel  Ste= 
phenson,  b.  Weston-super-Mare, 
Feb.  22,  1813;  pupil  of  W.  C.  Ball; 
1838  ordained;  then  spent  some 
months  studying  music  with  Schwarz 
at  Berlin;  1844  took  up  counterpoint; 
c.  oratorio  "  Enoch's  Prophecy,'"  (1856) 
organ  fugue  in  the  Dorianmode,  etc. 

Qrechaninoff  (gra-cha'-ne-nof ), 
Alex.  Tikhonovich,  b.  Moscow, 
Oct.  26,  1864;  composer;  pupil  of 
Safonoff  at  the  Cons.;  later  at  St. 
Petersburg  Cons.,  under  Rachman- 
inoff; c.  prize  string  quartet  (1894); 
symph.;  succ.  opera  "Dobringa  Nik- 
itich  "  (Moscow,  1903);  incidental 
music  to  Tolstoi's  "Feodor,"  and 
"Ivan,"  and  to  Ostroski's  "Snow- 
Maiden"  songs,  etc. 

Greenwood,  John,  d.  Preston,  April 
I,  1909;  organist,  pianist,  composer, 
member  of  the  firm  of  John  G.  &  Son, 
Preston. 

Greith  (grit),  Karl,  Aarau,  Feb.  21, 
1828  —  Munich,  Nov.  17,  1887;  org. 
gan.  and  comp.  of  church  music. 


Gretschaninow,     vide     grechani- 

NOFF. 

Griesbacher  (gres'-bakh-er),  Peter, 
b.  Egglham,  March  25,  1864;  priest 
and  teacher  at  Regensburg;  c.  40 
masses,  and  other  church  music, 
also  cantatas,  etc. 

Griffith,  Frederick,  b.  Swansea, 
Nov.  12,  1867;  at  14  won  prize  at  a 
Welsh  national  Eisteddfod;  pupil  at  R. 
A.  M.;  1889-91  with  Svendsen,  later 
with  Jaffanel,  Paris;  toured  widely; 
flutist  at  Covent  Garden,  and  prof. 
at  R.  A.  M. 

Grigny  (gren'-ye),  Nicolas  de, 
Reims,  1671-1703;  organist  and 
comp. 

Grill'parzer,  Fz.,  Vienna,  Jan. 
15,  1791  —  Jan.  21,  1871;  friend  of 
Beethoven  and  Schubert.     Comp. 

Grisart,  J.  B.,  b.  1848;  d.  Compiegne 
France,  Mar.  1904. 

Gris'wold,  Gertrude,  d.  London, 
July  14,  191 2.  American  soprano, 
pupil  of  Agramonte,  N.  Y.,  and  of 
Paris  Cons.,  where  she  was  the  first 
American  to  win  the  first  grand 
opera  prize;  debut  as  "Ophelia," 
Paris  Opera,  sang  there  a  year,  later 
in  oratorio  and  concert,  and  with 
Patti  at  the  Met.  Op.  N.  Y.  c;  songs. 

Grodz'ki,  Boleslas,  b.  St.  Peters- 
burg, Oct.  25,  1865;  studied  law  at 
first,  then  pupil  of  Sokolov;  c.  violin 
and  piano  works  and  songs. 

Gronland  (griin'-land),  Petersen. 
Schleswig,  1760  —  Altona,  1834;  or- 
ganist and  comp. 

Grunewald  (groo'-ne-valt),  (i)  Gott= 
fried,  d.  Dannstadt,  ca.  1739;  singer 
and  comp.  (2)  Gottfried,  b.  Quer- 
stadt,  near  Eisleben,  1859;  c.  operas. 

GrUters  (gre'-ters),  (i)  August, 
d.  Urdingen,  Dec.  7,  1841;  Mus.  Di- 
rector; pupil  of  his  father,  of  Cologne 
Cons.,  and  of  Ambroise  Thomas; 
1878,  Royal  director  at  Frankfort- 
on-Main;  1908,  retired.  His  brother 
(2)  Hugo,  b.  Urdingen,  Oct.  8,  185 1; 
pupil  Cologne  Cons.;  conductor  in 
various  cities. 


DICTIONARY  OF  MUSICIANS       877 


Guido  d'Arezzo,  bom  near  Paris 
and  later  joining  the  monastery;  later 
investigations  identify  him  with  a 
Benedictine  monk  in  the  Monastery 
of  St.  Maur  des  Fosses;  his  probable 
birth  date  would  be  ca.  990.  He  thus 
becomes  a  Frenchman  who  went  to 
Italy,  not  an  Italian. 

Guillemain  ( ge'-yu-man),  Qab= 
riel,  Paris,  Nov.  15,  1705  —  (sui- 
cide) Oct.  I,  1770;  c.  violin  pieces. 

QuI'bins,  Max,  b.  Kammetschen, 
July  18,  1862;  organist  and  comp.  of 
choral  works. 

Gulbranson,  Ellen,  correct  birth 
date,  Stockholm,  March  3,  1863. 

Gulli  (gool'-le),  Luigi,  b.  SciUa, 
June  17,  1859;  pianist;  pupil  Royal 
College  of  Music,  Naples,  under  Cesi; 
teacher  at  Rome,  where  he  founded 
the  Gulli  Quintet  Society,  which  has 
toured  with  much  success. 

Gunke  (goonk'-e),  Joseph,  Joseph- 
stadt,  Bohemia,  1801^  St.  Peters- 
burg, Dec.  17, 1883;  violinist,  theorist 
and  organist;  c.  oratorio,  mass,  etc. 

Gutheil=Schoder  ( goot'- hil  -  sho'- 
der),  Marie,  b.  Weimar,  Feb.  10, 
1874;  mezzo-soprano;  pupil  of  Vir- 
ginia Gungl,  and  Weimar  Music 
School;  1 891-1900  at  Weimar  court 
opera;  frequently  at.  Vienna  court 
opera;  her  husband  Gustav  Gutheil 
is  conductor  at  Vienna  Volksoper. 

Guzman,  (gooth'-man),  Juan  Bau= 
tista,  b.  Alday,  Valencia,  Jan.  19, 
1846;  pupil  of  Ubeda;  organist;  joined 
the  Benedictine  order;  c.  songs,  etc. 

H 

Haack  (hak),  Karl,  Potsdam,  Feb. 
18,  1751  —  Sept.  28,  1819;  violinist 
and  teacher;  court  cond.  to  Fr. 
Wilhehn  II  at  Potsdam;  c.  -"/iolin 
pieces. 

Haas  (has),  Alma  Hollander, 
b.  Ratibor,  Silesia,  Jan.  31,  1847; 
pianist;  pupil  of  Wandelt  and  Kul- 
lak;  1872,  m.  Ernest  Haas,  prof,  of 
Sanskrit  (d.  1882);  from  1886  teacher 
at  King's  College. 


Hack'l,  N.  Lajos  b.  Siegraben, 
June  II,  1868;  pupil  of  Kossler;  teach- 
er at  Pest  Cons.;  c.  songs,  etc. 

Had'dock,  (i)  Thomas,  Leeds, 
1812  —  Liverpool,  Sept.  22,  1893; 
'celUst;  his  brother  (2)  George, 
Killmgsbeck,  near  Leeds,  July  24, 
1824 — Leeds,  Sept.  12,  1907;  violinist, 
author  of  method;  founded  Leeds 
College  of  Music  with  his  sons  (3) 
Edgar  A.,  b.  Leeds,  Nov.  23,  1859; 
violinist;  (4)  George  Percy,  b. 
Leeds,  Oct.  10,  i860;  pianist,  organist, 
'cellist  and  comp. 

Hadley,  Henry  K.,  add  that  he  spent 
some  years  abroad,  as  cond.  in 
various  cities,  including  the  Mayence 
Opera,  where  his  opera  "Safie"  was 
prod,  in  1909.  In  that  year  he  be- 
came cond.  of  Seattle  symph.  orch.; 
191 1,  San  Francisco  orch.;  add  to  his 
comps.  two  symphs.  His  2nd  symph. 
took  two  prizes  simultaneously  in 
1 901,  the  Paderewski  and  the  New 
England  Cons.  His  fourth  symph. 
"North,  East,  South  and  West"  he 
cond.  himself  with  the  London 
Philh.  Boston  Symph.,  and  other 
orch.;  c.  overtures  "Hector  and  Andro- 
mache," (Boston,  1901);  "InBoIwmia" 
(1903),  "Herod,"  symph.  fantasie 
"Salome"  (Boston  Symph.,  1907, 
Monte  Carlo,  1907;  Warsaw,  1908, 
Cassel,  1908);  lyric  drama.  "Merlin 
and  Vivien,"  piano  quintet,  (1907), 
etc.  poetic  rhapsody,  "The  Culprit 
Fay  "  (N.  Y.,  1912);  a  music  drama, 

"  The  Atonement  of  Pan,"  (San  Fran- 
cisco, 1912),  etc. 

Haesche,  vide  hasche. 

Hagel  (ha'- gel),  Karl,  b.  Voigts- 
tedt,  Thuringia,  Dec.  12,  1847;  con- 
ductor; 1874-77  military  cond.  at 
Munich;  1878-1905,  municipal  cond. 
and  director  of  the  Music  School 
at  Bamberg,  then  pensioned;  c.  4 
symph.,  etc.  His  son  and  pupil 
(2)  Richard,  b.  Erfurt,  July  7, 
1872;  cond.  and  teacher  in  various 
cities;  1902  cond.  at  Leipzig  Stadt- 
theater. 


878 


THE  MUSICAL  GUIDE 


Hagg    (hag),    (i)    Jacob    Adolf, 

b.  Gotland,  Sweden,  1850;  Swedish 
composer;  pupil  of  Van  Booms,  Gade, 
and  Kiel;  c.  Norse  s>Tnphony,  and 
"Norse  Sivi^s  Without  Words  "  suites 
in  ancient  style;  sonatas,  etc.  (2) 
Qustaf,  b.  1868;  studied  abroad 
with  municipal  stipend;  later  organ- 
prof,  at  Stockholm  Cons.;  organist 
and  comp.  of  orch.  and  organ  works. 

Hahn,  (i)  Reynaldo,  add  that  his 
opera  "La  Cantielite"  was  prod,  at 
the  Opera  Comique,  Paris,  1902; 
incidental  music  to  C.  Mendes' 
"Scarron,"  Racine's  "Esther,"  and 
V.  Hugo's  "Angela,"  (all  in  1905); 
2-act  ballet  "La  fete  chez  Therese, 
(Opera,  1910).  (2)  William,  Ba- 
varia 1837  —  Philadelphia,  1903; 
teacher. 

Hahnel  (ha'-nel),  Amalie,  Gross- 
hubel,  Bohemia,  1807  —  May  2, 
1849;  favourite  contralto  at  Berlin 
Royal  Opera. 

Hall,  Marie  (Mary  Paulina),  b. 
Newcastle-on-T>Tie,  April  8,  1884; 
viohnist;  as  a  child  played  in  Bristol 
streets;  pupil  of  her  father  and  Hilde- 
garde  Werner;  later  of  J.  Kruse;  at 
15  won  an  exhibition  at  the  R.  A.  M. ; 
from  1 901,  pupil  of  Seveik;  toured 
widely. 

Hallwachs  (hal'-vakhs),  Karl,  b. 
Darmstadt,  Sept.  15,  1870;  Mus.  Di- 
rector; pupil  at  Royal  IMusic-School; 
Munich  ;  1895  -  7  directed  Acad- 
emy Singing  Society;  1899 -1900 
cond.  at  Aachen  Stadttheater;  1900- 
02  at  Saarbrtichen;  after  1902  in 
Kassel  as  director  of  Oratorio  Society 
and  Liedertafel;  c.  opera"  Nainaka," 
songs,  etc. 

Halm,  August,  obscure  composer 
of  important  sjTnphony  in  D  minor 
for  string  orch.;  performed  Stutt- 
gart, 1907;  Boston  S>Tnph.,  1910; 
studied  theology  at  Tubingen,  then 
music;  a  teacher  at  Hanbinda,  later 
at  Wickersdorf,  Thuringia;  c.  comedy 
overture;  piano-concerto  in  style  of 
Bach,  chamber  music,  etc. 


Hambourg,  Mark,  correct  birth 
date  is  May  31,  1879.  He  has  con- 
tinued to  toiu-  and  has  maintained  his 
high  position  as  a  \-irtuoso. 

Ham'ilton,  Sir  Edward  Walter, 
d.  Brighton,  Sept.  2,  1908  ;  com- 
poser ;  Bachelor  of  Music,  Ox- 
ford, 1867. 

Ham'merich,  Mark,  b.  Copen- 
hagen, Nov.  25,  1848;  'cellist;  pupil  of 
Riidinger  and  Neruda;  1896  prof,  of 
musical  science  Copenhagen  Uni- 
versity; brother  of  Asger  Hamerik 
(q.  v.). 

Ham'merstein,  Oscar,  b.  Berlin, 
1847;  composer  and  impresario;  came 
to  America  at  16;  made  a  fortune  by 
the  invention  of  a  cigar-making 
machine;  \\Tote  a  comic  opera  in  24 
hours  on  a  wager,  and  produced  it  at 
his  own  theatre;  built  five  theatres  in 
N.  Y.  and  the  ]\Ianhattan  Opera 
House;  where  he  gave  opposition  to 
the  Metropolitan,  1906-8;  built  also 
an  opera  house  in  Philadelphia;  sold 
out  his  interests  to  the  MetropoHtan 
Co.,  and  built  opera  house  in  London; 
opened,  191 2. 

Hanff,  J.  Nicolaus,  Wechmar, 
1 630  —  Schleswig,  1 706 ;  cathedral 
organist  at  Schles\^-ig  and  important 
predecessor  of  Bach  in  choral-writing. 

Han'sel,  Peter,  Leipa,  Nov.  29, 1770 
—  Vienna,  Sept.  18,  1881;  violinist 
and  comp. 

Harcourt  (dar-koor),  Eugene  d', 
b.  Paris,  ca.  1855;  composer;  pupil 
Paris  Cons.,  and  of  Schulze  and 
Bargicl,  in  Berlin;  1890  gave  con- 
certs in  his  o-5\'n  Salle  Harcourt;  1900 
gave  oratorios  at  St.  Eustache;  c. 
mass  (Brussels,  1876);  opera  "  Tasso" 
(Alonte  Carlo,  1903);  3  sj-mph.,  etc. 

Hard'ing,  Henry  Alfred,  b.  Sahs- 
bur>%  Jidy  25,  1855  ;  organist  ;  pupil 
of  Corfe;  1882  Mus.  Doc,  Ox- 
ford; cond.  and  org.  at  Bedford;  c. 
church  music. 

Harris,  Clement  Hugh  Gilbert, 
Wimbledon,  July  8,  1871  —  in  the 
battle  of  Pentepigadia,  Greece,  April 


f 


DICTIONARY  OF  MUSICIANS      879 


23,  1897;  pianist  pupil  Frankfort 
Cons.,  and  of  Mme.  Schumann;  being 
in  Greece  at  the  outbreak  of  the 
Turkish  war  he  joined  the  Greek 
army,  and  was  killed  in  battle;  c. 
brilliant  symph.  poem  ''Paradise 
Lost"  (prod.  Birmingham,  1905); 
concert  studies  for  piano;  songs,  etc. 

Harrison,  Samuel,  Belper,  Derby- 
shire, Sept.  8,  1760  —  London,  June 
25,  181 2;  tenor. 

Har'rold,  Orville,  tenor;  discovered 
singing  in  vaudeville,  by  Oscar  Ham- 
mers tein,  N.  Y.,  taught  by  Oscar 
Saenger,  1909-10;  debut  Manhattan 
Op.,  N.  Y.,  1910;  sang  with  Mme. 
Trentini  in  comic  opera;  191 1  at 
Hammerstein's  London  Opera. 

Hart'inger,  Martin,  Ingolstadt, 
Feb.  6, 1815  —  Munich,  Sept.  6, 1896; 
tenor  and  teacher  at  Royal  Music- 
School,  Munich. 

Hartmann,  Arthur,  b.  Mate 
Szalka,  Hungary,  July  23,  1881; 
taken  to  Philadelphia  at  the  age  of 
two  months;  violinist;  all  his  school- 
ing in  America;  has  toured  Europe 
and  America  with  great  success. 
191 1,  soloist  with  Colonne  orch., 
Paris;  c.  orch.  works,  violin  pieces,  etc. 

Harty,  Hamilton,  b.  Hillsborough, 
Co.  Down,  Ireland,  Dec.  4,  1879; 
organist;  pupil  of  his  father;  at  12, 
organist,  later  in  Belfast  and  DubHn ; 
in  London  from  1900  as  an  accom- 
panist; c.  "Irish"  symph.,  "Comedy 
Overture,"  "Ode  to  a  Nightingale"  for 
soprano  and  orch.  (Cardiff  Festival, 
1907),  his  wife,  Mme.  Agnes  Nicholls, 
singing  the  solo;  c.  also  important 
violin  concerto  (1909),  chamber  music 
and  songs. 

Har'wood,  Basil,  b.  Woodhouse, 
Gloucestershire,  April  11,  1859;  pian- 
ist; pupil  of  Roeckel,  Risley,  Corfe,  and 
at  Leipzig  Cons.;  1880,  Mus.  Bac, 
Oxford;  1896  Mus.  Doc;  organist 
various  churches;  from  1892  at  Christ 
Church,  Oxford;  1896-1900  cond. 
Oxford  Orch.  Association;  1900  chora- 
gus;   c.    psalm    "Inclina,    Domine," 


voices  and  orch.  (Gloucester  Fest., 
1898),  church  music,  etc. 
Hasche  (hesh'-e),  William  Ed- 
win, b.  New  Haven,  April  11,  1867; 
pupil  of  Listemann,  Perabo,  and 
Parker;  dir.  New  Haven  Symph. 
Orch.;  since  1903  teacher  of  instru- 
mentation at  Yale  cond.  N.  H.  Choral 
Union  (250  voices) ;c.  symph.,  symph. 
poems,  "Waldidylle,"  "Fridjof  and 
Ingehorg";  cantata  "The  Haunted 
Oak"  etc. 

Hassler  (hess'-lgr),  (i)  Jn.  Wm., 
Erfurt,  March  29,  1747  —  Moscow, 
March  29, 188  2;  organist  and  famous 
teacher;  toured  widely;  1892-4  royal 
cond.  St.  Petersburg;  then  teacher 
at  Moscow;  c.  important  piano  and 
organ  pieces;  his  wife,  (2)  Sophie, 
was  a  singer  who  travelled  with  him. 

Hath'erly,  Stephen  Qeorgeson, 
b.  Bristol,  Feb.  14,  1827;  Greek 
priest;  organist  of  various  churches; 
1857  at  the  Greek  Church,  Liverpool; 
187 1  at  Constantinople;  author  of 
works  on  Byzantine  music. 

Hausegger  (hows'-eg-ger),  Sieg= 
mund  Von,,  b.  Graz,  Aug.  16, 1872; 
pupil  of  his  father,  of  Degners  and 
Pohlig;  1896  cond.  at  Graz;  1899  of 
the  Kaim  concerts  at  Munich;  1903-6 
the  Museum  Concerts  at  Frankfort- 
on-Main;  c.  mass,  an  opera  "Hel- 
frid"  (Graz,  1893);  "Zinnober"  (Mun- 
ich, iSg&);  "Dionysia7i  Fantasie"  for 
orch.,  (Munich,  1899);  symph.  poems, 
" Barharossa,"  {igo2),  "Wieland  der 
Schmicd,"  1904. 

Hauss'man,  Valentin,  organist  and 
composer  at  Gerbstadt,  Saxony, 
1588  to  1611. 

Haw'don,  Matthias;  d.  Newcastle 
1787,  where  he  had  been  organist 
from  1776;  composer. 

Hay,  Walter  C,  1828  —  Claremont 
Bank,  Oct.  i,  1905;  pupil  R.  A. 
M.;  bandmaster  Twelfth  Lancers; 
many  years  Prof.  Music  Shrewsbury; 
organist,  1861-1883. 

Hay'ter,  Arthur  Upjohn,  Brook- 
lyn, 1833  —  June  19, 1909;  organist. 


88o 


THE  MUSICAL  GUIDE 


Hegyesi  (heg'-ya-ze),  Louis,  Arpad, 
Hungary,  1853  —  Cologne,  Feb.  1894; 
'cellist. 

Hein  (hin),  Karl,  b.  Rendsburg, 
1864;  'cellist;  pupil  Hamburg  Cons.; 
1885-90  'cellist  Hamburg  Philhar- 
monic Orch .;  1 890  teacher  in  New  York 
at  German  Cons.;  1903,  joined  with  a 
fellow-pupil  from  the  Hamburg  Cons., 
August  Francke,  in  its  direction. 

Hein'rich,  Max,  b.  Chemnitz,  Sax- 
ony, June  14,  1853;  barj^tone,  pupil 
of  Klitzsch  and  at  Dresden  Cons.; 
1873,  moved  to  Philadelphia;  1876-82 
to  Marion,  Ala.  became  very  pop- 
ular on  concert  tours  ;  1888-93  prof- 
at  London  R.  A.  M.;  then  Chicago, 
where  he  gave  a  farewell  recital, 
1903;  c.  songs. 

Hel'Iinck,  Joannes  Lupus  (often 
called  Lupus  or  Lupi),  d.  1541; 
Flemish  choir  master  at  Cambrai, 
and  Bruges;  c.  many  masses,  influen- 
cing Palestrina;  important  motets, 
hymns  and  songs. 

Hel'sted,  (i)  Eduard,,  Copen- 
hagen, Dec.  8,  1816-1903;  violinist 
at  the  Royal  Chapel;  from  1869, 
teacher  at  the  Cons.;  c.  ballets,  etc.; 
his  brother  (2)  Karl  Adolf,  b. 
Copenhagen,  Jan.  4,  1818;  flutist, 
teacher  at  the  Cons. ;  c.  2  sjTnph.,  etc. ; 
his  son  (3)  Qustav,  b.  Copenhagen, 
Jan.  30,  1857;  pupil  of  Gade,  etc.;  c. 
symph.  orch.  suite,  etc. 

Hem'peL  Frieda,  b.  Leipzig,  1884 
(daughter  of  a  janitor);  soprano; 
studied  the  piano  at  Leipzig  Cons., 
1903-5;  then  voice  with  Frau  Lemp- 
ner;  debut  in  Stettin;  1906,  at  Bay- 
reuth;  1907  Covent  Garden;  has  sung 
in  Paris  Opera,  Brussels,  Vienna,  etc.; 
from  1908  Berlin  Royal  Opera;  en- 
gaged for  Met.  Op.  N.  Y.  191 2. 

Hemp'son  (or  Hampson),  Denis, 
Craigmore,  1695  —  Magilligan,  1807 
(at  the  age  of  112);  one  of  the  great- 
est and  latest  of  the  Irish  bards;  a 
harper,  blind  from  his  third  year;  wan- 
dering afar;  1745  played  for  the  Pre- 
tender at  Edinburgh. 


Henrion  (an-ri-6n),  Paul,  Paris, 
July  29,  1819  —  Oct.  26,  1901;  c. 
operettas  and  over  a  thousand  popu- 
lar songs. 

Henriques  (hen-re'-kes),  Fini  Bal= 
demar,  b.  Copenhagen,  Dec.  20, 
1867  ;  violinist ;  pupil  of  Tofte, 
Svendsen,  and  Joachim;  member  of 
court  orch.  at  Copenhagen;  c.  inci- 
dental mus.  to  "  Wieland der Schmied" 
(1898),  piano  pieces,  etc. 

Hen'sel,  Heinrich,  b.  Neustadt, 
1880  (?);  tenor;  pupil  of  Walter, 
in  Vienna,  and  Emerich  in  Milan; 
debut  Freiburg,  1897,  sang  there  for 
three  years;  from  1900  at  Frankfort- 
on-Main;  1906,  Royal  Opera,  Wies- 
baden; sang  "Parsifal,"  etc.,atBay- 
reuth,  1910;  191 1  at  Covent  Garden. 

Hep'worth,  (i)  George,  b.  Al- 
mondbury,  England,  1825;  organist; 
at  22  went  to  Germany;  since  1864 
cathedral  organist  and  court-dir.  at 
Schwerin;  c.  organ  music,  etc.;  his  son 
(2)  William,  b.  Hamburg,  1846; 
organist  and  writer  at  Chemnitz; 
1908,  church-dir.;  c.  string  quartet, 
etc. 

Herbert,  Victor.  Add  that  he 
conducted  the  Pittsburg  orch.  till 
1904,  then  founded  and  cond.  the 
Victor  Plerbert  Orch.,  with  which  he 
toured  widely.  Later  comic  operas 
included  the  following  great  suc- 
cesses: "Babes  in  Toyland,"  1903, 
"The  Red  Mill,"  1905,  "Naughty 
Marietta,"  1910,  "The  Enchantress," 
191 1.  He  c.  also  the  grand  opera 
"Natoma,"  libretto  by  Jos.  D.  Red- 
ding, which  was  prod,  by  the  Phila- 
delphia Opera  Co.,  191 1  in  Phila- 
delphia and  at  the  Met.  Op.,  N.  Y., 
the  same  year. 

Herbst,  Andreas,  Nuremberg,  1588 
—  Frankfort,  1666;  theorist  arid 
comp. 

Herites  (he-re'-tgs),  Marie,  b. 
Wodnian,  South  Bohemia,  1884  (?); 
violinist;  pupil  of  Sevcik  at  Prague 
Cons.;  toured  Europe. 

Herms,   Adeline,  b.  Friesack,  Oct. 


DICTIONARY  OF  MUSICIANS      88i 


14, 1862 ;  mezzo-soprano;  pupil  of  Frau 
Breidenhoff,  and  O.  Eichberg;  married 
the  cellist,  Eugen  Sandow,  1895. 

Her'ner,  Karl,  Rendsburg,  Jan.  23, 
1836  —  Hanover,  July  16,  1906; 
\aolinist  and  comp. 

Herzfeld  (herts'-felt),  Victor  von, 
b.  Pressburg,  Oct.  8,  1856;  violin- 
ist; pupil  Vienna  Cons.,  taking  prizes 
for  comp.  and  violin ;  pupil  later 
of  Grell,  Berlin;  1886,  prof,  at  Pest;  c. 
chamber  music,  etc. 

Hess,  (i)  Willy,  add  that  he  was 
made  Royal  Prof.,  1900;  1903-4  he 
was  violin  prof.  R.  A.  M.,  London; 
resigned  and  became  concertmaster 
Boston  Symph.  Orch.,  and  leader  of 
the  Quartet;  1908  co-founded  the 
Hess-Schroeder  Quartet.  (2)  Lud= 
wig,  b.  Marburg,  March  23,  1877; 
pupil  Berlin  Royal  Hochsch.  and 
Vidal  in  Milan;  toured  as  concert 
singer;  from  1907  succeeded  Felix 
Mottl  as  dir.  Munich  Konzertgesell- 
schaft;  c.  symphony  "Hans  Mem- 
ling,"  an  epic  "Ariadne,"  and  other 
works  for  voices  and  orch.;  songs,  etc.; 
191 2  engaged  to  tour  America. 

Heuser  (hoi'-zer),  Ernst,  b.  Elber- 
feld,  April  9,  1863;  pianist;  teacher  at 
Cologne  Cons.;  c.  opera,  etc. 

Heyse  (hi'-ze),  Karl,  b.  St.  Peters- 
burg, May  10,  1879;  organist;  pupil  of 
Homeyer  and  H.  Seifert;  1907,  org. 
at  Frankfort-on-Main,  and  teacher 
at  the  Hoch  Cons. 

Hin'ton,  Arthur,  b.  Beckenham, 
Nov.  20,  1869;  violinist;  pupil  R.  A. 
M.,  later  with  Rheinberger  at  Mu- 
nich Cons.,  where  his  first  symph.  was 
played;  his  second  symph.  was  played 
in  London,  1903;  c.  also  opera  "Tam- 
ara";  operettas  for  children,  and  piano 
pieces  played  by  his  wife,  Katherine 
Goodson,  whom  he  married  in  190^. 

Hill,  (i)  Henry,  London,  July  2, 1808 
—  June  II,  1856;  viola  player  of 
great  ability.  (2)  Edwin  Burl= 
ingame,  b.  Cambridge,  Mass.,  Sept. 
9,  1872;  graduated  at  Harvard,  1894, 
with  highest  honors  in  music,  pupil 


of  B.  J.  Lang  (piano),  F.  F.  BuUard 
(theory),  Arthur  Whiting  (piano), 
later  with  Widor  (comp.) ,  in  Paris,  and 
G.  W.  Chadwick  (instrumentation); 
1887-1902  taught  piano  and  harmony 
in  Boston,  then  took  up  writing  for 
magazines;  1908-12,  musical  instruc- 
tor at  Harvard;c. fantastic  pantomime 
for  orch.  "Jack  Frost  in  Midsummer" 
(Chicago  Orch.  1907,  N.  Y.  Symph. 
1908);  women's  chorus  with  orch. 
"Nuns  of  the  Perpetual  Adoration" 
(Musical  Art  Society,  1907,  Birm- 
ingham, England,  Orch.,  etc.);  dra- 
matic lyric  for  tenor  and  orch.,  3 
piano  sonatas,  songs,  etc. 

Hilton,  (i)  John,  d.  before  1612; 
organist  at  Cambridge,  1594;  per- 
haps the  father  of  (2)  John,  1599  — 
1656-7;  organist  at  Westminster;  c. 
anthems,  madrigals,  etc. 

Hirsch'mann,  Henri,  b.  St.  Maude, 
1872;  composer,  under  pen-name  of 
V.  H.  Herblay,  of  operas,  "U 
Amour  a  la  Bastille,"  (Paris,  ^1897), 
"Lovelace"  (do.,  1898),  "Hernani" 
(do.,  1909);  operettas  "Das  Schwal- 
benrest"  (Berlin,  1904,  in  Paris,  1907, 
as  Lcs  hirondelles) ;  "La  petite  Bo- 
heme"  (Paris,  1905;  in  Berlin  1905, 
as  "Musette"),  etc. 

Hit'zelberger,  (i)  Sabina,  Rander- 
sacker,  Nov.  12,  1755  —  after  1807; 
soprano  of  3-octaves  range ;  wife 
of  the  'cellist  H.,  her  maiden  name 
unknown.  Her  daughters  (2)  Ku^ 
nigunde,  soprano  ;  (3)  Johanna, 
alto  ;  wife  of  violinist  Bamberger  ; 
(4)  Regina,  1789  —  Munich,  May 
10,  1827;  married  Lang,  and  bore  a 
daughter,  Josephine  Lang=Kost= 
lin,  who  composed  songs. 

HIawatsch,  (hla'-vach),  Woizech 
Ivanovitch,  b.  Leditsch,  Bo- 
hemia, 1849;  organist;  pupil  Paris 
Organists'  School;  cond.  in  various 
Bohemian  cities;  from  1871  in  St. 
Petersbiu-g,  as  cond.  of  students  or- 
ganizations; 1900,  organist  of  the 
court  orch.;c.  comic  opera  "OWot'c," 
Roumanian  rhapsody  for  orch.,  etc. 


882 


THE  MUSICAL  GUIDE 


Hol'brooke,    Josef    (or     Joseph), 

b.  Croyden,  July  6,  1878;  English 
composer;  pupil  of  the  R.  A.  M., 
tiU  1898;  c.  sjTTiph.  poems  'TAe 
Raven'"  (Crj'stal  Palace,  1900);  "Ode 
to  Victory,"  "  The  Skeleton  in  Armor," 
"Ulalutne"  (London  Symph.,  1904), 
"Queen  Mab"  (Leeds  Fest.,  1904), 
"  The  Masque  of  the  Red  Death,"  over- 
ture, "The  New  Renaissance,"  etc. 
His  opera  "The  Children  of  Don" 
(libretto  by  Lord  Howard  de  Walden), 
was  prod,  at  the  London  Op.,  June 
15  191 2  with  Nikisch  conducting 
without  success. 

Hollander  (h6l'-len-der),  Benno, 
b.  Amsterdam,  June  8,  1853;  \do- 
linist;  played  as  child,  then  studied 
with  ISIassart  and  Saint-Saens  at 
Paris  Cons.,  v\-inning  first  \-iolin  prize, 
1873;  after  1876  toured,  then  settled 
in  London  as  viola  player;  1882, 
cond.  German  Opera  season;  1887 
^^olin  prof,  at  the  Guildhall;  cond. 
London  S>Tnph.  Concerts;  1903,  or- 
ganized the  Benno  H.  Orchestral  Soci- 
ety; c.  sj-mph.  "Roland";  violin  con- 
certos, pastoral  fantasia  played  by 
Ysaye,  1900,  etc. 

Hol'lingshead,  Frederick  Edward, 
d.  Julv  5,  1907;  organist  at  Bath; 
Fellow'Roval  College  of  Org. 

Hol'lins,  Alfred,  b.  HuU,  Sept.  11, 
1865;  pianist,  and  org.;  blind  from 
birth;  pupil  of  HartN-igson;  played 
Beethoven  concerto  as  a  boy;  at  16 
played  for  the  Queen;  pupil  of 
Biilow,  later  at  Raff  Cons.;  played 
for  crowned  heads,  and  toured  Amer- 
ica; 1884,  org.  at  Redhill;  1888  at 
People's  Palace;  1897  at  Edinburgh, 
Free  St.  George's  Church;  c.  2 
overtures,  organ  music,  etc. 

Hoist,  Qustav  Von,  b.  Chelten- 
ham, Sept.  21,  1874;  dir.  Morley  Col- 
lege; pupil  R.  C.  M.;  c.  operas  "Sita" 
and  " 5(J??7r/ ";  scene  w.  orch.  "The 
Mystic  Trumpeter,"  "Ave  Maria"  for 
women's  voices,  etc. 

Ho'mer,  (i)  Sidney,  b.  Boston, 
Mass.,     Dec.    9,     1864;     prominent 


American  song-composer;  pupil  of 
G.  W.  Chadwck,  then  of  Rhein- 
berger,  O.  Hieter  and  Abel  in  Ger- 
many; 1888-96  teacher  of  theory  in 
Boston;  c.  many  important  songs. 
In  1895  he  married  (2)  Louise 
(Dilworth  Beatty),  b.  Pitts- 
burgh, Pa.;  famous  operatic  contralto 
pupil  of  Aliss  Whinner}'  and  Miss 
Goff,  W.  L.  ^^'hitney,  and  of  her  hus- 
band in  theory;  then  studied  in  Paris 
with  Fidele  Koenig;  debut,  1898  at 
Vichy;  from  1899  at  Covent  Garden, 
and  regularly  at  the  IMetropolitan 
Opera  House  as  leading  contralto 
with  especial  success  in  \A'agnerian 
roles,  also  as  "Orfeo,"  etc.;  1912  cre- 
ated title-role  in  "Monu." 

Hop'kinson,  Francis,  composer; 
1 737-91;  one  of  the  earliest  American 
composers;  inventor  of  the  "Bellar- 
monica." 

Horvath  (hor'-vat),  Qeza,  b.  Kom- 
d,ron,  Hungar}-,  May  27,  1868;  pupil 
of  L.  Schj'tte,  etc.;  teacher  in  Vienna; 
c.  popular  piano-pieces. 

Hosel  (ha'-zel),  Kurt,  b.  Dresden, 
Jan.  20,  1862;  ]\Ius.  Director  and 
composer;  pupil  of  the  Cons.;  cond. 
Wagner  Concerts  there  from  1895  and 
founded  the  Philh.  chorus;  c.  male 
and  mixed  choruses,  etc. 

Hoy'a,  Amadeo  Von  Der,  b.  New 
York,  March  13, 1S74;  \iolinist;  pupil 
of  Joachim,  Halir,  etc.,  in  Berlin;  con- 
certmaster,  N.  Y.  S\Tnph.  Orch.; 
1894-6  cond.  court  opera  at  Bay- 
reuth;  from  1901  concertmaster  at 
Linz;  author  of  a  method. 

Hue,  Georges  Adolphe,  add  that 
his  opera "Le  roide Paris"  was  prod. 
1901,  "Titania"  1903. 

Huhn,  Bruno  (Siegfried),  b.  Lon- 
don, 1 871;  org.  and  pianist;  pupil  of 
Sophie  Taunton,  later  in  New  York 
of  S.  B.  Mills  and  L.  Alberti;  has 
toured  Europe  as  pianist;  prominent 
accompanist  in  New  York;  c.  "Te 
Deum"  vdih  orch.,  and  many  songs. 

Hull,  Alexander,  b.  Columbus,  O. 
Sept.  15,  1887;  pupil  of  his  mother. 


i 


DICTIONARY  OF  MUSICIANS       883 


and  (by  correspondence,  later  in 
person)  of  Dr.  Hugh  A.  Clarke; 
studied  'cello  with  Michael  Brandt, 
Cincinnati,  voice  with  H.  A.  Preston 
and  H.  B.  Turpin,  Columbus;  took 
music  bachelor  degree  Univ.  of 
Penna;  teacher  in  Pacific  College, 
Oregon;  c.  orch.  suites,  'cello  pieces, 
songs,  etc. 

Hulsteyn  (hul'-shin),  Joai'n  C. 
Van,  b.  Amsterdam,  1869;  violinist 
pupil  at  Liege  Cons,  of  Cesar  Thom- 
son; won  first  prize;  played  in  La- 
moureux  orch.,  Paris;  prof,  at  Pea- 
body  Inst.,  Baltimore. 

Humbert  (ufi-bar),  Georges,  b. 
St.  Croix,  Switzerland,  Aug.  10,  1870; 
organist;  pupil  Leipzig  and  Brussels 
Cons.,  and  of  Bargiel;  teacher  of  mus. 
history  at  Geneva  Cons,  and  org.  at 
Notre  Dame;  from  1893  at  Lausanne. 

Humperdinck,  Engelbert,  add 
that  in  1900  he  became  dir.  of 
Master-School  of  the  Berlin  Royal 
Acad,  of  Arts.  His  " Konigskiiidcr" 
(written  in  1896  and  played  in 
excerpt  at  concerts),  was  prod,  at 
Met.  Op.,  N.  Y.,  1910  with  greatest 
success,  later  in  Europe.  "  Dorn- 
roschen"  was  prod.  Frankfort-on- 
Main  (1902),  com.  op.  "Die  Hciral 
wider  Willen"  (Berlin,  1905),  incid. 
music  to  Aristophanes'  '  Lysistrata," 
(do.,  1908);  Shakespeare's  "Winter's 
Tale,"  and  "Tempest,"  (do.  1906). 

Hur'ka,  Friedrich  Franz,  Merk- 
lin,  Bohemia,  Feb.  23,  1762 — Ber- 
lin, Oct.  10,  1805;  tenor  and  comp. 
of  songs. 

Hur'lebusch,  (i)  Harris  Lorenzo, 
b.  Hanover,  July  8,  1666;  organist; 
his  son  (2)  Konrad  Fr.,  Braun- 
schweig, 1696  —  Amsterdam,  Dec. 
16,  1765;  organist;  and  cond.;  c. 
72  odes,  etc. 

Hurl'stone,  Wm.  Yeates,  Lon- 
don, Jan.  7,  1876  —  May  30,  1906; 
composer;  at  9  pub.  5  waltzes;  at 
18  held  scholarship  at  R.  A.  M.;  later 
Prof,  there  of  harmony  and  counter- 
point; c.  piano  concerto,  etc. 


Huss,  Henry  Holden,  add  that  he 
and  his  wife,  the  soprano,  Hilde= 
gard  Hoffman,  have  given  joint 
recitals  throughout  America, and  191,0 
in  London.  His  piano  concerto  in 
B  major  has  been  played  with  the 
composer  as  soloist  by  the  N.  Y. 
Philh.,  Boston  Symph.,  Pittsburgh 
and  Cincinnati  Symph,  orch's.  and 
by  the  Monte  Carlo  Symph.,  with 
Pugno  as  soloist;  his  violin  sonata 
has  been  played  by  Kneisel,  Spiering, 
etc.;  his  "  The  Recess!0)ial"  for  mixed 
chorus,  organ,  and  orch.  (Worcester, 
Mass.  Festival,  191 1);  string  quartet 
in  E  minor  (Kneisel  Quartet);  'cello 
sonata  much  played;  songs,  etc. 

Huszia  (hoosh'-la),  Victor,  St. 
Petersburg,  Oct.  16,  1857  —  Lisbon, 
Nov.  14,  1899;  violinist;  pupil  of 
Schradieck  and  Cesar  Thomson; 
1887  cond.  Royal  Academy  of  Music 
Lovers,  Lisbon;  c.  3  Portuguese 
rhapsodies,  Portuguese  suite,  etc. 

Hutch'eson,  (i)  Francis,  b.  Glas- 
gow, 1720;  physician  and  comp.  of 
glees,  etc.,  under  pen-name  Francis 
Ireland.  (2)  E  r  n  e  s  t ,  b.  Mel- 
bourne, Australia,  July  20,  1871; 
pupil  of  Leipzig  Cons.,  1886-1892, 
winning  Mozart  prize  with  a  trio; 
toured  Australia;  studied  with  Staven- 
hagen;  1898  married  Baroness  von 
Pilsach;  from  1900  teacher  Peabody 
Cons.,  Baltimore;  c.  symph.  poem 
"Mfrlin  and  Vivien"  (Berlin,  1899); 
orch.    suite     (do.),    piano    concerto 

(1899). 
Huygens  (hi'-gens), Constant! n, The 

Hague,  Sept.  4,  1596  —  March  28, 
1687;  poet  and  military  secretary  to 
WilHam  11  and  William  HI;  also 
skilful  performer;  c.  over  700  airs  for 
lute,  theorbo,  etc.;  his  son  (2)  Chris= 
tian,  The  Hague,  April  14,  1629  — 
June  8,  169s;  mathematician  and 
musician. 
Hy'att,  Nathaniel  Irving,  b.  Lan- 
singburgh,  N.  Y.,  April  23,  1865; 
pupil  of  White  and  Jefferey  at  Troy; 
from    1887   at   Leipzig   Cons.;    1892 


884 


THE  MUSICAL  GUIDE 


settled  in  Troy  as  teacher;  1895-9 
prof,  of  piano  and  theon',  Syracuse 
University;  then  head  teacher  at  St. 
Agnes  School,  Albany, N.Y.;c.s3Tnph. 
overture  "Enoch  Arden,"  chamber 
music,  songs,  etc. 


If'fert,  August,  b.  Braunschweig, 
May  31,  1859;  singer  and  teacher  in 
various  cities;  author  of  a  vocal 
method. 

Igumnoff  (e-goom'-no£f ),  Kon= 
stantin  Nikolajavich,  b.  Leb- 
edjana,  Tambouv,  May  i,  1873; 
Russian  pianist;  pupil  of  Svereff, 
Siloti  and  Pabst;  1898,  teacher  in 
Tiflis;  1900  Prof,  at  Moscow  Cons. 

Iljinski  (el-yen'-shki),  Alexander 
Alexandrovich,  b.  Tsarkoe  Selo, 
Jan.  24,  1859;  composer;  pupil  of 
KuUak  and  Bargiel;  1885  Prof, 
of  theory  at  the  Philharmonic 
Music  School  in  Moscow;  c.  opera 
"The  Fountain  of  Bastchi-Sarai"; 
symph.;  symphonic  scherzo;  inciden- 
tal music  to  Sophokles'  "Oedipos  "  and 
"Fhiloktctes;"  overture  to  Tolstoi's 
"Czar  Feed  or,"  etc. 

Imbart  de  la  Tour  (an-bar  du  la 
toor),  Georges,  b.  Paris,  May  20, 
1865;  operatic  tenor;  pupil  of  the 
Cons.;  debut  1891,  Geneva;  sang  at 
the  Opera  Comique,  Paris,  and  Th. 
de  la  Monnaie,  Brussels;  1901  sang 
in  the  U.  S. 

India,  Sigismondo  d',  flourished 
1 608-1 621;  born  of  a  noble  family  in 
Palermo;  court  mus.  director  in 
various  Italian  cities;  c.  madrigals, 
etc. 

Indy,  Vincent  d',  add  that  while 
1 85 1  is  the  birth  year  in  the  Paris 
Cons,  records,  the  composer  gave 
Philip  Hale  the  year  1S52  as  correct; 
1896  he  became  prof,  of  Composition 
at  Paris  Cons.;  1896  with  Bordes  and 
Guilmant  founded  the  Schola  Can- 
tonitn,  and  became  director;  c.  "Le 
chant  de  la  cloche,"  dramatic  legend 


in  seven  pictures,  with  his  own  text, 
for  soli,  double  chorus  and  orch. 
Festival  cantata  "Pour  I'inaugura- 
tion  d'une  Statue"  for  bar>'tone, 
chorus  and  OTch.,"Ode  a  Valence, "  do. 
symph.  in  B  flat  1902;  Jour  d'ete  a 
la  montagne,  1905;  Souvenirs  for  orch. 
1906;  songs,  piano  pieces  and 
choruses,  author  of  a  Coiirs  de  Com- 
position Musicale,  1902,  and  a  life  of 
Cesar  Franck,  1906. 

Ippolitov=Ivanov(ep-p6'-le-t6f-e'-va- 
nof),  Mikhail  Mikhailovitch,  b. 
Gatchina,  Nov.  19,  1859;  added  his 
mother's  name  to  Ivanoff,  to  dis- 
tinguish him  from  I\anoff  (2);  pupil 
of  Rimsky-Korsakov;  at  St.  Peters- 
burg Cons.;  1882  dir.  of  the  Music 
School  and  cond.  in  Tiflis;  1884 
cond.  at  the  Imperial  Theatre;  from 
1893  prof,  of  theory  at  Moscow  Cons, 
from  1899  cond.  the  Private  Opera;  c. 
opersis  " Riith,"  (Tiflis,  iS8j)," As ja," 
(Moscow,  1900);  and  "  Sabava 
Putjatischna,"  (St.  Petersburg,  1901); 
overtures  "Jar  Chmcl,"  "Spring" 
and  "Medea";  orch.  suite,  "Caucasian 
Sketches  ";  \-iolin-sonata  (rearranged 
as  a  Sinfonietta) ;  character-pictures 
for  chorus  and  orch.;  cantatas  " Jn 
Memory  of  Pushkin"  of  Gogol  and 
Shukovski,  and  "Legend  of  the  White 
Swan  of  Novgorod,"  etc.;  author  of 
a  book  on  Georgian  folk-songs. 

I'rons,  H.  S.,  Canterburj-,  1838  — 
Nottingham,  June  29,  1905.  Organ- 
ist and  prolific  comp.  of  church  music. 

I'vanov,  (1)  Nicholas  Kusmich, 
Poltava,  Oct.  22,  1810^  Bologna, 
July  7,  1880;  tenor;  popular  in  Lon- 
don, 1834-37;  accumulated  a  fortune 
in  Italy  and  Paris  and  retired  in  1845; 
(2)  Michael  Mikhailovich,  b. 
Moscow,  Sept.  23,  1849;  pupil  of 
Tchaikovsky  and  Dubuque  at  the 
Cons.;  critic  and  comp.;  1870-76  at 
Rome;  then  critic  for  the  Novoe 
Vrcmya;  c.  sj-mph.  ".4  Night  in  May"; 
symph.  prologue  "Savonarola";  four 
operas  including  "Potemkin's  Feast" 
(1888),  and    "Sabava    Putjatischna" 


\ 


DICTIONARY  OF  MUSICIANS      885 


(Moscow,  1899);  incidental  music  to 
"Mcdca,''  etc.  His  opera  "Treach- 
ery" (Moscow.  Feb.  191 1),  made  great 
success. 

J 

Jachimecki"  (yakh-i-met'-ski),  Lad= 
islav,  b.  Lemberg,  Julj'  7,  1882; 
pupil  of  Schonberg  and  Griidener; 
author  and  composer  in  Cracow. 

Jaco'bi,  Qeorges,  Berlin,  Feb.  13, 
1840  —  London,  Sept.  16,  1906; 
violinist;  pupil  of  De  Beriot,  Massart, 
etc.,  at  Paris  Cons.;  1861,  violinist 
at  the  Opera  when  "Tannhauser"  was 
first  performed;  cond.  light  opera  and 
ballets,  first  in  Paris,  and  for  26  years 
('72-'95)  at  the  Alhambra,  London;  c. 
operas  and  a  hundred  ballets  and 
divertissements,  many  of  them  per- 
formed in  America,  Brussels,  Berlin, 
Munich,  Rome,  Paris. 

Jacques  (ja'-ciuez),  Edgar  F.,  Lon- 
don, March  27,  1850  —  Brighton, 
Dec.   30,    1906;   organist  and  critic. 

Jaffe  (yaf'-fa),  Sophia,b.  Odessa,  Feb. 
26,  1872;  violinist;  pupil  of  Auer;  later 
at  Paris  Cons,  where  she  won  first 
prize;  toured  Germany  with  success 
but  inheriting  a  fortune,  left  the 
concert  stage. 

Jager  (ya'-ger),  Fd.,  Hanan,  Dec.  25, 
1838  —  Vienna,  June  15,  1902;  tenor 
at  Vienna  and  Bayreuth;  notable  as 
Siegfried  and  Parsifal. 

Jarnefelt  (yam'-e-felt),  Armas,  b. 
Wiborg,  Finland,  1869;  pupil  of 
Helsingfors  Cons.,  later  of  Becker  in 
Berlin,  and  Massenet  in  Paris;  cond. 
of  court  opera  in  Stockholm;  1906  dir. 
of  Helsingfors  Cons.;  c.  sjonph.  poem 
"Korsholm";  fantasie  "Heimat 
Klang"  for  orch.;  important  piano 
pieces,  etc. 

Jarno  (yar'-no),  Qeorg,  b.  Pesth, 
June  3,  1868;  composer;  cond.  at  Bres- 
lau  city  theatre,  c.  operas  "Die 
Schwarze  Kaschka"  (Breslau,  1895), 
"Der  Richter  von  Zalamea,"  (do., 
1899),  "Dor  Zerhrochene  Krttg," 
(Hamburg,    1900),  "Der  Goldfisch," 


(Breslau,  1907),  and  "Die  Forster- 
Chriskl"  (Vienna,  1907). 

Jaspar  (zhas-par),  Maurice,  b. 
Liege,  June  20,  1870;  pianist;  pupil 
and  later  teacher  at  the  Cons.;  c. 
piano  pieces  and  songs. 

Jenner  (yen'-ner),  Qustav,  b.  Keit- 
um,  Island  of  Sylt,  Dec.  3,  1865; 
pupil  of  Stange  and  Gange  in  Kiel, 
of  Brahms  and  Mandyczewski  in 
Vienna;  from  1895  director  in  Mar- 
burg; c.  songs  and  quartets  for 
women's  voices. 

Jentsch  (yentsh).  Max,  b.  Ziesar, 
Saxony,  Aug.  5,  1855;  pianist  and 
teacher;  pupil  of  Stern  Cons.;  toured 
the  Orient;  1884-89  in  Constanti- 
nople; later  in  Berlin;  from  1894  in 
Vienna;  c.  s>Tnphony,  "Elysium"  for 
chorus  and  orch.,  2  operas,  etc. 

Jiranek  (ye'-ra-nek),  (i)  Anton 
ca.  1712  —  Dresden,  Jan.  16,  1761; 
studied  at  Prague;  later  joined  the 
royal  chapel  at  Warsaw.     (2)  Josef, 

b.  Ledec,  Bohemia,  March  24,  1855; 
pianist;  pupil  of  Smetana,  and  of  the 
organ  school  at  Prague;  studied  the 
harp  with  Stanek,  the  violin  with 
Hrimaly,  and  was  a  harpist  at  first; 
1877-91  piano  teacher  at  Charkov; 
thereafter    prof,    at    Prague    Cons.; 

c.  "Ballade"  and  "Scherzo  fantasti- 
quc"  for  orch.,  piano  pieces;  author  of 
methods.  His  brother  (3)  Aloys, 
b.  Ledec,  Sept.  3,  1858;  pupil  of 
Prague  Organ  School,  and  in  compo- 
sition of  Fibich;  from  1881,  piano 
teacher  at  Charkov;  c.  opera  "Dag- 
mar,"  etc. 

Johnson,  (i)  John,d.  1594-5;  musi- 
cian to  Queen  Elizabeth;  c.  lute- 
music;  (2)  William  Lyman,  b. 
Boston;  studied  there,  graduated 
from  Harvard,  1897;  c.  Persian  sere- 
nade for  tenor,  chorus  and  orch.;_  5 
preludes  for  orch.,  etc.  (3)  Wil= 
liam  Spencer,  b.  Athol,  Mass., 
Dec.  7,  1883;  pupil  of  Perabo,  and 
Goetschius,  Boston;  1901-7  of  Rein- 
ecke  and  H.  Riemann,  Leipzig;  from 
1910,  teacher  at  Quincy,  111.;  c.  songs. 


886 


THE  MUSICAL  GUIDE 


Jomelli  (yo-mel'-le),  Jeanne,  b.  Am- 
sterdam, May  i8,  1879;  soprano; 
pupil  of  Meschaert,  Stockhausen 
and  Massenet;  debut  Amsterdam 
Opera,  1897;  toured  in  concert; 
190S  (?),  Met.  Op.,  N.  Y.;  1907-8 
Manhattan  Op.,  N.  Y. 

Josephson(yo'-zef-z6n),Jacob  Axel, 
Stockholm,  March  27,  1818 — Upsala, 
March  29,  1880;  Swedish  cond.  and 
composer. 

Juon  (zhwon),  Paul,  b.  Moscow, 
March  8,  1872;  violinist;  pupil  of 
Hrimaly,  Taneiev  and  Arensky,  later 
of  Bargiel  in  Berlin,  where  he  won 
the  Mendelssohn  Scholarship;  1896 
taught  theory  at  Baku;  1897  settled 
in  Berlin;  from  1906  teacher  of  compo- 
sition at  the  Royal  High  School  for 
music;  c.  2  symph.,  the  second  prod, 
with  much  interest  at  Meiningen, 
1903,  and  in  London,  1904  and  1905; 
fantasie  ior orch.,"W achterweise,"  on 
Danish  folk-themes,  orch.  suite, 
"Aus  mcinem  Tagcbiick";  chamber 
music,  "Satyrs  and  Nymphs,"  and 
other  piano  pieces. 

Juul  (yool),  Asger,  b.  Copenhagen, 
May  9,  1874;  pupil  of  Hansen, 
Rosenhoff  and  Riemann  in  Leipzig; 
from  1906  teacher  and  critic  at  Co- 
penhagen; c.  piano  pieces  and  songs. 

K 

Kad'Ietz,  Andreas,  b.  Dobrisch, 
Bohemia,  Feb.  18,  1859;  violinist; 
concertmaster  at  Imperial  Russian 
Opera,  St.  Petersburg,  and  teacher; 
pupil  Prague  and  St.  Petersburg 
Cons.;  c.  opera,  ballets,  and  violin 
pieces. 

Kahl  (kal),  Oscar  W.,  Thuringia, 
1862  —  Baltimore,  Dec.  29,  1910; 
teacher  in  Peabody  Cons.,  Baltimore. 

Kajanus  (ka-ja'-noos),  Robert,  b. 
Helsingfors,  Dec.  2,  1856;  Finnish 
composer;  pupil  Leipzig  Cons.; 
returned  to  Helsingfors,  founded 
an  orchestra  school,  and  developed 
the  Phil,    orch.;  1897  mus.    director 


of  the  University",  c.  2  Finnish  rhap- 
sodies, symph.  poems  "  Aino"  and 
"Kullervo";  orch.  suite  "Summer 
Memories,"  cantata,  etc. 

Kalafati  (ka-la'-fa-te),  B.,  b.  Eu- 
patoria,  Crimea,  1869;  Russian  com- 
poser of  songs  and  piano  sonatas,  etc. 

Kam'mel,  Anton,  Hanna,  Bohemia, 
1740  —  London,  before  1788;  violinist 
and  composer;  pupil  of  Tartini;  c. 
masses,  violin  duets,  etc. 

Kaempfert  (kemp'-fert).  Max,  b. 
Berlin,  Jan.  3,  1871;  studied  in 
Paris  and  Munich;  1899  cond.  at 
Palm  Garden,  Frankfort-on-Main;  c. 
opera,  3  rhapsodies  for  orch.,  etc. 

Kalin'nikov,  Vassili  Sergeievich, 
Voina,  Jan.  13,  1866  —  Jalta,  Crimea, 
Jan.  II,  1901;  pupil  of  Iljinski  and 
Blaramberg  at  Moscow;  1893  as- 
sistant cond.  at  the  Italian  Opera 
there;  compelled  to  retire  from 
pulmonary  trouble  and  go  south;  c. 
2  symph.,  the  first  in  G.  minor,  much 
played;  2  symph.  poems,  "  The 
Nymphs"  and  "Cedar  and  Palm"; 
music  to  Tolstoi's  "Czar  Boris," 
(Little  Theatre,  Moscow,  1899); 
" Russalka,"  ballade  with  orch.,  can- 
tata, "St.  John  of  Damascus,"  etc. 

Kap'pey,  Jacob  Adam,  Bingen, 
1826  —  Chatham  (?)  Dec.  6,  1907; 
went  to  England  1848;  1857  band- 
master Royal  Marines;  c.  opera  and 
cantata.  Author  of  a  history  of 
wind  instrumental  bands,  (1894). 

Karg=Elert  (karkh-a'-lert),  Sigfrid, 
b.  Oberndorf,  Nov.  21,  1879;  pupil 
Leipzig  Cons. ;  teacher  and  composer, 
especially  for  the  harmonium. 

Karlovicz  (karl'-yo-vich),  Mieczy= 
slav,  Wisznievo,  Lithuania,  Dec.  11, 
1876 —  (in  an  avalanche),  Zakopane, 
GaHcia,  Feb.  10,  1909;  composer; 
studied  in  Warsaw  and  Berlin;  c. 
symph.,  symphonic-trilogy  "Three 
Ancient  Songs"  (1907),  "Lithuanian 
Rhapsody"  (1908),  also  pubhshed 
Chopin  letters  and  documents  (War- 
saw and  Paris,  1905). 

Kasachen'ko,  Nicolai  Ivanovich, 


DICTIONARY  OF  MUSICIANS      887 


b.  Russia,  May  3,  1858;  cond.;  pupil 
St.  Petersburg  Cons.;  1883  chorus 
master  at  the  Imperial  Opera;  cond. 
"Russian   Concerts"   in   Paris,  1898, 

c.  sjonph.,  2  oriental  suites,  2 
operas,  "Prince  Serebrianni"  (St. 
Petersburg,  1892),  and  " Pan Sotkin," 
(do.,  1902). 

Kasan'li,  Nicolai  Ivanovich,  b. 
Tirasjx)!,  Dec.  17,  1869;  Russian 
composer;  pupil  Odessa  Music  school 
and  St.  Petersburg  Cons.;  has  cond. 
Russian  sjTnph.  concerts  in  Germany, 
Bohemia,  etc.;  c.  symph.,  sinfonietta, 
cantata  "Russalka"  (Munich,  1897), 
and  " Leonore"  (do.). 

Kasch'in,  Daniel  Nikitich,  Mos- 
cow, 1 7 73-1 844;  composer  of  Polish 
folk,  and  patriotic  songs;  also  three 
operas. 

Kaschinski  (ka-shfa'-ski),  Viktor, 
Wilna,  Dec.  30,  181 2-1870;  pupil  of 
Eisner  in  Warsaw;  cond.  at  St. 
Petersburg;  c.  operas. 

Kash'perov,  Vladimir  Nikitich, 
Simbirsk,  1827  —  Romanzevo,  July 
8,  1894;  Russian  composer;  pupil 
of  Voigt  and  Henselt;  and  comp. 
an  opera  in  1850,  then  went  to  BerUn 
to  study  with  Dehn;  thence  'vi'ith 
Glinka  to  Italy,  where  he  produced 
various  operas.  "Maria  Tudor" 
(Milan,  1859),  "Rienzi"  (Florence, 
1863),  "Consuelo,"  (Venice);  1866-72 
he  was  singing  teacher  at  Moscow 
Cons.,  and  organized  public  chorus- 
classes;  c.  also  operas  "Tfie  Weather" 
(St.  Petersburg,  1867),  and  "Taras 
Bulba"  (Moscow,  1893). 

Kat'zer,  Karl  August,  Berge,  near 
Bautzen,  Dec.  3,  1822  —  May  19, 
composer;  1904;  composer  of  Wendina 
songs  and  dances. 

Kaulich  (kow'-likh),  Josef,  Floris- 
dorf,  near  Vienna,  Nov.  27,  1827- 
1900;  composer  of  7  masses,  also 
military  music. 

Kaun  (kown),  Hugo,  b.  Berlin, 
March  21,  1863;  pupil  at  Royal  High 
school  under  Grabau  and  Fr.  Schulz; 
also  with  K.  and   O.  Raif,  and  Fr. 


Kiel;  1887  took  up  residence  in  Mil- 
waukee, Wis.,  as  teacher  and  cond.; 
1900  returned  to  Berhn;  191 2,  elected 
to  Berlin  Royal  Academy;  c.  symph. 
"An  Mein  Vaterland"  symph.  prolog 
"Marie  Magdalene";  s>Tnph.  poems; 
festival  march  "The  Star  Spangled 
£aw»cr, "  chamber  music  wdth  orch., 
" Normannen  Abschied";  i-act  opera 
"Der  Pietist"  or  "Oliver  Brown,"  and 
important   songs    and    piano  pieces. 

Kelly,  Thomas  Alex.,  Sixth  Earl 
of  Erskine,  Sept.  i,  1732  — Brus- 
sels, Oct.  9,  1781;  pupil  of  Stamitz; 
c.  popular  overtiure  "The  Maid  of 
the  Mill,"  minuets,  etc. 

Keussler  (kois'-ler),  Gerhard  von, 
b.  Schwanenburg,  Livonia,  July  6, 
1874;  pupil  Leipzig  Cons.;  cond.  2 
singing  societies  in  Prague;  c.  symph. 
poems,  etc. 

KialI'mark  (i)  George,  Kings, 
Lynn,  Feb.  1781  —  Islington,  March 
1835;  vioHnist;  and  comp.  His  son 
(2)  George  Frdk.,  IsUngton,  1804 
—  London,  1887,  was  a  pianist. 

Kiefer  (ke'-fer),  Heinrich,  b.  Nur- 
emberg, Feb.  16,  1867;  'cellist;  pupil 
of  Royal  Cons.,  1883  at  Munich, 
1884,  Stuttgart,  1887-90,  Frankfort- 
on-Main  with  Cossmann;  1896; 
soloist  of  Leipzig,  Phil.;  1898  do.  of 
Berlin  Phil.;  190P,  teacher  at  Stern 
Cons.;  from  1902,  co-founder  of  the 
Munich  string  quartet;  tours  widely. 

Kienzl,  Wm.,  his  opera,  "  Kuhrei- 
gen"  (Vienna  Volksoper,  Nov.  25, 
191 1)  has  been  a  great  sue.  in  Europe. 

Kin'der,  Ralph,  b.  Stalybridge,  Lan- 
cashire, Jan.  27,  1876;  organist  in 
Bristol  R.  I.;  1888-1897  studied  in 
London  with  Dr.  Pearce,  Dr.  Turpin, 
and  E.  H.  Lemare;  from  1899  in  Phil- 
adelphia, Holy  Trinity;  toured  U.  S.; 
c.  church  music,  etc. 

Kirbye  (ker'-bi),  George,  d.  Bury  St. 
Edmunds,  Oct.  1634;  popular  English 
composer  of  madrigals  1592-1634. 

Kit'ziger,  Frederick  E.,  Saxony. 
1850  —  New  Orleans,  Feb.  3,  1903; 
teacher. 


888 


THE  MUSICAL  GUIDE 


Kleefeld    (kla-felt),  Dr.   Wilhelm, 

b.  Mayence,  April  2,  1868;  author  and 
comp.;  pupil  of  Radecke,  H artel  and 
Spitta;  1 89 1  cond.  in  Mayence,  etc.; 
1897  Ph.  D.,  i898-'oi  teacher  at  the 
Klindworth-Scharwenka     Cons.;     c. 
opera  "Anarella"  (Konigsberg,  1896) 
string  suite,  etc. 
Klenov'ski,     Nicholas    Semeno= 
vich,  b.  Odessa,   1857;  pupil  Mos- 
cow Cons.;  leader  of  private  concerts 
there  1883-93;  when  he  became  cond. 
at    the    Imperial    Theatre,    then    a 
teacher  at  Tiflis  tiU   1902,  then  as- 
sistant cond.  of  the  Imperial  Chapel 
at  St.  Petersburg;  c.  ballets,  "Has- 
heesh"   Moscow,    1885;    "Salanga" 
(St.    Petersburg,    1900);   orch.   suite 
"Fata  Morgana,"  cantatas,  etc. 
Klicka  (klitch'-ka),  Josef,   b.  Klat- 
tau,  Bohemia,  Dec.15,  1855;  organist; 
pupil  Prague  Cons,  and  later  Prof, 
there;  c.  an  opera,  organ  music,  etc. 
Klose  (klo'-ze),    Friedrich,  b.  Karls- 
ruhe,   Nov.    29,     1862  ;    composer ; 
pupil    of    Lachner,    Ruthardt    and 
Bruckner;  1907  teacher  of  comp.  at 
the  Akademie  der  Tonkunst,  Munich; 
c.  dramatic  syrnph.  "Ilsebill"  or  "The 
Fisher   and    his    Wife"    (Karlsruhe, 
1903);  mass  with  orch.;  symph.  poem 
in  three  parts  "Das  Leben  ein  Trauni" 
with    organ    and    women's    chorus, 
(Karlsruhe,  1899),  etc. 
Knap'ton,  Philip,  York,  1788-1833; 
assistant    cond.    of   York    Festivals 
and  comp. 
Knupfer  (k'nip'-fer),     Sebastian, 
Asch,  Saxony,  1633  t- Leipzig,  1676; 
editor  and  comp. 
Kochetov     (ko'-che-tof),     Nicholas 
Razoumnikovich,     b.     Oranien- 
baum,    July    8,    1864;    mainly  self- 
taught;  critic  and  comp.  of  a  symph. 
(1895)  an  opera    and    piano  pieces. 
Kockert     (kek'-ert),     Adolph,     b. 
Magdeburg,  Oct.  27,  1828;  violinist; 
pupil   Prague    Cons.;    185 7-1 881    in 
business,  then  returned  to  composi- 
tion; c.  oratorios,  etc. 
Koenen,  (koo'-nen),  Tilly,  b.  Java, 


of  Dutch  parents,  her  father  a  cavalry 
general  and  Governor  of  the  Province ; 
pupil  of  the  Amsterdam  Cons,  and 
with  Cornelie  van  Zanten;  1899, 
sang  in  London,  Berlin,  etc.;  1909  in 
the  U.  S. 

KoessIer,(kes'-ler)  Hans.b.  Waldeck, 
Jan.  I,  1853;  organist;  pupil  Munich 
Cons.  1877  teacher  at  Dresden  Cons., 
and.  cond.  of  the  Liedertafcl;  1882 
teacher  at  Budapest ;,c.  Psalm  for  16 
voices,  winning  a  prize  at  Vienna;  a 
symph.,  an  opera  "Der  Mimzenfranz," 
(Strasburg,  1902),  etc. 

Kolachev'ski,  Michail  Nicolaiev= 
ich,  b.  Oct.  2,  1851  ;  pupil  Leip- 
zig Cons. ;  c.  "  Ukranian  "  symph. 
and  church  music. 

Kolakov'ski,  Alexei    Antonovich, 

b.  Podolia,  1856;  violinist;  pupil  St. 
Petersburg  Cons.,  winning  gold 
medal ;  and  government  funds  for 
foreign  study ;  teacher  at  Moscow 
Cons.,  and  solo  violinist  at  the  Im- 
perial Theatre;  1897  teacher  in  Kiev. 

Kolb  (kolp)  Karl  man  n,  Kostlam, 
Bavaria,  1703  —Munich,  1765;  Bene- 
dictine monk;  organist  at  the  Abbey 
of  Aschbach,  later  tutor  in  Munich; 

c.  church  music. 

Koler  (ka'-ler),  David,  Zwickau, 
Saxony  (2)  —  July,  1565;  composer; 
1563  cond.  at  Gustrov  in  Mecklen- 
burg; then  cantor  at  Zwickau  till  his 
early  death;  c.  important  work  "  Ten 
Psalms"  (Leipzig,  1554)- 

Komorovski  (kom-o-rof'-ski),  Ignaz 
Marzel,  Warsaw,  1824  — Oct.  14, 
1858;  composer;  Polish  song  composer. 

Konigsperger  (ka'-nikhs-pcrkh-6r), 
Marianus,  Roding,  Bavaria,  Dec.  4, 
1708 — Ratisbon,  Oct.  9,  1769.  Bene- 
dictine monk  who  devoted  the  proceeds 
of  his  very  successful  works  to  the 
Abbey;  c.  church  music,  also  operas. 

Konius,  vide  conus. 

Konnemann  (ken'-ne-man),  Ar= 
thur,  b.  Baden-Baden,  March  12, 
1851;  composer;  pupil  of  his  father  (a 
cond.  of  the  Kur-orchestra) ,  Kras- 
selts  and  Deeckes;    theatre-cond.  in 


DICTIONARY  OF  MUSICIANS       889 


various  cities;  from  1887  in  Mahrisch- 
Ostrau  as  director  of  a  conservatory 
and  cond.  c.  the  Luitpold-jjrize  opera 
"Z)er  tolle  Eberslein"  (Munich,  1898); 
syinph.  suite  "Indien"  etc. 

Koptjajev  (k6pt'-ya-yef),  Alexan= 
der  Petrovich,,  b.  St.  Petersburg, 
Oct.  12,  1868  ;  author  and  com- 
poser of  "Oriental  Dames"  and 
"Elegie,"  for  orch.,  etc. 

Korestchenko  ( k6r-esht-chen'-ko), 
Arseni  Nicholaievich,  b.  Moscow, 
Dec.  18,  1870;  pupil  of  the  Cons., 
wirming  a  gold  medal  in  1891;  later 
teacher  there  and  in  the  School  of 
the  Synod ;  c.  i-act  opera  "  Bel- 
shazzar's  Feast"  (Moscow,  i892),2-act 
"The  Angel  of  Death,"  "The  Ice 
Palace"  (Moscow  1892);  two"Sym- 
phonic  Pictures,"  "Symphonie  Lyr- 
ique"  (op.  23),  chamber  music,  etc. 

Kor'ganov,  Qennari  Ossipovich, 
Kwarelia,  May  12,  1858  —  Ros- 
tov, April  12,  1890;  pianist  and 
composer;  pupil  of  Leipzig  and  St. 
Petersburg  Cons.;  c.  piano  pieces,  etc. 

Korn'gold,  Erich  Wolfgang,  b. 
Vienna,  May  29,  1897;  remarkable 
boy  composer  and  pianist;  at  a  con- 
cert in  Berlin,  March  191 1,  his  trio  in 
D  Major,  op.  I.,  composed  at  the  age 
of  13,  was  played;  also  portions  of  two 
piano  sonatas,  and  a  series  of  "  Fairy 
Pictures  ";  he  c.  a  ballet  given  at  the 
Royal  Opera  and  elsewhere;  trio 
(Rose  Quartet,  Berlin);  serenade  and 
pantomime,  "The  Snowman,"  (Lon- 
don, 191 2). 

Kotshetov,  vide  kochetov. 

Kovarovic  (ko-var'-zho-vits),  Karl, 
b.  Prague,  Dec.  9,  1862;  pupil  of  the 
Cons.,  and  of  Fibich;  from  1899 
cond.  at  the  Bohemian  Landestheater 
in  Prague;  where  many  of  his  operas 
have  been  given  from  1884  to  "Fra- 
quita"  (1902);  c.  ballet  "Hasheesh," 
piano  concerto,  etc. 
Cozlovski  (kos  I'yof'-ski),  Joseph 
Antonovich,  Warsaw,  1757  —  St. 
Petersburg,  Feb.  11,  1831;  teacher 
in  the  household  of  Prince  Oginski; 


went  to  the  Turkish  war,  attracting 
the  notice  of  Prince  Potemkin,  who 
took  him  to  St.  Petersburg,  where  he 
became  director  of  the  court  balls, 
and  c.  a  war  song  which  was  for  a 
long  time  the  Russian  national 
anthem;  c.  also  requiem  to  the  Polish 
King  Stanislas,  and  the  Czar  Alex- 
ander I,  etc. 

Kramm,  Qeorg,  b.  Kassel,  Dec.  21, 
1856;  violinist  of  comrt  orch.  at  Kas- 
sel, from  1880  in  Diisseldorf,  where 
his  opera  "Leonore"  was  prod.  1903. 

Kraus  (krows),  (i)  Joseph  Martin, 
Miltenberg,  1756  —  Stockhobn,  1792; 
pupil  of  Abt  Vogler ;  1778  director 
and  cond.  at  Stockholm  opera; 
c.  operas,  symphs.,  etc.    (2)  Ernst, 

b.  Erlangen,  Bavaria,  June  8,  1863; 
tenor;  pupil  of  Galliera  and  Frau 
Schimann-Regan;  1893  sang  at 
Mannheim;  from  i8p6,  Berlin  Royal 
Opera;  (3)  Felix  von,  (not 
Krauss  as  given),  b.  Vienna,  Oct. 
3,  1870;  bass;  pupil  of  Stockhausen 
for  two  months,  but  largely  self- 
taught;  sang  Hagen  and  Gurnemanz 
at  Bayreuth;  from  1908  teacher  at 
Royal  Akad.  der  Tonkunst,  Mimich. 
His  wife  (4)  Adrienne,  (Os= 
borne)  b.  Buffalo,  N.  Y. ,  1837; 
pupil  of  Marie  Gotze. 

Kreider  (kri'-der),  Noble  Wick= 
ham,  b.  Goshen,  Ind.;  composer; 
pupil  from  15th  year  of  Clarence 
Forsyth, Indianapolis;visitedEurope; 
lives  at  Goshen;  c.  orch.  works,  and 
important  piano  pieces,  ballads,  con- 
sert  studies,  etc. 

Krem'berg,  Jakob, Warsaw,  ca.  1650 
—  London  (?)  after  17 18;  composer; 
court  poet  and  comp.  at  Halle,  Stock- 
holm, Hamburg,  Warsaw  and  London; 

c.  songs  of  unusual  melodiousness. 
Kreuz    (kroits),    Emil,  b.  Elberfeld, 

May  25,  1867;  viola  player;  pupil  of 
Japha  at  Cologne;  1883,  won  an  open 
scholarship  at  the  R.  A.  M.,  London; 
studied  there  till  1888,  when  he  made 
debut  as  viola-soloist  in  Berlioz' 
"Harold  in  Italy";    member  of  the 


890 


THE  MUSICAL  GUIDE 


Queen's  Band  1900-3,  then  assistant 
at  Covent  Garden;  c.  viola  concerto, 
prize  quintet,  etc. 

Kroeger,  E.  R.  add  that  his  orch. 
suite  "Lalla  Rookk"  has  been  played 
by  the  Thomas,  Herbert,  Damrosch 
and  other  orch's.  His  comps.,  in- 
clude a  piano  sonata  op.  33,  concert 
studies  for  the  piano,  violin  and 
piano  sonata;  and  many  other  piano 
pieces,  songs,  etc. 

Krogulski  (kro-gool'-ski),  Joseph, 
Tamov,  1815 — Warsaw,  Jan.  9, 
1842;  composer;  pupil  of  Eisner; 
c.  10  masses,  an  oratorio,  etc. 

Krohn  (kron),  Ilmari  Henrik 
Rheinhold,  b.  Helsingfors,  Nov.  8, 
1867;  Finnish  author  and  comp.  of 
sacred  songs,  piano  sonatas,  etc. 

Kroy'er,  Theodor,  b.  Mmiich,  Sept. 
9,  1873;  author,  critic  and  comp. 
studied  theologj^  then  music  at  the 
AkadamiederTonkunst;  1897,  Ph.  D. 
Munich  University;  c.  2  symphonies 
with  chorus  and  soli,  chamber  music, 
etc. 

Kruse  (kroo'-ze),  Qeorg  Richard, 
b.  Greiffenberg,  Jan.  16,  1856; 
studied  in  Leipzig;  opera  cond.  in 
Germany  and  America;  189 1-4  critic 
of  the  Herold,  Milwaukee;  then 
conducted  tour  of  "Hansel  und  Gret- 
el"  till  1896,  when  he  was  cond.  in 
Switzerland;  1901  settled  in  Berlin  as 
biographer;  c.  incid.  mus.  to  "As 
You  Like  It"  etc.  (2)  Johann 
Secundus.  add  that  from  1897  he 
cond.  Sunday  and  Monday  concerts 
in  London. 

Kunwald  (koon'-valt),  Ernst,  b. 
Vienna,  April  14,  1868;  studied  law 
there,  then  music  at  Leipzig  Cons.; 
became  correpetitor  at  the  city 
theatre;  1895,  cond.  operetta  at 
Rostock,  1901-2  at  Teatro  Real, 
Madrid, where  he  ga^'e  Wagner's  Ring 
cycle  complete  and  was  decorated  by 
the  Queen  of  Spain;  1902,  cond.  at 
opera  Frankfort.  1906  cond.  at  Nur- 
emberg city  theatre;  conducting  two 
concerts  of  the  New  York  Phil,  aa 


guest,  Feb. 1906;  1907  director  of  the 
Berhn  Phil,  orch.;  191 2  engaged  to 
conduct  the  Cincinnati  Symph.  Orch. 
Kupsch  (koopsh),  Karl  Gustav, 
Berlin  (?)  —  Naimiberg,  July  30, 
1846;  cond.  and  teacher  in  Leipzig, 
Dresden;  1838-45  Rotterdam,  dir. 
Singakademie;  then  director  of  theatre 
in  Naumberg.  Robert  Schumann 
was  his  pupil  in  composition. 


Labey  (li-be'),  Marcel,  b.  Dept. 
Besinet,  France,  1875;  studied  law  in 
Paris,  then  with  d'Indy  at  the  Schoh 
Cantorum;  c.  symph.  (1903),  fantasie 
for  orch.,  sonatas,  etc. 

Laborde  (la'-b6rd)  (rightly  Bediez), 
Rosine,  Paris,  May  30,  1824  — 
Chezy -  sur - Mame,  Sept.  i,  1907; 
soprano;  sang  as  Rosalie  Villaume 
till  1843  when  she  married  the  teno» 
Laborde  (rightly  Dur);  pupil  Paris 
Cons.;  debut  Op.  Com.,  1840;  1848-9, 
she  and  her  husband  sang  in  America; 
1850-7,  Paris  Opera;  from  1866 
teacher. 

Ladmirault,  (lad-me-ro),  Paul 
Emile,  b.  Nantes,  Dec.  8,  1877; 
began  to  study  at  the  Cons,  piano, 
violin,  organ,  and  harmony  at  7,  and 
to  compose  at  8;  at  15  his  3-act  opera 
Gilles  de  Retz,  was  given  at  Nantes 
(1893);  the  next  year  he  refused  to 
allow  its  repetition;  he  took  first 
harmony  prize  at  the  Nantes  Cons, 
and  1895  entered  Paris  Cons,  under 
Taudou,  winning  first  harmony  prize 
1899.  After  a  year  of  military  ser- 
vice, he  entered  the  classes  of  Faure 
and  Gedalge;  failing  three  times  to 
win  the  Prix  de  Rome,  he  left  the 
Cons.  His  comps.,  include  Le  Choeiir 
des  dines  de  la  Foret  (1903),  Suite 
Bretonne  for  orch.  (1904),  a  Tantum 
Ergo  (1907)  crowned  by  the  Societe 
des  Compositeurs  de  Musique;  pre- 
lude sjTnphonique,  Broceliande  an 
Matin  (1909);  this  is  a  portion  of  a 
dramatic    work    Myrdhin    not    yet 


i 


DICTIONARY  OF  MUSICIANS       891 


produced;  a  symphony  in  c.  major, 
1910;  songs,  piano  pieces,  and  pieces 
for  military  band. 

Laduchin  (lad'-oo-chen),  Nikolai 
Mikailovich,  b.  St.  Petersburg, 
Oct.  3,  i860;  violinist  and  pianist; 
pupil  of  Taneiev  at  Moscow  Cons.; 
c.  symphonic  variations;  loo  chil- 
dren's songs,  ^'Liturgy  of  Johann 
Slatoust"  for  chorus,  etc. 

La  Forge,  Frank,  b.  Rockford,  111., 
Oct.  22,  1877;  pupil  of  his  sister- 
in-law,  Mrs.  Ruth  La  Forge,  then  of 
Harrison  M.  Wild  of  Chicago,  1900 
-04,  Leschetizky,  Vienna,  and  Josef 
Labor  (theory) ;  since  accompanist  to 
Gadski  and  Sembrich  on  their  tours; 
c.  piano  pieces  and  many  successful 
songs. 

Lahele  (or  Heile)  (du  la  el),  George 
de,  Antwerp  after  1550  —  Madrid, 
1589;  chorister  in  Royal  Chapel, 
Madrid;  1576  won  a  silver  lute 
and  a  silver  harp  in  a  compe- 
tition in  Normandy  in  which  in  1575 
Orlando  di  Lasso  had  won  a  prize; 
1578  cathedral  choirmaster  at  Tournai ; 
from  1580  dir.  Royal  Chapel,  Ma- 
drid; c.  volume  of  8  remarkable 
masses  (Odo  Missae,  Antwerp,  1578) 
on  themes  by  other  composers. 

Lalande    (la-lahd),    Desire,    Paris, 
1867  —  London,   Nov.  8,  1904;  solo- 
oboist    of    the    Queen's    Hall    and 
j      other  orchestras. 

!  Lalevicz  (la-la'-vich),  Qeorg  von, 
b.  St.  Petersburg,  Aug.  21,  1876; 
piano  teacher;  pupil  of  the  Cons.; 
1900,  won  the  Rubinstein  competi- 
tion in  Vienna;  1902-5  prof,  in 
i  Odessa  Cons.,  after  that  at  Cracow. 
i  Lambrino  (lam-bre'-no),  Telema- 
que,  b.  Odessa,  Oct.  27,  1878 
(of  Greek  parents);  pianist;  studied 
there  at  the  Royal  Akad.  der  Ton- 
kunst,  Munich,  and  with  Teresa 
Carreiio;  from  1900  lived  in  Leipzig, 
from  1908  teacher  at  the  Cons. 

Lamoureux,  Chas.,  the  correct  date 
of  his  death  is  Dec.  21,  1899. 

Lamper'ti,    Giovanni     Battiste, 


d.  Berlin,  March  18,  1910.  Famous 
singing  master;  lived  in  Dresden  and 
wrote  "The  Technic  of  Bel  Canto," 
1905. 

Lamping  (lam'-pink),  W.,  b.  Lingen, 
Hanover,  1861;  pupil  of  KuUak's 
Academy;  from  1886,  director  of  the 
"  Arion"  and  org.  at  Beilefeld;  edited 
Bach  works;  1907  Royal  Prof. 

Lancia  (lan'-cha),  Florence,  (Lad=- 
brake  Clarke),  1840  —  Tunbridge 
Wells,  May  24,  1905;  operatic  and 
concert  vocalist. 

Lan'di,  Camilla,  b.  Geneva  1866; 
mezzo-soprano,  daughter  and  pupil 
of  singers;  debut  1884  Florence; 
1886-92  in  Paris,  then  in  London 
where  her  mother  taught;  toured 
widely  and  returned  to  Geneva. 

Landormy  (Ian -dor -me),  Paul 
Charles  Rene,  b.  Issy,  near  Paris, 
Jan.  3,  1869;  studied  singing  with 
Sbrigha  and  Plan  f on;  published 
philosophical  works;  1902  took  up 
composition  and  musical  biography. 

Lange  (lang'-e),  (Langius,)  (i) 
Hieronymus  Gregor,  Havel- 
berg,  Brandenburg  —  Breslau,  1587; 
in  1574  cantor  at  Frankfort-am- 
Oder;  paralysis  sent  him  to  the 
Breslau  Alms  House,  but  did  not 
prevent  his  composition  of  Latin 
motets  and  songs.  (2)  Hans,  b. 
Constantinople,  Feb.  14,  1884;  pupil 
there  of  Brassin  and  Wondra;  then  of 
Prague  Cons.;  debut  Berlin,  1903. 

Lange=MUller  (lang'- e-mfl-lgr), 
Peter  Erasmus,  b.  Frederiksberg, 
Dec.  I,  1850;  Danish  composer; 
pupil  of  Copenhagen  Cons.;  c.  operas 
"  Tove"  (to  his  own  libretto  1878) ; 
"The  Spanish  Students,"  (1883); 
"Frau  Jeanna"  (1891)  and  "  Vikinge- 
blod''  (Copenhagen  and  Stockholm, 
1900);  symph.  "Autumn";  incid. 
music  to  "Fulvia"  and  "Es  war  ein- 
mal";  orch.  suite  " Alhamhra"  and 
songs  of  decidedly  national  feeling. 

Langey  (lang'-l).  Otto,  b.  Leich- 
holz,  Oct.  20,  1 851;  'cellist;  pupil  of 
Specht,  Cabisius,  etc.;  1877  went  to 


892 


THE  MUSICAL  GUIDE 


London,  playing  in  the  orchestras  of 
Halle  and  Richter;  1889,  went  to  New 
York;  published  many  methods. 

Lanzetti  (lan-tset'-te),  Salvatore, 
Naples,  ca.  1710  —  Turin,  ca.  1780; 
one  of  the  earliest  'cello  virtuosi; 
c.  'cello  sonatas  and  a  method. 

Laroche  (la-r6sh),  Hermann,  St. 
Petersburg,  May  25,  1845  —  Oct.  18, 
1904;  critic  and  comp.;  pupil  of  the 
Cons,  and  of  Tchaikovski,  whose 
friend  and  biographer  he  was;  prof, 
at  Moscow,  later  at  St.  Petersburg 
Cons.;c.  overtiu-e,  etc. 

Lasso,  Orlando  di,  Haberl's  claim 
that  he  was  bom  in  1532,  seems 
to  be  accepted  as  conclusive,  in  spite  of 
Vinchant's  contemporary  statement 
that  1520  was  the  date,  and  Quichel- 
berg's  contemporary  statement  that 
1530  was  the  date.  His  family  seems 
to  have  used  the  name  Lassus  for 
some  time  before  him;  he  signed  his 
own  name  variously. 

Las'son,  (i)  Bredo,  b.  Feb.  24, 
1838;  Norwegian  composer  of  piano 
pieces,  songs,  etc.  His  brother  (2) 
Per,  April  18,  1859  —  June  6,  1883. 

Lat'zelsberger,  Josef,  b.  Allharts- 
berg,  Austria,  Jan.  11,  1849;  pupil 
of  Vienna  Cons. ;  choirmaster  and 
comp.  of  church  music. 

Lavignac  (la-ven-yak)  (Alex.  Jean), 
Albert,  b.  Paris,  Jan.  21,  1846; 
pupil  of  the  Cons.,  and  from  1882 
prof,  there  ;  author  of  many  im- 
portant works  on  Wagner,  etc. 

Lazzari  (lad-za'-re),  Silvio,  Italian 
composer  of  operas  "La  Lepreuse" 
(Op.  Com.,  Paris,  1912),  "Moekfiis," 
etc.;  c.  lyric  drama  "Armor"  (prelude 
at  Lamoureux  concerts,  1895  —  prod, 
at  opera  Lyons  1903,  revived  191 2); 
c.  also  symphonic  pieces,  trio,  etc. 

Lee,  Cordelia,  b.  America  of  Nor- 
wegian parents;  pupil  of  Auer  in  St. 
Petersburg;  played  in  Germany  1910, 
and  with  the  Bliithner  Orch.,  BerUn, 
1912. 

Lehar  (le-har'),  Franz,  b.  Komorn, 
Hungary,  April  30, 1870;  composer  of 


the  world  sweeping  operetta  "Die 
Lustige  Witwe"  (Vienna,  1905,  in 
New  York  and  London  as  "  The 
Merry  Widow");  lives  in  Vienna 
as  cond.  of    the  Tonkiinstlers  orch.; 

c.  also  operas  " Kukuska,"  Leipzig, 
1896,  revised  as  "Tatjana,"  Briinn, 
1905;  operettas  "Wiener  Frauen" 
(Vienna,  1902;  revised  as  "Der 
Schiissel  ziim  Paradiese,"  Leipzig, 
1906);  "Mitislav"  (Vienna,  1907); 
"Edelweiss  utid  Rosenstock"  (1907); 
"Peter  and  Paul  reisen  ins  Schlaf- 
afenland"  (Vienna,  1906);  "Der 
Mann  mil  den  drei  Frauen"   (1908). 

Lehmann=Osten,  Oa'-man-6s-ten) 
Paul,  b.  Dresden,  April  16,  1865; 
pupil  of  Spindler,  Scholtz  and  Schulz- 
Beuthen;  from  1892  dir.  Ehrlich 
Cons,  at  Dresden;  c.  piano  pieces,  etc. 

Leichner  (likh'-ner),  Ludwig,  1836 
—  Berlin,  April  191 2  ;  singer  in 
Wagnerian  r61es  at  Stuttgart,  etc.; 
left  the  stage,  became  a  manufac- 
turer, and  accimiidated  a  great 
fortune. 

Leichtentritt  (likh'-ten-trit),  Hugo, 
b.  Pfleschen,  Posen,  Jan.  i,  1874; 
at  15  taken  to  America,  where  he 
studied  with  J.  K.  Paine,  Boston, 
then  at  the  Royal  Hochschule,  Ber- 
lin; 1901,  Ph.D.;  wrote  theoretical  and 
historical  works  and  c.  chamber 
music  and  songs. 

Le  Jeune    (lu-zuhn),    George    F.,     , 

d.  New  York,  April  11,  1904,  age  62.     s 
Organist  and  comp.  of  church  music,     j 

Lekeu,  Quillaume.  The  correct 
date  of  his  birth  is  Jan.  20,  1870,  and  1 
of  his  death  Jan.  21,1 894.  His  death  ! 
at  24  left  many  unfinished  works,  but  !i 
enough  were  complete  to  assure  his  | 
fame,  among  them  3  etudes  sym-  1 
phoniques  (1889,  1890);  adagio  for  |' 
quatuor  and  orch.  (1891),  epithalame,  ' 
for  string  quintet,  organ  and  3  trom-  k 
bones;  introduction  and  adagio  for  I 
orch.  with  tuba  solo;  fantaisie  sym-  f 
phoniqiie  sur  deux  airs  populaires  \ 
angevins,  1892;  2  lyric  comedies, 
Barberine  Andromede    (2nd  Prix  de 


DICTIONARY  OF  MUSICIANS      893 


Rome  at  Brussels,  1891);  chamber 
music,  including  sonata  for  piano 
and  'cello,  finished  by  V.  d'Indy,  1910, 
and  a  quatuor  finished  by  the  same; 
sonata  for  piano  and  violin  (ded.  to 
and  played  by  Ysaye) ,  etc. 

Lemaire  (lu-mar),  Jean  Eugene 
Gaston,  b.  Chateau  d'Amblainvil- 
liers  (Seine-et-Oise)  Sept.  9,  1854; 
pupil  Niedermeyer  School;  critic;  c. 
symph.  poem  '  Jefick,"  orch.  works, 
ballets,  songs,  etc. 

Lemare  (le-mar'),  Edwin  Henry, 
b.  Ventnor,  Isle  of  Wight,  Sept.  9, 
1865;  organist;  pupil  R.  A.  M.  Lon- 
don, with  Goss  Scholarship,  then 
made  an  associate,  later  a  fellow; 
1884  fellow  Royal  College  of  Organ- 
ists; occupied  various  church  posi- 
tions, and  gave  recitals;  1902-04, 
organist  at  Carnegie  Hall,  Pittsburg, 
Pa.;  1905,  again  in  London;  c.  symph., 
a  pastorale  and  much  organ  music. 

Lem'mens  =  Sher'rington,  Helen, 
Preston,  Oct.  4,  1834  —  Brussels, 
May  9,  1906;  operatic  singer  1850- 
1891;  prof.  Brussels  Cons.,  later 
R.  A.  M.,  London  and  R.  C.  M., 
Manchester. 

Leoncavallo,  Ruggiero,  add  that 
his  opera  ^' Zaza"  was  prod.  Milan, 
1900  with  some  success  and  was 
played  in  various  European  capi- 
tals;  the  libretto  of  "Roland"  was 
by  Leoncavallo,  not  by  the  Kaiser, 
though  he  commissioned  the  work 
ffhich  was  not  a  success  when  prod, 
at  the  Royal  Opera  Berlin,  1904. 
L.  wrote  the  libretto  for  "Mario 
Welter"  by  the  Portuguese  composer 
Machado.  His  opera  "Maja"  (Ber- 
lin Royal  Op.,  191 1)  was  a  failure. 
"Regnetta  della  Rosa"  (Florence  July 
15,1912);  "The  Gypsies"  (London, 
Sept.  16,  191 2);  "La  Foresta  Marmo- 
ra" not  prod. 

Leoni'nus,  Magister,,  12th  Cen- 
tury Mus.  Director  in  Paris,  at  the 
church  of  the  B.  M.  Virginis;  before 
Notre  Dame  was  built;  one  of  the 
earliest  masters  of  the  Paris  school. 


Leono'va,  Daria   Mikhailovna,  in 

the  Russian  Govt,  of  Twer,  1825  — 
St.  Petersburg,  Feb.  9,  1896;  alto; 
debut  at  18  in  Glinka's  "Life  for  the 
Czar";  sang  for  many  years  at  the 
National  Opera,  and  toured  around 
the  world. 

Leopoiita  (or  Lvovczyk)  (I'vdf- 
chek),  Martin,  Lemburg,  1540  — 
Cracon,  1589;  from  1560  Polish  court 
composer;  c.  masses,  chorales,  etc. 

Ler'ner,  Tina,  b.  Russia  1891  (?); 
pianist;  toured  Europe;  from  1908, 
toured  America;  played  with  London 
Phil.  orch.  three  successive  seasons; 
191 1,  with  Moscow  Phil. 

Leva  (de  la'-va),  Enrico  de,  b. 
Naples,  Jan.  18,  1867;  singing  teacher 
pupil  of  Puzone  and  Ariengo;  c.  opera 
"La  Camargo,"  (Naples,  1898);  sere- 
nade "A  Capomonte"  and  popular 
Neapolitan  canzonets. 

Levade  (lu-va-da'),  Charles  Qas= 
ton,  b.  Paris,  Jan.  3,  1869;  pupil  of 
Massenet  at  the  Cons.;  c.  opera 
"  Les  Heretiqnes"  (Beziers,  1905), 
operetta  "  V Amour  d'Heliodora  " 
(Paris,  1903),  pantomime,  suites,  etc. 

Lewalter  (le-val'-ter),  Johann,  b. 
Cassel,  Jan.  24,  1862;  pupil  Leipzig, 
Cons.;  from  1886  music  teacher  and 
essayist;  c.  fugues,  songs,  etc. 

Lewinger  (la'-ving-er).  Max,  Sulkov, 
near  Cracow,  March  17,  1870 — Dres- 
den, Aug.  31,  1908  ;  violinist ;  pupil 
of  Cracow  and  Lemberg  Cons.;  and 
with  Griins  Scholarship,  at  the 
Vienna  Cons.;  from  1892  toured; 
teacher  at  Bucharest  Cons.;  thence 
to  Helsingfors  as  concertmaster; 
1897,  do.  at  the  Gewandhaus  Orch., 
Leipzig;  1898  Royal  Court  concert 
master  in  Dresden. 

L'Heritier  (la-rit-ya),  (i)  Jean, 
flourished  1519-1588;  French  pupil 
of  Depres;  c.  masses  and  songs.  (2) 
Antoine,  court  musician  to  Charles 
V.  at  Toledo,  1520-1531;  (3)  Isaac, 
probably  the  same  as  Jean. 

Lhevinne  (la'-ven),  Joseph,  b. 
Moscow,  Dec.  3,  1874;  pianist;  pupil 


894 


THE  MUSICAL  GUIDE 


of  his  father  (first  cornet  soloist  in 
Moscow  Royal  Orch.),  and  of  Chry- 
sander;  debut  at  8;  pupil  of  Safonoff 
at  the  Cons.;  1885,  winning  highest 
honours;  1895  won  Rubinstein  prize; 
1902-6  teacher  at  the  Cons.,  and 
toured  Europe;  1905,  the  U.S.;  again, 
1912. 

Liadoff  (or  Ljadow),  add  that  cor- 
rect pronunciation  is  "I'ya'-dof." 
His  birthdate  is  May  12th,  new  style, 
as  given  old  style;  add  that  in  1908  he 
resigned  on  account  of  the  expulsion 
of  Rimsky-Korsakov  (q.v.)  and  was 
later  reinstated  in  the  Cons.;  c. 
scherzo  for  orch.  "  The  Inn  Mazurka" 
scene  for  orch.  polonaise  in  memory 
of  Pushkin;  ''Baba-Yaga"  tone- 
picture  (1905,  Boston  Symph.,  1910), 
8  folk-songs  for  orch.;  suite  "To 
Maeterlinck"  for  orch.,  choruses  with 
orch.;  "The  Music  Box,"  and  other 
piano  pieces  and  songs. 

Libon  (le'-bon),  Felipe,  Cadiz, 
Aug.  17,  1775  — Paris,  Feb.  5,  1838; 
violinist  and  comp.  for  violin. 

Lichey  (lekh'-i),  Rheinhold,  b.  Neu- 
mark,  near  Breslau,  March  26,  1879; 
organist;  pupil  of  Baumert  and 
Rudnick,  later  at  the  Royal  High 
School  in  Berlin;  from  1907  org. 
Konigsberg;  c.  organ  pieces,  choruses, 
etc. 

Lick'l,  (i)  Johann  Qeorg,  Kom- 
nenburg,  April  11,  1769  —  May  12, 
1843;  church  dir.;  c.  Singspielen  for 
Schikaneder's  theatre.  His  sons  (2) 
Karl  Qeorg,  b.  Vienna,  Oct.  28, 
1801,  performer  on  the  Physhar- 
monica  and  composer  for  it;  (3) 
Agidius  Fd.  K.,  b.  Vienna,  Sept.  i, 
1803;  guitarrist;  c.  oratorio. 

Lidon  (le'-thon),  Jose,  Bejar,  Salam- 
anca, 1752  —  Madrid,  Feb.  11,  1827; 
organist;  1808,  royal  chapel  organist 
and  royal  cond.  at  Madrid;  c.  operas, 
church  music,  etc. 

Lie  (I'ya),  Sigurd,  May  23,  i87i_ — 
Sept.  30,  1904;  important  Norwegian 
conductor  and  composer;  pupil  Leipzig 
Cons.;  1894  cond.  in  Bergen,  studied 


again  in  Berlin;  cond.  of  vocal  society 
in  Christiania;  c.  symph.,  Marche 
symphonique;  orch.  suite,  "Oriental- 
jijfe,"  cantatas,  chorals  and  songs. 

Liebling,  Leonard,  add  that  he 
was  b.  Feb.  7,  1874.  He  writes  "I 
died  in  1899;  that  is  when  I  became  a 
critic."  Since  that  time  he  has  writ- 
ten the  column  of  the  N  .  Y.  Musical 
Courier  formerly  written  by  James 
Huneker;  c.  sonata,  barcarolle,  ro- 
manza  and  valse  petite  for  piano, 
trio  for  piano,  violin,  'cello,  etc. 

Lier  (van  ler),  Jacques  Van,  b.  The 
Hague,  April  24,1875;  pupil  of  Hartog 
Giese  and  Eberle;  1891  first  'ceUist 
Amsterdam  Palace  Orch.;  1897 
Berlin  Phil.  Orch.;  teacher  at  Klind- 
worth-Scharwenka  Cons.;  'cellist  of 
the  Dutch  Trio  and  the  Dutch  String 
Quartet;  author  of  methods. 

Liguori  (le-goo-o'-re),  Alfonso  di, 
1696  —  1787;  Neapolitan  comp. 

Lim'bert,  Frank  L.,  b.  New  York, 
Nov.  15,  1866;  at  8  taken  to  Ger- 
many; pupil  of  Hoch  Cons,  and  of 
Rheinberger;  1894  Ph.D.  Berlin; 
1901  cond.  of  the  Diisseldorf  Singing 
Society,  and  teacher  at  the  Cons. 
1906,  at  Hanau;  c.  choral  works  with 
orch.,  etc. 

Lind'egren,  Johan,  Ullared,  Sweden, 
Jan.  7,  1842  —  Stockholm,  June  8, 
1908;  teacher  of  theory  and  contra- 
puntist; from  1884  cantor  at  the 
Stockholm  Storkyrka;  c.  and  edited 
church  music. 

Lin'demann,  (i)  Ole  Andreas, 
Surandalen,  Norway,  1769  —  Dron- 
theim,  1859;  organist;  teacher  and 
comp.  His  sons  (2)  Fr.  Christian, 
1804  —  Drontheim  1867,  organist,  (3) 
Jacob  Andreas,  1806— Sognepraest 
1846,  organist  at  Christiania;  (4) 
Matthias,  1812 —  Christiania,  May 
23, 1887;  collector  of  Norwegian  folk- 
music;  c.  songs;  (5)  Just,  b.  1822; 
from  i858cathedral  org.  atDrontheim. 

Lissenko  (or  Lysenko),  Nikolai 
Vitalievich,  b.  Grinjki,  March  22 
1842;  popular  Little  Russian  comp. 


Ljado* 
Lo'def. 
Thou 
\0^ 
oiE.j 
A.M. 
^ 
Piof.0 
pal 
ekri 
HtJiy 
ed;(. 

SODIU 

LoJe 

boa] 
Bosta 

timei 
iaiit25 
orci 
andn 
k^^ 
tipk 

¥f 

Mi 


DICTIONARY  OF  MUSICIANS       895 


pupil  of  Panochiny,  Dimitriev  and' 
Vilczek; then  of  Leipzig  Cons.;  1868, 
teacher  at  Kiev;  c.  6  operas;  children's 
opera,  and  popular  songs. 

Ljadovv,  vide  liadoff. 

Lo'der,  Kate  Fanny  (Lady 
Thompson)  Bath,  Aug.  21,  1886— 
London,  Aug.  30, 1904;  pianist,  cousin 
of  E.  J.  Loder  (q.  v.);  pupil  of  the  R. 
A.  M.,  London,  winning  the  King's 
scholarship,  1839  and  i84i;from  1844 
Prof,  of  harmony  there;  played  with 
great  success  at  Phil,  concerts  and 
elsewhere;  1851  married  the  surgeon 
Henry  Thompson,  afterward  knight- 
ed; c.  an  opera,  overture,  violin 
sonata,  etc. 

Loeffler,  C.  Al.  T.,  add  that  he  was 
bom  Jan.  30,  1861;  resigned  from  the 
Boston  Symph.  Orch.,  1903,  to  give  his 
time  entirely  to  composition;  c.  also 
fantastic  concerto  for  'cello  and 
orch.  (1894);  divertimento  for  violin 
and  orch.  (1897);  his  symph.  poem 
for  2  viole  d'amore  La  Mart  des  Tin- 
tagilcs  was  prod,  by  the  Boston 
Symph.  1897;  he  revised  it  for  one 
viola  d'amore  and  it  was  prod.  1901, 
with  the  composer  as  the  soloist;  his 
Divertissement  Espagnol  for  saxo- 
phone, and  orch.  was  prod.  1901;  his  2 
symph.  poems.  "Aiant  que  tii  lie  Ven 
ailles^'  (after  Verlaine's  "La  bonne 
chanson,'')  and  "  Villanelle  du  diable'^ 
(after  Rollinat)  were  prod.  1902;  his 
"Pagan  Poem"  for  orch.  piano,  3 
trumpets  and  Engl,  horn  1907;  c.  also 
choral  works  and  important  songs. 

Lobmann,  (lap'-man),  Hugo,  b. 
Schirgiswalde,  Dec.  19,  1S64;  Catho- 
lic music  teacher;  organist  at  Trinity 
Church,  Leipzig;  c.  songs. 

Lohlein  (la'-lin),  Qeorg  Simon, 
Neustadt,  1727  —  Danzig,  1782. 
piinist  and  teacher; 

Lo'makin,  Gabriel  Joakimovich, 
St.  Petersburg  .'\pril  6,  1812  —  Gats- 
china,  May  21,  1885;  teacher  in 
St.  Petersburg;  where  he  founded  the 
Free  School  of  Music,  with  Balak- 
irev;  c.  10  " Cherubinische"  songs,  etc. 


Longy  (lon-zhe),  Qustave  Georges 
Leopold,  b.  Abbeville,  Aug.  29, 
1868,  pupil  Paris  Cons,  taking  second 
oboe  prize  1885,  iirst  prize  1886; 
oboist  with  Lamoureux  and  at 
Op.  Com.;  from  1898  first  oboist 
Boston  Symph.,  founding  1900  the 
Longy  Ckm,  (flute,  oboe,  clarinet, 
horn,  bassoon,  piano),  and  giving  im- 
portant concerts. 

Loquin  (l6-kah),  Anatole,  b.  Orleans, 
Feb.  22,  1834;  composer  and  theorist 
at  Bordeaux. 

Loren'te,  Andres,  Anchuetos,  April 
15,  1624  —  Alcala,  Dec.  22,  1703; 
Spanish  organist  and  writer. 

Lorraine,  (lor-ren'),  Alys,  American 
soprano,  gave  recital  in  London; 
coached  by  Massenet;  debut,  The 
Hague  as  "Marguerite,"  engaged  for 
Paris  Opera;  d^ut  there  1912;  has 
sung  also  at  Alonte  Carlo  and  Marien- 
bad,  1909. 

Lossius,  Lucas,  Vacha,  Hesse- 
Cassel,  Oct.  18,  1508;  —  Liinebeig 
1582;  rector,  theorist  and  com- 
piler. 

Louis  (loo'-e),  Rudolf,  b.  Schwet- 
zingen,  Jan.  30,  1870;  pupil  at  Geneva 
and  Vienna,  where  he  was  made 
Ph.D.,  studied  conducting  with 
Mottl;  theatre-cond.  at  Landshut  and 
Lubeck;  c.  symph.  fantasie  "Proteus" 
(Basel,  1903). 

Loewengard  (la'ven-gart).  Max  Ju- 
lius, b.  Frankfort-on-Main,  Oct.  2, 
i860;  writer  and  composer;  pupil  of 
Raff,  then  teacher  at  Wiesbaden 
Cons.;  1904  critic  in  Hamburg  and 
1908  teacher  at  the  Cons.;  author  of 
text  books  in  theory;  c.  comic  opera 
"Die  14  Nothelfcr." 

Lowenstern  (la'-ven-shtem)  (or  Leu=- 
enstern  or  Leonastro),  Mat= 
thaeus  Apelles  von,  Neustadt, 
1594  —  Bemstadt,  1648;  poet  and 
composer;  son  of  a  saddler  named 
Lowe;  became  a  privy  councillor 
and  was  ennobled  by  Ferdinand  II, 
taking  the  name  of  von  Loewen- 
stern;  c.  words  and  music  of  "  Fruli- 


896 


THE  MUSICAL  GUIDE 


lings-Morgen"  (30  sacred  songs), 
oratorio  "Judith"  (1646),  etc. 

Lowe  (lo),  Thomas,  English,  popu- 
lar tenor;  debut,  1740,  at  Drury 
Lane;  d.  London,  March  i,  1783. 

Lucchesi(look.-ka'-ze), Andrea,  Mot- 
ta.  May  28,  1741 — Italy,  ca.  1800; 
organist  and  cond.;  1771  theatre  dir. 
of  an  Italian  troupe  in  Bonn;  1774-94 
royal  cond.  there;  c.  symphonies, 
etc. 

Lucia  (de-loo-che'-a),  Fernando  de, 
b.  Naples,  about  i860;  dramatic 
tenor;  said  to  have  been  a  trombone- 
player,  largely  self-taught;  debut 
Lisbon;  1887  London  Opera  at  Drury 
Lane,  with  little  success,  but  on  his 
reappearance,  1893,  at  Covent  Gar- 
den, as  the  first  to  sing  "/  Pagliacci" 
in  London,  he  made  a  sensation  with 
his  fervor;  later  became  a  favourite  at 
the  Met.  Op.,  New  York,  rather  as 
an  actor  than  a  singer;  1905,  in  Lon- 
don again. 

Ludwig,  (i)  August,  b.  Waldheim, 
Saxony,  Jan  15, 1865;  critic  and  comp. 
pupil  of  Cologne  and  ^Munich  Cons.; 
attracted  attention  by  risking  the 
completion  of  Schubert's  Unfinished 
symph.,  with  a  " Philosophic  scherzo," 
and  a  "March  of  Fate";  c.  also  an 
overture"  Ad  Astra,"  etc.  (2)  Joseph 
b.  Bonn,  April  6,  1844;  violinist; 
pupil  Cologne  Cons.,  and  of  Joachim; 
from  1870  in  London  as  teacher  and 
naturalized  subject;  plays  in  a  quar- 
tet; c.  2  sjTnph.,  etc.,  His  son  (3) 
Paul,  b.  Bonn,  Aug.  11,  1872;  'cel- 
list; pupil  of  R.  A.  ISL,  London  and  of 
Piatti;  soloist  and  quartet  player;  (4) 
Frederich,  b.  Potsdam,  May  8, 
1872;  historian  of  music;  docent  at 
Strassburg  Universty;  (5)  William 
(rightly  Wm.  Ledwidge,),  b.  Dub- 
lin, ca.  1850;  Irish  barj'tone;  from 
1877,  with  Carl  Rosa  Co.,  especially 
successful  in  "  Tlie  Flying  Dutchman" ; 
1896  sang  Hans  Sachs;  a  fine  Elijah. 

Luft  (looft),  Heinrich,  Magdeburg, 
1813-1868;   oboist   and  comp. 

Lugert  (loo'-gert),  Josef,  b.  Frohnau, 


Bohemia,  Oct.  30,  1841;  teacher; 
pupil  of  Prague  Organ  School,  and 
\aolinist  in  German  Landestheater 
there;  later  piano  teacher  at  Prague 
Cons.;  1905  Royal  INIusic  Inspector; 
organized  orchestra  schools,  and  won 
fame  as  a  teacher;  c.  symph.,  sere- 
nades for  orch.,  "7»  Memoriam"  ior 
full  orch.  with  English  horn  solo; 
also  wrote  technical  books. 

Luigini  (Iwe-zhe'-ne),  Alexandre 
(Clement  L.  Jos.)  Lyons,  March 
9,  1830  —  Paris,  July  29,  1906;  pupil 
and  prize-wnner  at  the  Cons.;  1869 
leader  in  Grand  Theatre,  Lyons,  and 
founder  of  the  Cons,  concerts  and 
Prof.;  1897  cond.  at  Op.  Comique, 
Paris;  c.  comic  operas,  Les  caprices 
de  Margot  (Lyons,  1877),  Faublas 
(1881),  ballets,  etc. 

Lunn,  (i)  Henry  Charles,  Lon- 
don, 1817  —  Jan.  23,  1894;  editor 
and  author;  pupil  Royal  Musik 
Akademie,  later  teacher;  1863-87, 
edited  The  Musical  Times,  London. 
(2)  John  Robert,  Cleeve  Prior, 
1831  —  Morton,  Yorkshire,  April, 
1899;  \'icar  there  from  1867;  c.  ora- 
torio "St.  Paulinius  of  York,"  etc. 
His  brother  (3)  Jan,  Birmingham, 
1838-1906;  singer,  teacher  and  author 
of  books  on  the  voice.  (4)  (Louisa) 
Kirkby,b. Manchester,  Nov. 8, 1873; 
mezzo-soprano;  pupil  of  J.  H.  Green- 
wood, then  of  Visetti,  R.  A.  M.,  Lon- 
don, gaining  a  scholarship  in  1894. 
Appeared  in  a  student  performance  of 
Schumann's  Genoveva,  1893,  '"'itb  such 
success  that  she  was  engaged  by  Sir 
Augustus  Harris;  1897-9  contralto 
of  Carl  Rosa  Company;  then  married 
W.  J.  K.  Pearsen;  sang  in  concert; 
1901  began  an  uninterrupted  engage- 
ment at  Covent  Garden;  sang  much 
at  festivals;  1902  at  Met.  Op.  House, 
New  York  and  with  Boston  S\-mph. 
and  other  orchs.,  1907  created  Kun- 
dry  in  first  English  performance  of 
"Parsifal"  by  the  Henry  W.  Savage 
Company. 

Lustig     (loos'-tikh),   Jacob   Wm., 


DICTIONARY  OF  MUSICIANS       897 


Hamburg,  Sept.  21,  1 706-1 796; 
organist  and  theorist. 

Luython  (or  Luiton)  (ll-t6n),  Carl, 
Antwerp  (?)  —  Prague,  1620;  im- 
portant composer  of  madrigals, 
masses,  fugues,  etc.;  1576  court  or- 
ganist to  Maximilian  II  and  to 
Rudolf  II. 

Luzzaschi  (lood-zas'-ke),  Luzza= 
SCO,  d.  Ferrara,  1607;  court  organ- 
ist; pupil  of  Ciprian  de  Rore,  and 
teacher  of  Frescobaldi;  c.  Madrigals, 
etc. 

Lyne,  Felice,  b.  Kansas  City,  Mo.; 
1892  (?);  soprano;  1906-11  pupil  of 
Marchesi,  de  Reszke  and  d'Aubigny, 
Paris;  19 10  engaged  by  Hammers tein 
to  sing  "Hans  the  Flute-Player"; 
191 1  appeared  at  the  London  Opera 
in  Rigoletto  and  other  operas. 

Lyssenko,  vide  lissenko. 

M 

Maccar'thy,  Maud,  b.  Clonmel, 
Ire.,  July  4,  1884;  viohnist;  pupil  of 
Arbos,  debut  London,  1894;  toured 
America. 

M'Cor'mack,  John,  b.  Athlone, 
1884;  tenor;  pupil  of  Sabatini,  Milan; 
debut  Co  vent  Garden,  1907,  with 
great  success;  19 10  sang  with  Phila- 
delphia Opera  Co.;  191 1  Chicago 
Opera  Co.,  and  at  Met.  Op.  N.  Y.; 
toured  Australia,  1912,  with  the 
Melba  Opera  Co.  and  sang  in  concert 
with  immense  success. 

Macdon'ald,  (i)  Peter,  Sutherland, 
Scotland,  1729  —  Kilmore,  1824; 
violinist  and  collector  of  Highland 
melodies;  minister.  His  brother  (2) 
Joseph,  1739  —  India,  1762;  was 
also  a  musician. 

MacDowell,  E.  A.,  add  that  in 
Jan.  1904,  he  resigned  his  professor- 
ship at  Columbia  University  from 
dissatisfaction  with  the  faculty's 
attitude  toward  music  as  a  high  art. 
He  was  succeeded  by  Cornehus 
Riibner  (q.  v.).  He  had  cond.  the 
Mendelssohn    Glee    Club    for    two 


years.  In  1905  he  fell  a  prey  to  cere- 
bral trouble  that  ended  his  beautiful 
career.  Faithfully  tended  by  his 
wife,  he  lingered  under  increasing 
clouds,  till  his  death,  Jan.  23,  1908, 
at  New  York.  So  great  was  his  hold 
upon  the  American  public  that  a 
MacDowell  Club  with  many  branches 
was  formed  to  carry  on  his  ideals  of  art 
and  to  aid  the  struggling  musician; 
a  choral  branch  under  the  leadership 
of  Kurt  Schindler  has  attained  a  very 
high  standard;  taking  the  title  of 
"Schola  Cantorum"  in  191 2;  a  biog- 
raphy of  MacDowell  was  written  by 
Lawrence  Oilman,  1905. 
Marschal=Loepke,     vide    clough- 

LEITER  (2). 

M'Ew'en,    John     Blackwood,  b. 

Hawick,  April  13,  1868;  Scots  com- 
poser and  pupil  R.  A.  M.,  Glasgow, 
later  Prof,  there;  c.  symph.,  2  over- 
tures, "Hellas"  for  women's  voices  ! 
and  orch.  "The  Last  Chantey," 
chorus  and  orch.  Milton's  "Nativ- 
ity," do.;  also  Highland  dances  for  \ 
strings,  violin,  etc.                                           1 

Macfar'lane,  W.  Chas.,  b.  London,  J 

Oct.   2,   1870;  organist;  brought  to  j 

New  York  at  4;  pupil  of  his  father  t 

and  of  S.  P.  Warren;  c.  anthems,  etc. 

M'Qib'bon,  William,  d.  Edinburgh, 
Oct.  3,  1756;  studied  violin  under 
Corbett,  London;  cond.  "Gentlemeti's  ': 

Concerts"     in  Edinburgh;    collected  ' 

Scots  melodies  and  c.  sonatas.  ' 

Mackay,  Angus,  drowned  near 
Dumfries,  March  21,  1859;  Highland  i 

Piper  to  Queen  Victoria;  collected 
pipe  tunes.  1 

Mack'intosh,  (i)  John,  I>ondon 
1767  —  March  23,  1844;  bassoonist. 
(2)     Robert,     d.    London,     1807;  ' 

Scots  violinist  and  teacher;  composer 
of  strathspeys,  and  cond.  at  Edin- 
burgh. His  son  (2)  Abraham,  Edin- 
burgh, 1759 — Newcastle  after  1807.  J 

M'Leod  (mak-lowd'),    Peter,    West  | 

Calder,     1797  —  Bonnington,     1859;  i 

Scots    composer   and   violinist;   col-  \ 

lected  Scottish  melodies.  i 


898 


THE  MUSICAL  GUIDE 


Macmil'len,  Francis,  b.  Mari- 
etta, Ohio,  Oct.  14,  1885;  violinist; 
pupil  of  Listemann,  Chicago;  at  10, 
pupil  of  Markees,  Berlin;  at  15  of 
Cesar  Thomson  at  Brussels  Cons.; 
sharing  first  vioHn  prize  1902  and 
taking  Van  Hal  prize;  played  in 
Brussels,  etc.;  1903  London;  1906 
toured  U.  S. 

Macpher'son,  (i)  Charles  Stew= 
art,  composer;  b.  Liverpool,  JNIarch 
29,  1865;  pupil  of  R.  A.  M.,  Lon- 
don, with  a  scholarship;  gained  also 
the  Balfe  scholarship  and  medals; 
1887  prof,  there;  1892  a  fellow;  1903 
prof.  Royal  Normal  College  for  the 
Blind;  c.  symph.,  2  overtures,  a  fine 
mass  with  orch.  (1898);  "Concerto 
alia  fantasia"  for  violin,  etc.;  wrote 
theoretical  text  books,  (2)  Charles, 
b.  Edinburgh,  May  10,  1870;  1890 
pupil  R.  A.  M.,  winning  Lucas  prize 
1892;  later  teacher  of  counterpoint 
there;  1895,  sub-organist  at  St. 
Paul's,  London;  c.  overture  "Cridhe 
an  Chaidhll"  (London,  1895);  orch. 
suites,  "Highland"  and  "Hallow- 
e'en"; Psalm  187  for  choir  and  orch., 
etc. 

McWhood,  Leonard  B.,  b.  New 
York,  Dec.  5,  1870;  graduated  from 
Columbia  University  1893;  after 
various  posts,  1904  prof,  of  music 
there;  conductor,  lecturer;  c.  unpub- 
lished works. 

Macque  (mak),  Jean  de,  Flemish 
choirmaster  in  Rome  1576-82;  1610 
at  Royal  Chapel  Naples;  c.  madrigals 
and  motets. 

Madin  (ma-dan)  (rightly  Madden), 
Henri,  Verdun,  1698  —  Versailles, 
1748;  clergyman  of  Irish  parentage; 
cond.  at  the  cathedral  of  Tours;  from 
1737  in  the  Chapel  of  the  King;  c. 
motets. 

Magnard  (min-yar),  Lucien  D. 
Q.  A.,  b.  Paris,  June  9,  1865;  com- 
poser; pupil  of  the  Cons,  (winning 
first  haiTnony  prize  1888),  then  of 
d'lndy;  c.  3  sjTuph.,  overture,  suite  in 
ancient   style;   hymns   to   "J  it  slice" 


and  to  "Venus,"  i-act  opera  "Yo- 
lande"  (Brussels,  1892);  3-act  "Giter- 
coeur ";  important  chamber  music, 
etc. 

Mahler,  Qustav,  add  that  he  was 
dir.  of  the  Court  Opera  Vienna  till 
1907,  when  he  resigned;  and  cond.  ^ 
Met.  Op.,  N.  Y.,  for  two  seasons; 
1909  was  elected  to  cond.  Philh.  Orch., 
N.  Y.,  with  the  highest  salary  ever 
paid  a  cond.  ($30,000  a  year);  a 
nervous  breakdown  in  191 1  ended  his 
work, and  he  sailed  forEurope  in  April, 
dying  in  Vienna  May  18,  1911.  His 
comps.  include  8  symph. ,  the  last  five 
written,  1901,  1904,  1906,  1908,  1910. 
His  eighth  was  prod,  in  Munich,  191 1, 
and  Leipzig,  191 2,  requiring  a  chorus 
and  orch.  of  i  ,000  members.  A  ninth 
symph.  is  said  to  have  been  finished. 
His  "Das  Lied  vender  Erdc,  "a  symph. 
in  six  parts,  for  tenor  and  alto  and 
orch.  (text  from  Hans  Bathge's 
Chinese  flute)  was  given  at  Mimich, 
Nov.  20,  1911. 

Maichelbeck,  (mikh'-el-bek),  Franz 
Anton,  Reichenau,  1802  —  Freiburg, 
1750;  c.  important  sonatas,  etc.,  for 
clavier. 

Maillard  (mi-yar),  Jean,  i6th  cen- 
tury French  composer;  pupil  of 
Depres;  c.  important  motets  and 
masses,  from  one  of  which  Palestrina 
took  themes  for  a  mass  of  his  own. 

Maikapar  (ma'-ka-par),  Samuel, 
b.  Chersson,  Russia,  Dec.  18,  1867; 
pianist;  pupil  of  the  Cons.,  and  of 
Leschetizky;  settled  in  Moscow;  c. 
piano  pieces. 

Mair,  Franz,  Weikersdorf  Marshfeld, 

182 1  —  Vienna,  1893;  composer  and 
founder  of  the  Schubertbund. 

Major  (ma'-yor),  Julius  J.,  b. 
Kaschau,  Hungary,  Dec.  13,  1859;  1 
pupil  of  the  Landes-Musik  Akad.  at  i 
Pest;  founded  a  music  school  and  j 
singing  societies  there;  c.  a.  symph.,  i 
operas,  "  Lisheth"  and  "Erysika"'^ 
(Pest,  1901),  Szechi  Maria  (Klausen- 
burg,  1906),  etc.  _ 

Maksylevich   (mRk-se'-Ie-vich),   Vi= 


DICTIONARY  OF  MUSICIANS       899 


cent,  1685  —  Cracow,    1745;  church 
cond.  at  Cracow;   c.  church  music. 
Malash'kin,     Leonid      Dimitrie= 
vitch,    1842  —  Moscow,    Feb.    11, 
1902;  Russian  composer  of  an  opera, 
a  symph.,  songs,  etc. 
Mal'ling,   (i)  Jorgen,  Copenhagen, 
1836  —  July     14,     1907;    important 
Danish  composer  and  teacher;  from 
1875   in    Vienna.      His    brother    (2) 
Otto  (Vlademar),  b.  Copenhagen, 
June   I,    1848;   pupil    of   Gade  and 
Hartmann  at  the  Cons.,  later  teacher 
there;  organist  and  founder  of  concert 
association;  c.  symph. ;  violin  fantasia 
with  orch.,  overture,  chamber  music, 
and  valuable  organ  pieces. 
Malm'qvist   (malm'-kwist),  Julius, 
b.    Copenhagen,    June    16,    1819  — 
Hirscholm,    Aug.    4,    1859;    Danish 
composer  of  male  quartets,  operettas, 
etc. 
Malvezzi     (mal-ved'-ze),     Christo= 
fano,  Lucca,  1547  —  Florence,  1597; 
canon     in     Florence;     and     chapel 
master  to  the  Grand  Dukes  of  Tus- 
cany;  collected  and  composed   dra- 
matic intermezzi,  1591,  etc. 
Mancinelli,    Luigi,    add     that    his 
cantata  "Saint  Agnes"  was  prod,  at 
Norwich    Festival    1905;    his    opera 
"Paolo  e  Fmncesca"  (Bologna,  1907). 
Manci'nus,     Thomas,      Schwerin, 
1550  —  Wolfenbiittel  ca.  1620;  Dutch 
composer    of    Passions    according    to 
St.  Matthew  and  St.  John;  cond.  to 
Duke  of  Brunswick. 
Mandl  (mant'-'l),  Richard,  b.  Ross- 
itz,    Moravia,    1862;   pianist;    pupil 
Vienna  Cons.,  later  of  Delibes,  Paris, 
where  he  settled  1886;  c.  i-act.  opera 
"Rencontre  Imprevue"  (Rouen,  1889); 
Chanson    Provenqal     for    voice    and 
orch.,  orch.  scherzo  (Lamoureux  con- 
certs, 1894);  important  symph.  poem, 
with  organ,    mezzo-sopr.  and  Jemale 
chorus;  "Griselidis"  (Vienna,  1906?); 
overture  "To  a  Gascon  Knight  drama" 
(Wiesbaden,   1910),  piano  pieces,  etc. 
Mandyczevski       (man-de-chef'-ski), 
Eusebius,  b.  Czemovitz,  Aug.  18, 


1857;  pupil  of  Fuchs  and  Notte- 
boiim;  from  1897  teacher  Vienna 
Cons.;  writer  and  editor  of  Schubert's 
works,  for  which  he  was  made  Ph.  D., 
Leipzig. 

Manen  (mS-'-nan)  Joan  De,  b. 
Barcelona,  March  14,  1883;  Spanish 
composer;  travelled  as  prodigy  pianist, 
then  took  up  violin;  pupil  of  Alard; 
c.  operas" Giovanni di  Napoli"  (Bar- 
celona, 1903),  "Akte"  (do.);  " Der 
Fackeltanz"  (Frankfort  -  o  n  -  M  a  i  n 
1909);  symph.  poem  "Nuova  Catalo- 
nia," viohn  concert,  etc. 

Manfredini  (man-fre-de'ne),  (i) 
Francesco,  b.  Pistoja,  1688;  violin- 
ist; 1 71 1  cond.  at  Monaco;  c.  ora- 
torios, concertos,  etc.  His  son  (2) 
Vincenzo,  Pistoja,  1737  —  St.  Pe- 
tersburg, 1799,  as  court  cond.,  c. 
sonatas,  etc. 

Mangin  (man-zhan),  Edouard, Paris, 
1837  —  May  24,  1907;  founded 
Cons,  at  Lyons,  1870;  also  the 
Popular  Concerts;  from  1893  cond. 
the  Opera,  Paris. 

Mann,  Frederick  A.,  Norwich, 
March  23,  1844  —  April  11,  1903; 
violinist;  cathedral  organist  and  dir.; 
brother  of  Arthur  Henry  M.  (q.  v.). 

Man'ners,  (i)  Charles  (rightly 
Southcote  Mansergh),b.  London, 
Dec.  27,  1857;  bass;  pupil  Dublin 
Academy  and  R.  A.  M.,  London, 
and  of  Shakespeare;  debut  1882; 
1890  Covent  Garden;  1893  toured 
America;  1896  South  Africa;  1897, 
organized  Moody-Manners  Opera  Co. 
touring  the  provinces  with  three 
companies,  two  seasons  at  Covent 
Garden.  In  1890  he  married  (2) 
Fanny  Moody,  b.  Redruth,  Nov. 
23,  1866;  soprano;  pupil  of  Mme. 
Sainton  Dolby;  debut  1887  with  Carl 
Rosa  Co.,  since  1890  has  sung  with 
her  husband. 

Maquarre  (ma-kar),  Andre,  b. 
Molenbeck,  St.  Jean,  Belgium,  Jan. 
13,  1875;  pupil  Paris  Cons.,  took 
first  flute  prize  1893;  played  in  Co- 
lonne   and   Lamoureux   orchs.;  from 


900 


THE  MUSICAL  GUIDE 


1898  first  flute  Boston  Symph.;  c. 
opera  ''Dolores,"  two  comic  operas, 
''Indian  suite"  for  orch.,  overture 
"On  the  Sea  Clifs  "  (Boston  Symph., 
1909),  etc. 

Marchesi,  Mathilde,  add  that 
in  191 2,  at  the  age  of  90,  she  sold  her 
school  and  moved  to  London,  to  join 
her  daughter  Blanche. 

Marchisio  (mar-ke'si-o),  Barbara, 
b.  Turin,  1834  ;  opera  singer  in 
Paris  and  London;  sang  usually 
with  her  sister.  (2)  Carlotta, 
Turin,  1836  —  Turin,  1872. 

Marks,  Dr.  Jas.  Chr.,  Armagh, 
May  4,  1835  —  Grand  Spa,  Clifton, 
July  17, 1903;  organist  and  conductor. 

Mar'schalk,  Max,  b.  Berlin,  April 
7,  1863;  composer  of  2-act  opera 
"InFlammen"  (Gotha,  1896);  musi- 
cal piece  "Aucassin  und  Nicolette" 
(Stuttgart,  1907);  incid.  music  to 
"Und  Pippa  tanzt"  (Berlin,  1906), 
and  to  Maeterlinck's  "Sister  Bea- 
trice" (Berlin,  1904). 

Marsh,  (i)  Alphonso,  West- 
minster, 1627-1681;  gentleman  of 
Chapel  Royal  and  composer.  His 
son  (2)  Alphonso,  d.  Westminster, 
1692;  gentleman  of  the  Chapel  Royal 
from  1676;  c.  songs.  (3)  William, 
Fochabers,  1748  —  Dandaleith,  1833; 
Scots  violinist;  c.  strathspeys,  etc. 

Marshall,  John  Patton,  b.  Rock- 
fort,  Mass.,  Jan.  9,  1877  ;  pupU 
of  B.  J.  Lang,  MacDowell,  Chadwick, 
and  Norris;  1903  Prof,  of  Music, 
Boston  University,  also  org.  at  St. 
John's;  c.  songs  and  piano  pieces. 

Marteau,  Henri,  add  that  he  was 
bom  at  Rheims,  March  31,  1874; 
from  1900  teacher  at  Geneva  Cons.; 
1908  successor  to  Joachim  at  the 
Royal  Hochschule  fiir  Musik,  Berlin. 

Martinel'li,  Giovanni,  tenor;  at 
first  an  instrumentalist  in  Milan; 
debut  191 2,  Covent  Garden  in  "La 
Tosca"  with  great  success. 

Mascagni,  Pietro,  add  that  he 
was  dir.  of  Pesaro  Cons.  1895- 1903, 
when  he  toured  the  U.  S.  with  an 


opera  co.,  and  was  supplanted  at 
the  Cons.;  1909,  cond.  at  Teatro 
Costanzi,  Rome;  c.  also  "Arnica" 
(Monte  Carlo,  1905,  Cologne,  1907); 
1910  he  c.  opera  "Isabeau"  for  the 
U.  S.  but  not  completing  it  on  time 
became  involved  in  a  lawsuit.  The 
opera  was  prod,  at  Venice  and  Milan 
simultaneously,  191 2,  with  much  suc- 
cess and  has  been  widely  sung  since. 
His  next  work  is  announced  as 
"Parisina"  with  libretto  by  d'An- 
nunzoo. 

Mascheroni  (mas-ke-ro'-ne),  Edo= 
ardo,  b.  Milan,  Sept.  4,  1857 ; 
cond.  and  composer;  pupil  of  Bouch- 
eron;  1883  theatre  cond.  at  Leghorn, 
later  at  Teatro  Apollo,  Rome;  1893 
chosen  to  cond.  Verdi's  "Falslaf"  at 
La  Scala;  c.  important  Requiem  for 
King  Victor  Emanuel,  also  by  Royal 
command  another  Requiem  for  the 
royal  chapel;  c.  operas  " Lorenza" 
(Rome,  1 90 1 ) ,  very  successful  through- 
out Europe  and  South  America;  "La 
Perugina,"  etc. 

Mason,  Daniel  Gregory,  b.  Brook- 
line,  Mass.,  Nov.  20,  1873;  pupil 
of  Clayton  Johns,  E.  Nevin,  A. 
Whitmg,  J.  K.  Paine,  G.  W.  Chad- 
wick and  Percy  Goetschius;  grad- 
uated Harvard,  1895;  author  of 
articles  and  books  on  musical  topics; 
c.  violin  and  piano  sonata  (191 1), 
piano  variations  on  "Yankee 
Doodle";  quartet  in  A  major;  pas- 
torale for  violin,  clarinet  and  piano; 
elegy  for  piano  (played  by  Gabrilo- 
witsch  in  Berlin,  London  and 
America),  songs,  etc. 

Massart,  (mas-sar)  Nestor,  H.  J. 
tenor  opera  singer;  Ciney,  Belgium, 
1849  —  Ostende,  1899  ;  operatic 
favourite  in  Europe  and  America. 

Massenet,  add  that  his  "Jongleur 
de  Notre  Dame, "  (Monte  Carlo,  1902,) 
has  been  sung  widely;  Covent  Gar- 
den, 1906,  New  York  Manhattan 
Opera,  1910;  " Cherubin"  (Op.  Com. 
Paris,  1905);  "Ariane"  (1906); 
"Therese"     (Monte     Carlo,     1907); 


DICTIONARY  OF  MUSICIANS       90 


"Don  QuiihoUc"  (Paris,  1911);  "Ro- 
ma" (Paris,  Opera,  191 2);  oratorios 
"La  Terrc  Promise"  (Paris,  1900); 
piano  concerto  (1903);  ballets,  "La 
cigale"  (Paris,  1903),  "Espada" 
(Monte  Carlo,  1908),  etc.,  after  suf- 
fering for  years  from  cancer,  he  died 
suddenly  at  his  home,  Paris,  Aug. 
13,  1912. 
Maszynski    (ma-shin '-shki),    Peter, 

b.  Warsaw,  1855;  pianist  and  com- 
poser; pupil  of  Mikhalovski,  Roguski 
and  Noskovski;  his  "Chor  zniviarzy" 
won  a  prize  at  Cracow;  teacher  at  the 
Musical  Institute;  cond.;  c.  violin 
sonata,  incid.  music,  a  cantata  in 
honor  of  the  jubilee  of  Sienkiewicz, 
etc. 

Matthay',  Tobias  Augustus,  b. 
London,  Feb.  19,  1858;  pianist; 
pupil  R.  A.  M.,  teacher  there;  c. 
"Hero  and  Learider,"  for  chorus  and 
orch.,  etc. 

Mauduit  (mo-dwe),  Jacques,  Paris, 
Sept.  16,  1557  —  Aug.  21,  1627; 
lute  player  and  composer  of  chan- 
sons  and   a   requiem .  for   the    poet 

.   Ronsard. 

Mauke  (mow'-ke),  Wilhelm,  b. 
Hamburg,  P'eb.  25,  1867;  pupil  of 
Low  and  Huber;  then  at  Munich 
Akad.  der  Tonkunst,  acted  as  critic; 

c.  symph.  poem"  Eiiisamkeit"  (after 
Stuck  and  Nietzsche),  opera,  etc. 

Mauricio  ( ma-oo-re'-si-6),  Jose, 
Coimbra,  1752  —  Figueira,  1815;  Por- 
tuguese composer  of  church  music. 

Mazzolani  (mad-zo-la'-ne),  An= 
tonio,  Ruina,  Ferrara,  Dec.  26, 
1819  —  Ferrara,  Jan.  25,  1900  ; 
composer  of  successful  operas  and 
choruses. 

Meisel  (mi'-sel),  B  Carl,  Germany, 
1829 — Boston,  Dec.  27,  1908;  came  to 
America  in  1852;  violinist  in  Boston 
Symph.  Orch.  at  its  foundation. 

Melar'tin,  Erik,  b.  1875  ;  Finnish- 
composer  of  excellent  songs;  pupil 
of  Wegelius. 

Melchissedec  (m6l-shis-sa-d6k), 
Leon,  b.  May  7,  1843;  barytone; 


pupil  Paris  Cons,  and  from  1894 
teacher  there;  1 866-1 891  sang  at 
Op6ra  Comique,  Paris. 

Mel'lon,  Alfred,  London,  April 
17,  1821  —  March  27,  1867;  cond.  at 
Covent  Garden,  and  Liverpool  Phil.; 
c.  operas. 

Meltz'er,  Charles  Henry,  b. 
London,  June  7,  1853  of  Russian 
parentage;  critic;  pupil  of  the  Sor- 
bonne,  Paris,  later  journalist  on 
various  New  York  papers;  author  and 
translator  of  plays  and  librettos;  press 
representative  Met.  Op.  House,  191 1, 
critic  New  York  American. 

Menil     (du-ma-nel),    Felicien     de, 

b.  BouIogne-sur-Mer,  July  16,  i860; 
historian  and  comp.;  after  much 
foreign  travel,  settled  in  Paris,  1899, 
as  teacher  of  musical  history  at  the 
Niedermeyer  Church  Music  School; 

c.  opera  "La  Janeliere"  (Op.  Com., 
Paris,  1 894);  operetta  "Gowci"  (1901) 
and  ballets. 

Mergner  (mgrkh'-ngr),  Adam  Fr. 
Chr.,  Regensburg,  Oct.  19,  1818 
— near  Ansbach,  Jan.  7,  1891;  priest 
and  church  composer. 

Merikant'o,  Oscar,  b.  Finland,  1868; 
organist  and  composer  of  opera,  etc. 

Meschaert  (ma'-shart),  Johannes, 
b.  Hoom,  Holland,  Aug.  22,  1857; 
barytone;  pupil  of  Schneider,  Stock- 
hausen  and  Wiillner ;  teacher  and 
cond.  in  Amsterdam;  tours  widely. 

Messager,  Andre,  add  that  he  re- 
mained as  cond.  of  the  Op.  Com. 
till  1,903,  and  as  director  of  Covent 
Garden  from  1901  to  1907,  in  which 
year  he  became  director  of  the  Opera 
at  Paris,  and  from  1908  cond.  of  the 
concerts  of  the  Cons.  Add  to  his 
operettas;  "Mirette"  (Savoy,  Lon- 
don, 1894);  Les  P'lites  Miclm  (Paris, 
1894)  enormous  success;  Veronique 
(1899);  Fortunio  (Op.  Com.  1907); 
also  ballets  and  songs. 

Mess'ner,  Qeorg,  b.  Berlin,  Sept. 
22,  1871;  pupil  of  H.  van  Eijken; 
artillery  officer  at  Breslau;  c.  songs 
and  male  choruses. 


902 


THE  MUSICAL  GUIDE 


Mest'dagh  (mest'-dakh),  Karel,  b. 
Bruges,  Oct.  22,  1850;  pupil  of 
Waelput,  Gheluwe  and  Gevaert; 
c.  overture  ^' Les  noces  d'Atlila" 
choruses  with  orch.,  etc. 

Michael  (me'-kha-el),  (i)  Simon, 
musician  to  Emperor  Ferdinand  I. 
His  son  (2)  Rogier,  d.  Dresden, 
ca.  1619;  tenor  and  cond.  to  the 
Elector;  c.  motets.  His  son  (3) 
Tobias,  b.  Dresden,  1592;  church 
cond.  Leipzig;  c.  church  music,  etc. 

Middelschulte  ( mid'-del-shool-te ), 
Wilhelm,  b.  Werwe,  Westphalia, 
April  3,  1863  ;  organist  ;  pupil  of 
the  Berlin  Inst,  for  church  music ; 
from  1888  organist  there;  in  1891 
settled  in  Chicago;  from  1894  org.  of 
the  Thomas  orch.  and  of  St.  James; 
c.  canons  and  fugue  on  "Our  Father 
in  Heaven";  organ  concerts  on  a 
theme  of  Bach's;  canonic  fantasie  on 
Bach,  etc. 

Mieick  (melk),  Ernst,  Wiborg, 
Oct.  24,  1877  —  Locarno,  Oct.  22, 
1899;  Finnish  composer,  who,  in  spite 
of  his  pitifully  brief  life  of  22  years, 
gained  a  place  of  national  importance; 
pupil  of  Tietse,  Radecke  and  Bruch; 
c.  Finnish  symph.;  overture  "Mac- 
beth ";  Finnish  fantasie  forchoms  and 
orch.;  Finnish  orch.  suite,  etc. 

Miersch  (mersh),  (i)  Carl  Alex. 
Johannes,  b.  Dresden,  1865  ; 
violinist;  pupil  of  the  Cons,  and  of 
Massait;  1888-90  teacher  in  Aber- 
deen, then  for  a  year  with  the  Boston 
Symph.  Orch.;  1894-8  artistic  dir.  of 
the  Athens  Cons,  and  court  violinist; 
1902,  returned  to  the  U.  S.;  from 
1910  at  Cincinnati  Coll.  of  Music.  His 
brother  (2)  Paul  Fr.,  b.  Dresden, 
Jan.  18,  1868;  'cellist,  pupil  of  Royal 
Akad.,  Munich;  from  1892  in  New 
York,  for  five  years  soloist  N.  Y. 
Symph.  Orch.,  1898,  soloist  Met. 
Opera;  c.  Indian  rhapsody,  for  orch., 
'cello  and  violin  concertos,  etc. 

Mignard  (men-yar),  Alexander 
Konstantinovich  (rightly 
Scheltobrjuchov),      b.     Warsaw 


Aug.  13,  1852;  pupil  of  the  Cons,  and 
of  Saint  Saens  at  the  Paris  Cons. ;  law- 
yer and  statesman  at  Warsaw;  c. 
operas,  overtures,  2  symph.,  etc. 

Mil'denberg,  Albert,  b.  Brook- 
lyn, Jan.  13,  1873;  pupil  of  Joseffy, 
Bruno  Oskar  Klein  and  C.  C.  Miiller; 
c.  orch.  suites,  etc. 

Millet  (mel'-yet),  Luis,  b.  Barce- 
lona, April  18,  1867;  pupil  of  Vidiella 
and  Pedrell;  founded  and  cond.  the 
Orfeo  Catala  society;  c.  choruses  and 
orch.  fantasies  on  folk-themes. 

Mil'ligen,  Simon  Van,  b.  Rotter- 
dam, Dec.  14,  1849;  organist;  pupil  of 
Nicolai,  Bargiel,  etc.;  for  many  years 
municipal  dir.  of  Gouda,  later  in 
Amsterdam  as  critic  and  teacher;  c. 
operas  "Brinio"  and  "Darihtda" 
(The  Hague,  1898),  etc. 

Minc'us,  Ludwig,  b.  Vienna,  1827; 
violinist  and  cond.  in  St.  Petersburg; 
1872,  ballet  composer  at  the  Imperial 
Opera;  then  retired  to  Vienna;  c. 
ballets,  including  "La  Source"  in 
collaboration  with  Delibes. 

Mirecki  (me-rets'-ke),  Franz,  Cra- 
cow, April  I,  1791  — May  29, 
1862;  pupil  of  Hummel  and  Cheru- 
bini;  after  1838  director  of  school  of 
opera  singing  in  Cracow;  c.  operas, 
ballets,  etc. 

Mit'terer,  Ignaz  Martin,  b.  St.  Jus- 
tina,  Tyrol,  Feb.  2,  1850;  composer 
and  director;  pupil  of  his  uncle 
Anton  M.,  (a  choirmaster),  and  of 
Father  Huber;  1874  became  a  priest; 
studied  at  Regensburg  under  Jakob, 
Haberl  and  Haller;  1880  chaplain  in 
Rome;  1882-5,  cathedral  cond.  at 
Regensburg,  later  at  Brixen  as  dir.  in 
the  cathedral;  his  compositions  show 
the  influence  of  Palestrina;  c.  masses 
with  orch.,  offertories  and  a  great 
amount  of  church  music. 

MIynarski  (m'le-nar'-shki),  Emil, 
b.  Kibarty,  Suvalki,  July  30,  1870; 
pupil  St. Petersburg  Cons.;  1893  cond. 
and  teacher  at  Warsaw;  1894  at 
Odessa;  from  1899  cond.  at  Opera 
House,  Warsaw;    also    cond.    Phil. 


I    Mor 

I 


DICTIONARY  OF  MUSICIANS       903 


orch.;  1904-7  director  of  the  Cons.; 
then  in  London;  c.  violin  concerto 
(Paderewski  prize  at  Leipzig,  1898), 
operas,  etc. 
Mocquereau     (m6k-ro),     Andre, 
b.  La  Tessouale,  France,  June  6,  1849; 
writer;  'cello  pupil  of  Dancla;  from 
1875   Benedictine  monk,  teacher  of 
choral  singing  at  the  Abbey  of  Soles- 
mes,  later  prior;  founder  and  editor  of 
the  "Paleographiemnskale  ";  in  1903 
on  the  exile  of  the  order,  moved  to  the 
Isle  of  Wight,  continuing  the  publi- 
cation of  his  great  work;  authority  on 
Gregorian  chant,  on  which  he  wrote 
"Rythmique   Gregorienne"     (vol.    I, 
1908),  etc. 
Mojsisovics  (mo-se'-so-vich),  Rod= 
erich  von,  b.  Graz,  May  10,  1877; 
pupil  of  Degner,  and  of  the  Cologne 
Cons.,  and  Munich  Akad.;  1903  cond. 
in  various  cities;  c.  sjTnph.  "In  the 
Alps"  symph.  poem  "^te/Za,"  "Chorus 
Myslicus"  from  Faust  for  soli,  double 
chorus,  organ  and  orch.,  etc. 
Molck,  Heinrich,    Grosz-Himstedt, 
1825 —  Hanover,     1889;     composer 
and  organist. 
Mol'ter,   Johann    Melchior,   mus. 
director  in  Durlach,  1733;  amazingly 
prolific   writer;    c.    169    symph.,   14 
overtures,  etc. 
Mon'day,  Joseph,    1851— January 
19,  1909;  English  organist  and  con- 
ductor. 
Monhaupt  (m6n'-howpt),  Franz,  b. 
Jackelsthal,    near    Friedland,    Aug. 
25,    1854;    director    of    the    Prague 
Almshouse  for  some  years,then  school 
director  in  Bohemian  Leipa;  c.  opera, 
orch.  suite,  piano  quintet,  etc. 
Monn,    Qeorg    Matthias,    Lower 
.   Austria,  1717  —  Vienna,  Oct.  3,  1750; 
organist  and  comp.  of  highly  impor- 
tant instrumental  works,  symphonies, 
etc.,    marking   a    transition    to    the 
modern  style. 
Monnet   (mun-na),    Jean,    b.    Con- 
drieux,  1700  —  Paris,  1785;  1743  and 
1752-8  cond.  Opera  Comique,  Paris. 
Monod     (mu-no),     Edmond,      b. 


Lj^ons,  Feb.  4,  1871;  author  and 
teacher;  pupil  of  Roth,  Stepanov  and 
Lcschetizky;  1899-1906  teacher  in 
Berlin;  1907  Prof,  at  Geneva  Cons.; 
c.  songs. 
Montanari  (mon-ta-na'-re),  Fran= 
cesco,  Padua  (?)  —  Rome,  1730; 
vioHnist  at  St.  Peter's,  Rome;  c.  12 
violin  sonatas. 
Montefiore  (mon-te-fi-o'-re),  Tom= 
maso  Mose,  composer;  b.  Livorno, 
1855;  pupil  of  Mabellini;  critic  under 
the  pen-name  of  "Fuck,"  editor; 
c.  operas  "Un  bacio  a  poriatore" 
(Florence,  1884),  and  "Cecilia" 
(Ravenna,  1905). 
Moody,     Fanny,     vide     manners 

(2). 
Moor  (mor),  (i)  Karl,  Bohemian 
comp.  of  I -act  opera  "  Vij"  (Prague, 
1903),  and  "Hjordis"  (do.,  1905). 
(2)  Emanuel,  c.  symph.  concertos 
and  operas  "Die  Pompadour"  (Co- 
logne, 1902),  and  "Andreas  Hofer" 
(do.  1902);  " Hochzeitsglocken"  (Cas- 
sel,  1908). 
Moraes  (mo-rans),  Joao  da  Silva, 
Lisbon,  Dec.  27,  1689  —  ca.  1747; 
important  Portuguese  composer  of 
church  music;  cond.  at  the  Cathedral. 
Morena  (mo-ra'-na),  Berta,b.  Wurz- 
burg,  Jan.  27,  1878;  pupil  of  Frau 
Rohr-Brajnin  and  Mme.  de  Sales; 
debut  at  Munich  Court  Theatre;  has 
sung  there  since,  and  from  1908  with 
Met.  Op.,  N.  Y.;  also  in  concert  with 
Boston  Symph.,  1909,  etc. 
Moricke  (ma'-rik-e),  Oscar,  b.  Co- 
burg,  Aug.  10,  1839;  bassoon  player 
there  in  the  Opera  orch.,  1856-66; 
1878-82  teacher  in  Munich,  then  in 
Berlin;  c.  2  symphs.,  etc. 
Morigi  (mo-re'-je),  Angelo,  Rimini, 
1752  —  Parma,  1788;  violinist;  pupil 
of  Tartini  and  Valotti;  court  cond.; 
c.  violin  sonatas,  etc. 
Mor'nington,  Earl  of  (Garrett  C. 
Wesley  or  Wellesley,)  Dangan, 
Ireland,  July  19,  1735  —  May  22, 
1781;  founded  Academy  of  Music, 
1757;  1764  Mus.  Doc.  (Dublin)  and 


904 


THE  MUSICAL  GUIDE 


Prof.;  1760;  created  M.  Viscount 
Wellesley  and  Earl  of  M.;  c.  well- 
known  chant  in  E  flat,  and  prize 
glees  and  madrigals;  one  of  his  sons 
was  the  Duke  of  Wellington. 

Mor'telmans,  Lodevijk,b. Antwerp, 
1868;  pupil  of  the  Cons,  and  Brussels 
Cons.;  c.s>Tnph.  "Germania,  "s>Tiiph. 
poem  "  Wilde  Jagd, "  etc. 

Mo'sel  Giovanni  Felice,  b.  Florence, 
1754;  violinist;  pupil  of  Nardini  and 
his  successor  as  court  cond.,  1793;  c. 
viohn  music,  etc. 

Mo'ser,  Marie,  1848  —  Vienna,  May 
17,  191 1 ;  singer  in  Wagner  roles;  wife 
of  General  von  Steinitz. 

Motta,  Jose  Da,  vide  Da  Motta. 

Mottl,  Felix,  add  that  he  resigned 
at  Carlsruhe,  1903,  and  cond.  in 
New  York  at  the  Met.  Op.,  direct- 
ing the  first  performances  of  "Parsi- 
fal" outside  Bayreuth;  1904  he  be- 
came co-director  of  the  Royal 
Academy  of  Music,  IVIunich;  he  was 
cond.  the  United  Royal  Operas  there, 
when  he  fell  ill  of  arteriosclerosis  and 
died  in  July,  191 1.  Shortly  before 
hip  death  he  was  divorced  from  his 
first  ^ife  and  mamed  Sdenka  Fass- 
bender,  of  the  Munich  Opera. 

Muck,  Karl,  add  that  in  1899  he 
cond.  German  Opera  in  London; 
1903-5  alternated  with  Mottl  as  cond. 
of  the  Vienna  Phil.;  1906-8  on  leave 
of  absence  he  cond.  Boston  SjTnph. 
during  the  winters;  appearing  also  at 
Paris,  Madrid,  etc.;  1901,  2,  4,  6,  and 
8  cond.  "Parsifal"  at  BajTCuth.  By 
arrangement  with  the  Boston  Sj-mph. 
he  continued  his  contract,  sending 
Max  Fiedler  to  conduct  in  his  place 
1909-12;  and  returning  191 2. 

Muffat,  (i)  Qeorg,  Schlettstadt, 
correct  birthplace,  ca.  1645;  d. 
Passau,  Feb.  23,  1704.  (2)  Aug. 
Gottlieb,  Passau,  April,  1690  — 
Vienna,  Dec.  10,  1770. 

Mugellini  (moo-gel-le'-ne),  Bruno, 
b.  Potenza,  Dec.  24,  1871;  pianist; 
pupil  of  Tofano,  Busi  and  Martucci; 
1898  teacher  at  the  Bologna  Lyceum; 


c.  prize  symph.  poem  "Alle  fonte  del 

Clitunifio";  'cello  sonata,  etc.;  edited 

Bach,  Czemy  and  Clementi. 
Mulert     (moo'-l6rt),     Fr.    von,    b. 

Mitau,    1859;    'cellist;   pupil   of   St. 

Petersburg  Cons.;  prof,  at  Kiev;  c. 

orch.  suites,  and  piano  pieces. 
Mun'dy,    (i)    William,  d.  i59i(?); 

gentleman  of  the  Chapel  Royal,  1563; 

c.  anthems,  etc.     His  son  (2)  John, 

d.  Windsor,  1630;  where  he  had  been 
organist  from  1585;  c.  madrigals  and 
a  fantasia  describing  the  weather. 

Munnich  (min'-nlkh),  (i)  Rudolf, 
b.  Friedenau,  BerUn,  June  18,  1836; 
song-composer.  His  son  and  pupil 
(2)  Richard,  pianist;  author  and 
singing  teacher  in  BerUn. 

Munzinger,  (moon'-tsing-er)  Karl, 
Balsthal,  Sept.  23,  1842  —  Berne, 
Switzerland,  Aug  .17,  191 1;  pupil  of 
Leipzig  cons.;  dir.  music  school  at 
Berne  till  retirement  in  1909;  c.  prize 
cantata  "  Miirtenschlacht. " 

Mustafa,  (moos-ta'-fa),  Domenica, 
Montefalco  (?)  — 1912;  singer  at  the 
Vatican  and  composer  of  church 
music;  succeeded  by  Perosi,  1898. 

MUthel  (me'-tel),  Johann  Gott- 
fried, Molln,  1720  —  Riga,  after 
1790;  organist;  c.  sonatas  and  songs. 

Navratil  (na-vra'-tel),  Carl,b.  Prague, 
April  24,  1867;  violinist;  Bohemian 
composer;  pupil  of  Adler  and  Ond- 
ricek;  c.  symph.;  sjTnph.  poems, 
"Jan  Hus,"  "Zalco,"  etc.;  opera 
" Salammbo,"  lyric  drama,  "Her- 
mann"; violin  concerto,  etc.;  wrote 
biog.  of  Smetana. 

Nay'lor,  Edward  Woodall,  b. 
Scarborough,  Feb.  9, 1867;  composer; 
pupil  of  his  father,  Dr.  John  N.  (q. 
v.);  and  at  the  R.  C.  M.,  London; 
organist  at  various  churches;  1897 
made  Mus.  Doc.  by  Cambridge  Uni- 
versity, where  he  had  taken  the 
degrees  of  B.  A.,  M.  A.,  andMus.  B.; 
organist   from    1897   at    Cambridge 


I 


DICTIONARY  OF  MUSICIANS       905 


(Emanuel  College);  lecturer  there 
from  1902;  c.  Ricordi  prize  opera 
"The  Angelus"  (Covent  Garden, 
1909);  cantata  "Arthur  the  King" 
(Harrogate,  1902),  church  music,  etc. 

Nebelong  (na'-be-16ng),  Johan 
Hendrik,  b.  Copenhagen,  Nov.  9, 
1847;  pupil  of  Holm,  Thielemann  and 
Barth;  from  1881  organist  at  Copen- 
hagen, founder  of  organist  pension 
fund;  c.  patriotic  songs,  etc. 

Ned'bal,  Oscar,  add  that  he  was 
dir.  Bohemian  Phil.,  Prague  1896- 
1906;  thereafter  cond.  Vienna  Volk- 
soper,  also  the  Tonkiinstler  orch.; 
c.  ballet  "Z?er  {aide  Hans"  (Vienna, 
1903),  scherzo  caprice  for  orch., 
violin  sonata,  etc. 

Nel'Ie,  Wilhelm,  b.  Schwobber,  near 
Hameln,  May  9,  1849;  preacher, 
organist  and  historian  of  church 
music;  pupil  of  Robert  Franz. 

Nel'son,  Sydney,  London,  Jan.  i, 
1800  —  April  7,  1862;  publisher  and 
composer  of  ballads,  etc. 

Neru'da,  Franz,  b.  Briinn,  Dec.  3, 
1843;  'cellist,  son  of  Josef  N., 
and  brother  of  Norman n  N.,  (q.  v.) 
pupil  of  Royal  Chapel  at  Copen- 
hagen; from  1892  successor  of  Gade 
as  dir.  of  the  Copenhagen  Music 
Society;  also  dir.  of  Stockholm 
Music  Society;  1894,  Prof.,  c.  "Slo- 
vak" march,  orch.  suite  "From  the 
Bohemian  Forest,"  'cello  pieces,  etc. 

Nest'ler,  August  Julius,  b.  Grum- 
bach,  Dec.  3,  185 1;  teacher,  founder 
of  a  musical  institute  in  Leipzig, 
1878  (assisted  by  his  son  Amadeus) ; 
1880  teacher  at  the  Royal  Gymna- 
sium; 1892  Royal  Musical  director;  c. 
hymn  with  orch.,  etc. 

Neupert  (noi'-pert),  Edmund,  Chris- 
tiania,  April  i,  1842  —  New  York, 
June  22,  1888;  pianist;  pupil  of 
Kullak's  Academy  and  teacher  at 
Stern  Cons.;  1861  at  Copenhagen 
cons.;  1888  at  Moscow  Cons.;  from 
1883  at  New  York;  c.  piano  studies, 
etc. 

Neuville   (nu-ve'-ye),   Valentin,  b. 


Rexpoede,  French  Flanders,  1863; 
organist;  pupil  of  Brussels  Cons.; 
org.  at  Lyons;  c.  2  s3Tnph.,  an  ora- 
torio "Notre  Dame  de  Fourvieres," 
6  operas,  including  "Les  Avegules" 
(1901),  and  "Les  Willis"  (1902). 

Neve  (de  na'-ve),  Paul  de,  b. 
Steglitz,  Berlin,  Jan.  24,  1881;  pupil 
of  Ph.  Scharwenka,  Berger  and  Gold- 
schmidt;  from  1893  cond.  at  Wies- 
baden Court  Theatre,  then  in  Aschers- 
leben;  c.  opera,  chamber  music,  etc. 

Nevin,  Arthur.  Add  that  his  cor- 
rect birthplace  is  Vine  Acre,  Edge- 
worth,  Pa.,  April  17,  187 1.  Add 
to  the  list  of  his  teachers,  Humper- 
dinck  in  Berlin,  and  Goetschius, 
Boston.  He  spent  the  summers  of 
1903  and  1904  among  the  Blackfeet 
Indians  in  Montana,  collecting  ma- 
terial for  his  Indian  opera  "Foia," 
libretto  by  Randolph  Hartley  (prod, 
in  concert  form  by  the  Pittsburg 
Orch.  and  as  an  opera  at  the  Royal 
Opera,  Berlin);  c.  also  i-act  opera 
"Twilight"  (accepted  by  Met.  Op. 
N.  Y.  but  not  produced);  orch, 
suites  "Lorna  Doone"  (prod,  by 
Karl  Muck  in  Berhn),  and  "Love 
Dreams"  (Pittsburg  Orch.);  c.  also 
songs. 

Nibelle  (ne-bel),  Adolphe  Andre, 
Gien,  1825  —  Paris,  1895;  pupil  Paris 
Cons.;  lawyer  and  composer  of 
operettas,  etc. 

Nich'olls,  Agnes,  b.  Cheltenham, 
July  14,  1877;  soprano;  pupil  of 
Visetti  at  the  R.  C.  M.,  London,  with 
a  scholarship;  debut  1895  in  a  revival 
of  Purcell's  "Dido  and  Aeneas"; 
studied  also  with  John  Acton;  1901, 
and  1904-6  sang  at  Covent  Garden; 
has  sung  much  in  concert  and  ora- 
torios, and  at  the  Cincinnati  Festival, 
1904;  in  which  year  she  married 
Hamilton  Harty  (q.  v.). 

Nich'ols,  Marie,  b.  Chicago, Oct.  16, 
1879;  violinist;  pupil  of  E.  Mollen- 
hauer  (Boston),  HaUr  and  Debroux; 
debut  1899;  has  toured  Europe  and 
America. 


9o6 


THE  MUSICAL  GUIDE 


Nich'olson,  Henry,  1825 — Leicester, 
Sept.  14,  1907;  age  82;  celebrated 
flutist;  from  1877  with  Birmingham 
Festival  Orch. 

Nicolau  (ne'-ko-la-oo),  Antonio,  b. 
Barcelona,  June  8,  1858;  pupil  of 
Pujol  and  Balart;  cond.  of  Cata- 
lonian  Concert  Society  in  Paris,  then 
dir.  municipal  music  school  at  Bar- 
celona; c.  opera,  choral  works,  etc. 

Nicolini  (ne-ko-le'-ne),  Nicolino 
Qrimaldi  detto,  Naples,  ca.  1673 
—  Venice,  (?)  after  1726;  tenor, 
whom  Addison  called  "perhaps  the 
greatest  performer  in  dramatic  music 
that  ever  appeared  upon  a  stage"; 
he  was  a  contralto  in  Italy  as  early  as 
1694  and  was  decorated  with  the 
Order  of  St.  Mark;  from  1708-1716 
in  England  rousing  a  furore;  created 
"Rinaldo"  in  Handel's  opera,  171 1; 
returned  to  sing  in  Italy. 

Nidecki  (ne-det'-ski),  Thomas, 
Warsaw,  1800-1852;  pupil  of  the 
Cons.,  and  on  government  funds  at 
Vienna;  1841  director  Warsaw  Opera; 
c.  3  masses,  burlesques,  etc. 

Nielsen  (nel'-sen),  (i)  Carl,  b.  Norre- 
Lyndelse,  Fiinen  Island,  June  9, 
1865;  important  Danish  composer; 
pupil  of  Gade,  member  of  the  Copen- 
hagen court  orch.,  and  from  1904 
assistant  cond.  succeeding  Svendsen; 
c.  2  symph.,  No.  2  ''The  Four 
Seasons,"  overture,  "Helios,"  opera 
"Saul  and  David"  (Copenhagen, 
1902);  chorus  vnih  orch.,  "Hymnus 
amoris";  chamber  music,  etc.  (2) 
Ludolf,  b.  Norre-Tolde,  Zealand, 
Jan.  29,  1876;  pupil  Copenhagen  and 
Leipzig  Cons.;  viola  player  in 
Andersen's  orch.;  c.  opera  "Masca- 
rade"  (Copenhagen  1906). 

Nieviadomski  (n'yav-ya-dom'shki), 
Stanislav,  b.  Soposzyn,  Gahcia, 
Nov.  4,  1859;  pupil  of  MikuH, 
Krenns,  and  Jadassohn;  teacher  at 
Lemberg  Cons.;  critic;  c.  songs,  etc. 

Nikisch,  Arthur,  add  that  he  was 
dir.  Leipzig  Cons,  till  1907;  1905-6 
dir.    the    Stadttheater,    has    toured 


widely  with  the  Berlin  Phil.,  and 
acted  as  guest  cond.  in  many  capitals; 
April,  191 2,  he  toured  the  U.  S.  as 
cond.  of  the  London  Phil,  with 
immense  success.  He  c.  a  symph.,  a 
cantata  "Chrislnacht,"  orch.  fan- 
tasia " Der  Trompeter";  etc.  His  wife 
Amelie  (nee  Heuser),  b.  in  Brussels; 
was  a  soubrette  in  Cassel  and  Leipzig 
operas,  and  has  composed  music. 

No'ack,  Sylvain,  b.  Rotterdam,  Aug. 
21,  1881;  at  first  a  pianist,  then  violin 
pupil  of  Andre  Spoor,  Amsterdam; 
at  17  entered  the  Cons.,  as  a  pupil  of 
Elderling,  winning  first  prize,  1903, 
and  becoming  a  teacher  there;  1905 
settled  in  Rotterdam,  and  toured 
widely;  1906  concertm.  at  Aix-la- 
Chapelle;  from  1908  second  concert- 
master  Boston  Symph. 

No'ble,  Thomas  Tertius,  b.  Bath, 
May  5,  1867;  composer;  pupil  of 
the  R.  C.  M.,  London,  winning  a 
scholarship,  and  later  teaching  there; 
org.  at  Cambridge,  Ely  Cathedral, and 
from  1898  at  York  Minster,  founding 
the  York  Symphony  Orch.;  c.  church 
music  with  orch.,  cantata  "Gloria 
Domini,"  music  to  Aristophanes' 
"Wasps,"    etc. 

No'dermann,  Freshen,  b.  Hjorring, 
Denmark,  Jan.  11,  1867;  teacher; 
studied  at  Helsingborg;  organist  and 
1894  Ph.D.,  University  of  Lund. 
Sweden,  in  which  city  he  has  been 
since  1903,  cathedral  org.;  c.  opera 
"Konig  Magnus"  (Hamburg,  1899); 
operetta.  "Prinz  Inkognito"  (Copen- 
hagen, 1909),  etc. 

No'lopp,  Werner,  Stendal,  June  5, 
1835  —  Magdeburg,  Aug.  12,  1903; 
teacher  and  composer  of  male  chor- 
uses. 

Nolthenius  (n61-ta'-ni-oos),  Hugo, 
b.  Amsterdam,  Dec.  20,  1848;  pupil 
of  Viotta  and  Auerkamp;  cond.  musi- 
cal societies;  1888-91  at  Utrecht; 
editor  and  author. 

Nordqvist  (n6rt'-kwist),  Johan 
Conrad,  b.  Venersborg,  April  11, 
1840;  Swedish  composer;  pupil  Stock- 


DICTIONARY  OF  MUSICIANS       907 


holm  Musikakademie;  1864  military 
bandmaster,  then  with  state    funds 
studied  in  Dresden  and  Paris;  from 
1875  organist  and  teacher  at  Stock- 
holm; 1 88 1  teacher  of  harmony  at  the 
Musikakad.;     1885    court   cond.;   c. 
orch.  works,  etc. 
Nordraak       (n6r'-drak),       Rikard, 
Christiania,  June  12,  1842  —  Berlin, 
March  20, 1876;  composer  whose  early 
death  ended  a  promising  career;  pupil 
of  Kiel  and  KuUak;  c.  incid.  music 
to  Bjornson's   "Maria  Stuart"  and 
''Sigurd  Slctnbe,"  piano  pieces,  etc. 
No'ren,    Heinrich      Gottlieb,    b. 
Graz,  Jan.  6,  1S61;  violinist;  pupil  of 
Massart;    concertmaster    in    various 
countries;  from  1896-1902  in  Crefeld, 
where  he  founded  a  Cons. ;  teacher  at 
Stern  Cons.,  in  Berlin;  later  in  Dres- 
den;   c.  orch    variations    "  Kaleido- 
skop"  (Dresden,  1907),  serenade  for 
orch.,  etc. 
Noronha    (no-ron'-ya),     Francisco 
De  Sa,  Vianna   do    Castello,   Feb. 
24,  1820  —  Rio  de  Janeiro,  Jan.  23, 
1881;  Portuguese  violinist,  and  self- 
taught   composer   of   operettas   and 
violin  pieces. 
Notz,    Franz,    b.    Cannstadt,    1867; 
pupil  of  Stuttgart  Cons.;  from  1901 
teacher    in     Insterberg;     c.     choral 
"  Liedlegoide,"  etc. 
Nougues  (noo-ges),  Jean,  b.  1874; 
composer  of  operas  "  Yannha  (Bar- 
celona,    1897);    "Thamyris"     (Bor- 
deaux,   1904);   "Quo   Vadis"    (Paris 
Gaite,  1910,  Berlin  Royal  Op.,  191 2); 
"Chiquito,"      "  L'Eclaircie,"       "La 
Danseuse  de  Pompeii"  (Rouen). 
Novacek     (no'-va-chgk),     Ottokar, 
Fehertemplom,  Hungary,    May    13, 
1866  —  New   York,    Feb.    3,    1900; 
violinist;  pupil  of  his  father,  of  Dont, 
and  at  Leipzig  Cons.,  where  he  won 
the  Mendelssohn  prize,   1889;   1891 
member  Boston  Symph.  Orch.;  1892 
-3  Damrosch    Orch.,    N.  Y.;    heart- 
trouble    forced    his    retirement;    c. 
chamber    music,    Bulgarian    dances 
and  other  violin  pieces. 


No'vak,  Vitezslav,  b.  Kamenitz, 
Bohemia,  Dec.  5,  1870;  important 
Bohemian  composer;  pupil  of  Prague 
Cons,  under  Dvorak,  later  teacher 
at  Prague;  from  1909  teacher  of 
composition  at  the  Cons.;  c.  overture 
"Maryscha,"  symph.  poems  "On 
the  High  Tatra"  and  "Eternal  Long- 
ing"; "Slovak"  suite,  four  Moravian 
ballads  with  orch.,  chamber  music, 
piano  sonata  "Eroica,"  etc. 

Novot'ny,Wenzel,  b.  Pocaterl,  Bohe- 
mia, Sept.  17,  1849;  music  editor, 
translator  of  Wagner;  pupil  Prague 
Organ  School;  c.  songs,  violin  pieces, 
etc. 

Nowowiejski,  Felix,  add  that  he 
was  b.  Wartenburg,  1875;  pupil  of 
Stern  Cons.,  and  Regensburg  Church 
Mus.  Sch.,  etc.;  c.  2  symph.;  opera 
"Quo  Vadis"  (1907);  oratorio  "Die 
Auffindung  des  Kreuzes"  (Lemberg, 
1906).  "Quo  Vadis"  was  given  as 
an  oratorio  New  York,  191 2. 

Nunn,  J.  H.,  Bury  St.  Edmunds,Nov. 
10,  1827  —  Penzance,  Oct.  17, 1905; 
pupil  R.  A.  M.,  London,  later  Fellow; 
org.  and  cond. 

Nu'no,  Jaime,  Spain  (?)  —  Bayside, 
L.  I.,  July  19,  1908;  composer  of 
Mexican  National  Anthem;  educated 
in  Spain,  went  to  Cuba  as  military 
bandmaster,  invited  to  Mexico,  1851, 
by  President  Santa  Anna;  fled  from 
revolution  and  settled  in  Buffalo, 
N.  Y.,as  teacher  for  52  years;  1901 
invited  to  Mexico  and  received  with 
great  honours,  gold  crown,  and  a 
purse;  returned  to  Buffalo,  where  he 
is  buried. 

Nunczy  (noon'-che),  Louis,  d.  Buda- 
pest, April  18,  1910.  Hungarian 
violinist. 

0 

O'berhoffer,  (i)  Heinrich,  Pfalzeln, 
Dec.  9,  1824  —  Luxembourg,  May 
30,  1885;  organist  at  Luxembourg, 
c.  church  music.  (2)  Emil,  b. 
Munich,  Aug.  10,  1867;  pupil  of 
Kistler,   and   I.    Philipp;  settled    in 


9o8 


THE  MUSICAL  GUIDE 


Minneapolis,  Minn.;  cond.  Phil. 
Club,  and  from  1903  Minn.  Symph. 
Orch.,  with  which  he  toured  the  U. 
S.,  1912;  c.  church  music,  songs,  etc. 

Obermeyer  (o'-ber-ml-er),  Joseph, 
Nezabudicz,  Bohemia,  1749  —  Prague 
after  1816;  violinist  to  Count  Wald- 
stein;  pupil  of  Kamel  and  Tartini. 

Obrecht,  vide  Hobrecht. 

O'brist,  Aloys,  b.  San  Remo,  March 
30,  1867;  pupil  of  Miiller  Hartung  at 
Weimar;  cond.  in  various  cities;  from 
1900  at  Weimar;  mus.  director  and 
coll.  of  mus.  instruments. 

Oldberg,  Arne.  b.  Youngstown,  Ohio, 
July  12,  1874;  began  piano  studies 
with  his  father  at  5 ;  at  6  was  playing 
Haydn  symphonies  in  duet  form; 
pupil  of  Aug.  Hyllested,  Chicago; 
1893-5  o^  Leschetizky,  Vienna;  from 
1895  in  Chicago  with  Middelschulte 
(counterpoint);  Ad.  Koelling  (in- 
strumentation) and  F.  G.  Gleason; 
1898  with  J.  Rheinberger,  Munich; 
from  1899  teacher  at  Northwestern 
Univ.,  111.;  c.  2  symphs.  (F  minor, 
winning  National  Federation  prize 
191 1);  overture  "  Paola  and  Fran- 
cesca"  (played  3  times  by  Thomas 
Orch.);  Festival  Overture,  12  orch. 
variations,  horn  concerto,  chamber 
music,  piano  sonata,  etc. 

Ollone  (dol-liin),  Max  d',  b.  Bes- 
angon,  June  13,  1875;  pupil  Paris 
Cons.,  taking  the  Prix  de  Rome, 
1897;  c.  ca.nta.tsi  "Fredegonde,"  lyric 
scene"  Jeanne  d' Arc  a  Dotnremy, "  etc. 

Olschlegel  (gl'-shla-gel ),  Alfred, 
b.  Anscha,  Bohemia,  Feb.  25,  1847; 
pupil  Prague  Organ  School;  cond. 
various  theatres,  finally  at  Franzens- 
bad;  c.  operettas,  and  opera  "A'y- 
nast"  (Altenburg,  1898). 

Olth'off,  Statius,  Osnabruch,  1555 
—  Rostock,  1629;  composer;  cantor 
and  con-rector;  set  Buchanan's  Latin 
version  of  the  Psalms  (1585). 

O'Mara,  Joseph,  b.  Limerick,  July 
16,  1866;  tenor;  pupil  of  Perini  and 
Moretti,  and  Holland;  debut  1891 
Royal  English  Opera  House;  1894  at 


Drury  Lane  and  Covent  Garden; 
1896  created  the  role  of  "Mike 
Murphy"  in  "Shamus  O'Brien"  in 
England  and  America;  toured  with 
Moody-Manners  Co. 

O'Neill,  (i)  Norman,  b.  Kensing- 
ton, March  14,  1875;  cond.,  pupil  of 
Somervell  and  Hoch  Cons,  at  Frank- 
fort; c.  incid.  music  to  "Hamlet" 
(1904),  "King  Lear"  (1908),  "The 
Blue  Bird"  (1909);  overture  "In 
AjUumn,"  "In  Springtime" ;  fantasy 
for  voices  and  orch.  "Woldemar"; 
Scc^tch  rhapsody;  ballade  with  orch. 
"La  belle  dame  sans  merci"  (London, 
1910),  etc.;  1899,  he  married  (2) 
Adine  Ruckert,  pianist;  pupil  of 
Clara  Schumann  and  Mme.  Clause- 
Szavardy. 

Opienski  (dp-yen'-shki),  Heinrich, 
b.  Cracow,  June  13,  1870;  pupil 
of  Zelenski  there,  of  d'Indy  and 
Urban;  critic  in  Warsaw,  then  pupil 
of  Riemann  in  history,  and  of  Nik- 
isch  in  conducting;  from  1907  teacher 
of  history  at  the  Warsaw  Music 
School,  and  from  1908  cond.  of  the 
Opera;  c.  prize  cantata  in  honour  of 
Mickiewicz;  opera  "Maria,"  symph. 
poem  " Lilla  Weneda"  (1908),  etc. 

Orlan'di,  Fernando,  Parma,  1777 
—  Jan.  5,  1848;  1809-28  singing 
teacher  at  Milan  Cons.;  then  at 
Munich  Music  School;  c.  26  operas. 

Orlandini  (6r-lan-de'-ne),  Giuseppe 
Maria,  Bologna,  1685  —  Florence, 
ca.  1750;  opera  composer,  c.  44  ope- 
ras, 3  oratorios,  etc. 

Orologio  (6r-6-lo'-ji-o),  (i)  and  (2),| 
Alessandro,  two  contemporary; 
madrigal  composers  of  the  same  name, 
one  of  them  in  1603  became  vice- 
chapelmaster  to  Emperor  Rudolph 
at  Prague;  the  other  vice-chapel- 
master  to  the  Electoral  Court  at 
Dresden  the  same  year. 

Orth  (6rt),  (i)  John,  b.  near  Au- 
weiler,  Bavaria;  teacher;  brought  to 
America  at  the  age  of  one;  pupil  of  his 
father;  at  16  taught  and  earned  funds 
for  study  abroad;  from  1875  teacher 


DICTIONARY  OF  MUSICIANS       909 


in  Boston;  c.  piano  pieces,  etc.  In 
1883  he  married  (2)  Lizette  E. 
Blood,  composer  of  children's  op- 
erettas, songs,  etc.,  under  name 
"L.  E.  Orth." 

Ortiz  (6r-teth),  Diego,  b.  Toledo, 
ca.  1530;  from  1558  chapelmaster  to 
Duke  of  Alva;  c.  important  book  of 
sacred  music  (pub.  Venice,  1565). 

Osborn=Hannah,  Jane,  soprano, 
after  concert  career,  became  pupil  of 
Rosa  Sucher  in  1903;  1904  engaged 
for  Leipzig  Opera  by  Nikisch;  sang 
for  3  years  there,  appearing  also  as 
soloist  at  the  Gewandhaus  concerts; 
has  sung  in  other  German  cities,  at 
Covent  Garden,  London;  1909,  Met. 
Op.  N.  Y.;  from  19 10  with  Chicago- 
Philadelphia  Opera  Co.  in  Wag- 
nerian roles. 

O'Sul'livan,  Denis,  San  Francisco, 
April  25,  1868  —  Columbus,  Ohio, 
Feb.  I,  1908;  barytone  of  Irish  de- 
scent; pupil  of  Talbo  and  Formes; 
later  of  Vannucini,  Santley  and 
Shakespeare;  debut  1895  in  concert; 
also  in  opera  with  Carl  Rosa  Co. ;  1896 
created  the  title  r61e  in  Stanford's 
"Shamus  O'Brien"  and  sang  it  in 
England  and  America;  created  other 
roles  in  light  and  serious  opera;  in 
1907  sang  in  America  in  "Peggy 
Machree"  of  which  his  wife  wrote  the 
libretto;  suffering  with  appendicitis 
he  persisted  in  struggling  through 
performances  and  died  on  tour  in  a 
hotel. 

Os'wald,  James,  d.  Knebworth 
Jan.  1769;  Scots  composer  of 
popular  tunes,  to  whom  Kidson 
credits  the  composition  of  "God 
Save  the  King''';  dancing-master  at 
Dumferline,  1734;  later  in  Edinburgh; 
from  1 741  in  London;  c.  songs. 

Othegraven  (o'-te-gra-ven),  August 
von,  b.  Cologne,  June  2,  1864;  music 
professor;  pupil  of  the  Cons,  and 
from  1889  teacher  there;  c.  fairy 
play  "The  Sleeping  Beauty"  (Co- 
logne, 1907),    songs,  etc. 

Ot'ter,    Franz  Joseph,   Nadlstadt, 


Bavaria,  1760(1764?) — Vienna,  Sept. 
I,  1836;  violinst;  pupil  of  Nardini; 
violinist  with  his  brother  Ludwig  at 
Salzburg  Cathedral;  1803-7,  then 
pensioned;  taught  and  conducted  in 
Vienna. 

Otterstroem  (ot'-t^r-strum),  Thor= 
vald,  b.  Copenhagen,  July  17,  1868; 
composer;  piano  pupil  of  Sophie 
Menter,  St.  Petersburg;  from  1892  in 
Chicago;  c.  24  preludes  and  fugues 
for  piano,  chamber  music,  etc. 

Ot'to,  (0  Qeorg,  b.  Torgau,  ca.  1544; 
from  1588-1619  at  Cassel  as  cond. 
to  the  Landgrave;  c.  sacred  music; 
(2)  Valentin,  cantor  at  Leipzig, 
1564-94.  (3)  Valerius,  organist  at 
Prague,  1607;  c.  church  music.  (4) 
Stephan,  b.  Freiburg,  Saxony,  ca. 
1594;  cantor  there  and  at  Schandau; 
c.  church  music. 


Pacchioni  (pak-ki-6'-ne),  Antonio 
Maria,  Modena,  1654-1738,  priest, 
court  chaplain;  c.  oratorios,  etc. 

Pacelli  (pa-chel'-le),  Asprilio,  Varci- 
ano,  ca.  1570  —  Warsaw,  May  3, 
1623;  Italian  choirmaster;  1604. 
called  to  Warsaw  as  chapelmaster  to 
the  King;  c.  motets,  etc. 

Pache  (pakh'-e),  (i)  Johannes,  b. 
Bischofswerda,  Dec.  9,  1857  —  Lim- 
bach,  Dec.  i,  1897;  organist  and  com- 
poser of  male  choruses,  etc.  (2) 
Joseph,  b.  Friedland,  Silesia,  June 
I,  1861;  pupil  Royal  Akad.,  Munich, 
and  of  Scharwenka  Cons.,  and  Max 
Bruch;  settled  in  New  York  and 
founded  1903  an  oratorio  society; 
from  1904  dir.  oratorio  society  in 
Baltimore. 

Pachler=Koschak  (pakh'-ler-ko'- 
shak),  Marie  Leopoldine,  Graz, 
Oct.  2,  1792  —  April  10,  1855;  pianist 
and  composer;  friend  of  Beethoven, 

Paderewski,  1.  J.,  add  that  he 
settled  at  Morges,  Switzerland,  con- 
tinuing to  tour  the  world;  191 2,  in 
South  Africa;  1909  director  Warsaw 


9IO 


THE  MUSICAL  GUIDE 


Cons.;  c.  opera  "Sakuiitala"  (text 
by  C.  Mendes),  a  symphony  in 
memory  of  the  revolution  of  1864, 
(1908;  Boston  Symph.,  1909;  Richter, 
London,  1909);  a  second  symph.,  an 
hour  and  twenty  minutes  long 
(191 2);  piano  sonata,  variations,  and 
fugue  for  piano  (1907),  etc. 

Pagin  (pa-zhah),  Andre  Noel,  Paris, 
1721-1770;  composer  and  violinist. 

Palmer  (pam'-er),  Bessie  (Eliz- 
abeth Annie),  b.  London,  Aug.  9, 
1831;  contralto;  pupil  R.  A.  M.,  and 
of  Garcia;  debut,  1854;  sang  in  ora- 
torio and  concert;  from  1870  in  opera; 
from  1877-1886  teacher. 

Panor'mo,  (i)  VincenzoTrusaino, 
Monreale,  1734— London,  1813;  vioHn 
maker,  as  were  his  two  sons,  (2) 
Joseph,  London,  1773  —  ca.  1825, 
and  (3)  George  Lewis,  London, 
1774  — ca.  1842. 

Pancera  (pan-cha'-ra),  Ella,  b. 
Vienna,  Aug.  15,  1875  (of  Italian 
parents);  pianist;  pupil  of  Epstein 
and  Vockner;  debut  at  13;  toured 
widely. 

Panizza  (pa-nid'-za),  Ettore,  b. 
Buenos  Ayres,  Aug.  12,  1875;  c.  opera 
"II  fidanzeto  del  mare"  (Buenos 
Ayres,  1897);  the  trilogy  "  Medio evo 
latino"  (Geneva,  1900)  "Aurora" 
(Buenos  Ayres,  1908). 

Paolucci  (pa-6-loo'-che),  Giuseppe, 
Siena,  May  25,  1726  —  Assisi, 
April  26,  1776;  Franciscan  monk;  c. 
church  music. 

Paravicini  (pa-ra-ve-che'-ne),  Si_g= 
nora,  Turin,  1769  —  after  1830;  vio- 
linist; pupil  of  Viotti;  1797,  befriended 
by  Empress  Josephine,  and  made 
great  success  in  Paris  and  other  cities. 

Pardew',  John,  1855  —  Plymouth, 
April  13,  1910,  organist,  conductor 
and  teacher. 

Par'ker,  Horatio  W.,  add  that 
in  May,  1911,  his  opera  "Mona," 
libretto  by  Brian  Hooker  (b.  N.  Y. 
Nov.  2,  1880,  a  graduate  of  Yale, 
1902,  and  instructor  there  1905-10), 
won  the  $10,000  prize  offered  by  the 


Met.  Op.  Co.  for  the  best  grand  opera 
in  English  by  an  American.  It  was 
prod,  with  success. 

Par'low,  Kathleen,  b.  Calgary, 
Canada,  1890;  violinist;  taken  to 
California  at  5,  and  studied  there  with 
Conrad  and  Holmes;  debut  there  at 
6;  at  15  gave  a  recital  in  London  and 
appeared  with  the  London  Symph. 
Orch.;  then  studied  with  Auer;  1907 
began  to  tour. 

Parry,  Sir  C.  Hubert  H.,  add 
that  in  1908  his  health  forced  his 
resignation  of  the  Oxford  Professor- 
ship; c.  also  Processional  Music  for 
the  coronation  of  Edward  VII  (1903) ; 
a  simfonia  sacra  for  soli,  chorus  and 
orch.  (Gloucester  Festival,  1904); 
music  to  Aristophanes'  "Clouds" 
(Oxford,  1905);  Browning's  "Pied 
Piper"  with  orch.  (Norwich  Fest, 
1905);  symph.  poem  "The  Vision  of 
Life"  (Cardiff  Fest.,  1907);  cantata 
(Worcester  Fest.,  1908);  revision  of 
4th  symph.,  (Philharmonic,  1910); 
wrote  important  work  on  Bach; 
"The  Music  of  the  17th  Century," 
for  the  Oxford  History  of  Music 
(1902),  etc. 

Par'ry,  Joseph  Haydn,  Pennsyl- 
vania, 1864  — London,  March  29, 
1894;  composer;  son  and  pupil  of  Dr. 
Jos.  Parry;  1890  prof.  Guildhall 
School;  c.  operas,  "Cigarette,"  1892, 
"Miami"  (London,  1893),  etc. 

Pashalov  (pa-sha'-l6f),  Victor  Nik= 
androvich,  Saratov,  1847  —  Kasan, 
1885;  Russian;  composer  of  songs. 

Pashkevich  (pash'-ka-vich),  Vassili, 
violinist;  chamber  musician;  court 
cond.  to  Catherine  II;  1789,  dir.  court 
balls;  c.  operas,  etc.,  one  of  them 
"Oleg"  to  Catherine  H's  text. 

Pasterwitz  (pas'-ter-vltz),  Georg, 
Passau,  1730  —  Kremsmiinster,  1823; 
priest,  and  cond.;  c.  fugues,  etc. 

Pa'tey,  John  George,  Stonehouse, 
Devonshire,  1835  —  Falmouth,  Dec. 
4,  1901;  bass  at  Covent  Garden;  hus- 
band of  Janet  Monach  P.  (q.  v.) 

Pauer,   Max,  add    that   he   became 


DICTIONARY  OF  MUSICIANS       911 


dir.  of  Stuttgart  Cons.  1908:  gives 
annual  recitals  in  European  capitals. 

Paul,  William,  England,  1868  (?)  — 
St.  Louis,  Feb.  5,  1903,  teacher. 

Paulli  (pow'-le),  Simon  Holger, 
Copenhagen,  Feb.  22,  1810  —  Dec. 
2T,  1 891;  violinist  and  court  cond.; 
c.  overture,  operettas,  etc. 

Paur,  Emil,  add  that  he  returned  to 
Europe,  1903;  cond.  concerts  in 
Madrid;  1904,  returned  to  the  U.  S. 
as  cond.  Pittsburgh  Symph.  Orch. 
His  symph.  was  published  in  1909. 

Pechatschek  (pekh'-ii-chek),  (i) 
Francois,  conductor  in  Vienna;  c. 
popular  dance  music,  ballets  and 
operas.  His  son  (2)  Francois, 
Vienna,  July  4,  1793  —  Carlsruhe, 
Sept.  15,  1840;  violin-virtuoso,  court 
dir.  at  Boden;  c.  violin  concerto,  etc. 

Pedrell,  Felipe,  add  that  he  was 
born  in  Tortosa,  Spain,  Feb.  19,  1841, 
and  c.  operas,  including  "Quasimodo" 
(Barcelona,  1875),  a  trilogy  "Los 
Pinneos"  (Barcelona,  1902),  "La 
Celestina"  (1904),  "La  Matinada" 
(1905),  a  Gloria  mass  with  orch.; 
also  wrote  and  edited  important 
historical  works. 

Pefialosa  (pen-ya-lo'-sa),  Francisco, 
Spanish  composer,  1470-1535;  cond. 
to  Ferdinand  the  Catholic,  then  singer 
in  Papal  Chapel. 

Penavaire  (pa-na-var),  Jean  Qre=> 
goire,  Lesparre,  Sept.  15,  1840  — 
Paris,  Sept.  1906;  composer;  theatre- 
cond.  at  Nantes;  covertures  "  Tasso," 
"Cervantes";  sjTnph.  poem  with 
chorus,  "La  vision  des  Croisees," 
comic  opera  and  ballets. 

Perez  (per'eth),  Juan  Qinez,  Orihu- 
ela,  Murcia,  Oct.  17,  1548  —  Valencia 
after  1601;  royal  chaplain  and  comp. 
of  church  music. 

Perosi,  Don  Lorenzo,  add  the 
later  compositions;  oratorios  "Leo 
the  Great"  (1902),  "//  Giitdizio 
Universale"  (The  Last  Judgment), 
Rome,  1904;  and  "In  Patris  Menio- 
riam"  (1910);  orch.  variations  (1904), 
cantatas  "  Anima"  (1908),  and  "Dies 


/j/e",- a  series  of  10  s>Tnphonies  each 
devoted  to  an  Italian  city;  requiem 
for  Leo  XHI  (1909),  etc. 

Per'singer,  Louis,  b.  Rochester,  III., 
1887;  violinist;  at  12  taken  to  Leipzig 
and  studied  with  Hans  Becker;  later 
pupil  of  Ysaye,  Thibaud  and  at  Leip- 
zig Cons.;  concertm.  BliithnerOrch., 
Berlin;  played  in  concerts  abroad, 
engaged  for  American  tour,  1912. 

Peterson=Berger  (pa'-t6r-son-bgrkh- 
er),  Wilhelm,  b.  Ingermanland, 
1867;  composer;  studied  in  Dres- 
den and  in  Stockholm  where  he  has 
been  since  189^  critic  and  regisseur  at 
the  opera;  c.  dramatic  works  "Ran" 
(Stockholm,  1903),  etc. 

Petrie,  George,  Dublin,  1789  —  Jan. 
17,  1866;  collector  of  Irish  airs. 

Petrov  (pa'-tr6f),  Ossip  Afanass- 
jevich,  b.  Elisavetgrad,  Nov.  15, 
1807  —  St.  Petersburg,  Mar.  14, 1878; 
famous  Russian  barytone-bass,  with 
remarkable  compass  of  nearly  four 
octaves  (B-g");  discovered  on  the 
stage  of  a  country  fair,  by  Lebedev; 
created  Sussanin  in  "Life  for  the 
Czar";  Glinka  wrote"  Ruslan"  for 
him,  and  he  created  roles  in  many  of 
the  chief  Russian  operas,  singing  up 
to  four  days  before  his  death  in  his 
seventy-first  year. 

Petsch'nikov,  Alexander,  b.  Teletz, 
Feb.  8,  1873;  violinist;  pupil  of 
Moscow  Cons.;  lives  in  Berlin. 

Petz'et,  Walter,  b.  Breslau,  Oct.  10, 
1866;  pupil  of  Kleffel,  Rheinber- 
ger  and  von  Biilow;  1887-96  piano 
teacher  in  America,  then  at  Helsing- 
fors  Cons.,  and  1898  at  Karlsruhe 
Cons.;  c.  an  opera,  piano  pieces,  etc. 

Peurl  (.Bawerl,  Baurl,  or  Beurlin), 
Paul,  organist  at  Steyer;  important 
composer  of  suites,  etc.,  (1611-20). 

Pfannstiehl  (pfan'-shtel),  Bern= 
hard,  b.  Schmalkalden,  Thuringia, 
Dec.  18,  1861;  blind  organist;  pupil 
Leipzig  Cons.,  winning  the  Men- 
delssohn prize  three  times;  from  1903 
org.  at  Chemnitz. 

Phip'son,  Thomas  Lamb,  b.  Bir- 


912 


THE  MUSICAL  GUIDE 


mingham,  May  5,  1833;  violinist  and 
author. 
Pierne,  Gabriel,  add  that  from  1910 
he     cond.      the     Colonne     concerts 
Paris;    he  c.  very  successful  choral 
work,  "Croisadedes  Enfants"  (1905), 
"La  coupe  enchantee"  (Paris,   1895; 
Stuttgart,  1907);  opera  "  La  fille  de 
Tabarin"  (Op.  Com.,  1901);  oratorio 
"Les  enfants  de  Bethlehem"  (1907); 
"Les  Fioretti  de  St.  Francis  d' Assise" 
(Paris,  191 2),  etc. 
Pilati    (pe-la'-te),   Auguste   (rightly 
Pilate),   Bouchain,    Sept.    29,   1810 
—  Paris,  Aug.  I,  f877;  c.  operettas 
under  name  of  A.  P.  Juliano. 
Pinel'lo   de   Qherardi  (ga-rar'-de), 
Qiov.    Bat.,    Genoa,    ca.    1540  — 
Prague,  1587;  court  cond.  and  com- 
poser. 
Pir'ro,  Andre,  b.  St.  Dizier,  Feb.  12, 
1859;  organist   and   historian;   from 
1896,  teacher  at  the  Schola  cantorum, 
Paris. 
Pique     (pek),      Louis     Fransois, 
Roret,    1758  — Charenton-St.    Mau- 
rice, 1822;  violin  maker  at  Paris. 
Pisna  (pish'-na),  Johann,  Bohemia, 
June  15,  1826  —  Prague,  1896;  teach- 
er at  Moscow  and  Prague;  c.  piano 
exercises. 
Pitsch    (pitsh),     Karl     Franz,    b. 
Senftenberg,  Bohemia,  1789 — Prague, 
1858;  organist;  c.  organ  pieces. 
Pitt,  Percy,  b.  London,  Jan,  4,  1870; 
organist  and  prominent  English  com- 
poser; pupil  of  Reinecke,  Jadassohn 
and     Rheinberger;       1896     organist 
Queen's  Hall;  1902  adviser  and  cond. 
Covent  Garden;  c.  sinfonietta,  (Bir- 
mingham  Fest.,    1906);    symphonic 
prelude  "Le   sang  dcs  crepuscules," 
(1900);  ballade  for  violin  and  orch.; 
orch.  suites,  etc. 
Plangon   (plah-s6n),   Pol  Henri,  b. 
Fumay,   Ardennes,    June    12,    1854; 
famous  barj'tone;   pupil  of  Duprez 
and  Sbriglia;  debut,  1877,  at  Lyons; 
1883-93,  at  the  Paris  Opera;  1891- 
1904,  Covent  Garden  annually,  and 
1893-1906,  at  Met.  Op.  House,  N.  Y. 


Platz'becker,    Heinrich    August, 

b.   Merzenhausen,    Sept.    13,    i860; 
editor  at  Dresden;  c.  operettas,  etc! 
Poch  hammer   (p6kh'-ham-m6r), 
Theodor,  b.  Rheine,  Nov.  16,  1846; 
pupil  of  Hamburg  Cons.,  teacher  at 
Wiesbaden    Cons.;    studied    singing 
from  1902;  teacher  in  Aachen;  c. songs. 
Podbert'sky,     Theodor,     b.    Mu- 
nich, Nov.  16,  1846;  cond.   Munich 
Mannergesangverein;  from   1887,  in 
Fiirstenfeldbriick;     c.     opera     "Der 
Liedes  Ende,"  and  male  choruses. 
Poglietti  (pol-ygt'-te),  Alessandro, 
from  166 1  court   organist;  murdered 
by  the  Turks  in  the  siege  of  Vienna, 
1683;  c.  clavier  pieces. 
Pohlig  (po'-likh),   Karl,  b.  Teplitz, 
Feb.  10,  1864;  pupil  of  Liszt;  cond. 
Graz  Hamburg,  Covent  Garden,  etc.; 
1 90  7  —  1 9 1 2 ,    Philadelphia    Symph . 
Orch;  c.  orch.  pieces  and  songs. 
Poiree   (pwa-ra),   Elie    Emile  Ga- 
briel, b.  Villeneuve,  St.  Georges,  Oct. 
9,  1850;  librarian,   author;  c.  string 
quartet,  etc. 
Polac'co  Giorgio,  b.  Venice,   1878; 
pupil  Milan  Cons. ;  cond.  in  London, 
Italy,  Spain,   South  America;   1907, 
Royal  Op.,  Weisbaden;  1908,  Berlin 
Royal   Op.;    1911-12,  cond.   H.  W. 
Savage's  prod,  of  "Girl  of  the  Golden 
West";  191 2,  engaged  for  Met.  Op., 
N.  Y.;  c.  2  operas,  "  Rahab"  (Buda- 
pest), and  "  Fortunattis." 
Polaro'li  (or   Pollarolo,   (1)  Carlo 
Francesco,    Brescia,    ca.     1653  — 
Vienna,  1722;  composer;  organist  and 
assistant-cond.  at  St.  Mark's;    c.   3 
oratorios,  68  operas,  etc.  His  son  and 
pupil    (2)  Antonio,    Venice,    1689 
—  Venice,   1746;   1723,  cond.  at  St 
Mark's;  c.  operas. 
Poldini  (p61-de'-ne),  Eduard,  b.  Pest, 
June   13,   1869;    composer  of  opera 
"Vagabond    and     Princess,"    (Pest, 
1903),  and  children's  operas. 
Polleri     (p61-la'-re),     Giov.     Bat., 
b.  Genoa,  1855;  organist;  from  1887 
teacher  in  the  U.  S.;  1894,  in  Genoa: 


il 


DICTIONARY  OF  MUSICIANS       913 


from  1898  dir.  of  the  Cons.;  c.  organ 
pieces,  etc. 

Pomasan'ski,  Ivan  Alexandro= 
vich,  b.  near  Kiev,  April  ii,  1848; 
harpist  and  composer;  pupil  St. 
Petersburg  Cons.;  from  1868  harpist 
and  chorus  —  master  at  the  Imperial 
Opera;  c.  cantata  "The  Death  of 
Samson";  Russian  overture  and  songs. 

Poole,  vide  bacon. 

Pop'ov,  Ivan  Qegorovich,  b.  Eka- 
terinodar,  1859;  pupil  Moscow  Phil. 
School,  from  1900,  director  of  society 
in  Stavropol,  Caucasus;  c.  symph., 
Armenian  rhapsody;  symph.  poem 
"Freedom,"  overture,  "Ivan  the  Ter- 
rible," etc. 

Por'ro,  Pierre,  Beziers,  1750  — 
Montmorenc)',  1831;  guitar-virtuoso 
and  teacher  at  Paris;  c.  pieces  for  the 
instrument,  etc. 

Porsile  (p6r-se'-le),  Giuseppe,  b. 
Naples,  1672  —  Vienna,  1750;  court 
cond.;  c.  6  operas,  etc. 

Pottgiesser  (p6t'-ges-ser),  Karl,  b. 
Dortmund,  Aug.  8,  1861;  pupil  of  H 
Riemann:  c.  opera  "  Heimkehr,' 
(Cologne,  1903),  a  Festspiel,  choruses 
etc.;  chapter  i  oi St.  Paul's  First  Epis 
tie,  for  voices,  organ  and  orch.;  orato 
rio  "Gott  ist  der  Liebe";  choruses,  etc 

Poueigh,  (poo- a)  (Marie  Octave 
Geraud)  Jean,  b.  Toulouse,  Feb.  24, 
1876;  studied  with  the  Jesuit  fathers 
at  Toulouse;  at  19  took  up  harmony 
with  Hugounenc  of  the  Cons.,  which 
he  entered  in  1897,  receiving  the 
second  harmony  prize  1898;  he  then 
studied  in  Paris  with  Caussade, 
Lenepveu  and  Faure,  receiving 
criticisms  from  dTndy.  His  comps. 
include  sonata  for  piano  and  violin 
(performed  by  Enesco  and  Aubert 
1906);  orch.  suite  Fiimi  (1906  and 
1908  at  Lamoureux  concerts),  poem 
with  orch.  "Sentelliere  de  Reve" 
(1907);  dramatic  poem  for  solos,  choir 
and  orch.  Les  Lointains  (1903);  5- 
act  lyric  drama,  Le  Meneur  de  Louves, 
not  prod.  Le  Soir  rode  (song  with 
orch.  1 9 10),  etc. 


Poznan'ski,  Barrett  Isaac,  Charles- 
ton, Va.,  Dec.  11,  1840  —  London, 
June  24,  1896;  violinist  and  composer; 
pupil  of  Vieuxtemps;  c.  viohn 
pieces,  etc. 

Powell,  Maud,  add  that  her  birth 
place  was  Peru,  111.;  played  piano 
and  violin  in  public  at  9;  debut 
Berlin  Phil.,  1885;  the  same  year  in 
America  with  Theo.  Thomas^  orch. 
married  H.  Godfrey  Turner. 

Pren'dergast,  A.  H.,  Dalrymple, 
June  28,  1833  —  Kensington,  July  13, 
19 10;  choral  cond.  and  composer. 

Pres'cott,  Oliveria  Luisa,  b.  Lon- 
don, Sept.  3 ,  1 842 ;  pupil  of  Macf arren ; 
singing  teacher;  c.  string  quartets,  etc. 

Pressen'da,  Johannes  Franciscus, 
Laquio-Berria  Jan.  6,  1777  —  Turin, 
Sept.  II,  1854;  violin  maker, 

Pribik  (pre'-bik),  Joseph,  b.  Bo- 
hemia, 1853;  pupil  Prague  Cons.; 
director  of  opera  in  various  cities; 
from  1894  of  Odessa  Symph.  Orch. 
c.  orch.  suites,  etc. 

Primavera  (pre'-ma-va'-ra),  Gio= 
vanni  Leonardo,  b.  Barletta; 
from  1573  concertmaster  at  Milan;  c. 
madrigals,  etc. 

Pri'oris,  Johannes,  organist  at  St. 
Peter's,  Rome,  1490;  1507,  cond.  to 
Louis  XII  of  France;  c.  motets,  etc. 

Prochazka  (pro-khaz'-ka),  (i)  Lud=> 
wig,  correct  birth  date,  Klattau, 
Aug.  14, 1837;  (2)  Rudolf,  Freiherr 
von,  Prague,  Feb.  23,  1864;  com- 
poser; pupil  of  Fibich  and  Griinberger; 
magistrate  in  Prague;  author  of  biog- 
raphies; c.  dramatic  tone  story. 
"DasGliick"  (Vienna,  1898);  sacred 
melody  "Christus,"  etc. 

Pro'fe,  (or  Profius)  Ambrosius, 
Breslau,  Feb.  12,  1859  —  Breslau, 
Dec.  27,  1661;  organist;  c.  church 
music. 

Puccini,  Giacomo,  add  that  his 
correct  birth  date  is  Lucca,  June  22, 
1858;  " Afadame Butterfly,"  (LaScala, 
Milan,  1904),  was  a  dire  failure  and 
withdrawn  after  one  performance; 
revised  and  brought  out  at  Brescia 


914 


THE  MUSICAL  GUIDE 


the  same  year  with  a  success  that  has 
spread  all  over  the  world,  being  sung 
throughout  America  in  English  by 
the  Henry  W.  Savage  Company.  It 
was  based  on  a  play  by  John  Luther 
Long  and  David  Belasco.  His  next 
opera  was  also  based  on  a  play  of 
Belasco's,  "The  Girl  of  the  Golden 
West,"  {"La  Fanciidla  del  West"), 
and  first  prod.  New  York  Met. 
Op.,  1910,  with  much  success  and 
later  in  Italy,  England,  etc.  He  is 
said  to  be  working  on  an  opera  with 
Franz  Hals  as  hero,  and  an  Anda- 
lusian  story  by  Quinteros,  "Anima 
Allegra." 

Puchalski  (poo-chal'-shki),  Vladi= 
mir  v.,  b.  Minsk,  April  2,  1848; 
pupil  at  St.  Petersburg  Cons.;  pianist; 
from  1876  director  Imperial  Music 
School  in  Kiev;  c.  Little-Russian 
fantasie  for  orch.,  an  opera,  etc.,  etc. 

Puget  (pu-zha),  Loisa,  b.  Paris,  ca. 
1810;  composer;  pupil  of  A.  Adam; 
c.  popular  songs  and  operetta  "Z,e 
viauvais oeil"  (Paris  Op.  Com.,  1836), 
and  " LaVeilleuse" ; marned  Lemoine. 

Pujol  (poo'-hol),  Juan  Bautista, 
Barcelona,  1836 — Dec,  1898;  pianist, 
author  of  a  method;  c.  piano  pieces. 

Pur'day,  Charles  Henry,  Folk- 
stone,  Jan.  II,  1799  —  London,  April 
23,  1885;  composer,  lecturer  and 
writer;  c." Lead,  Kindly  Light,"  etc. 

Pychovski  (pe-kh6v'-ski),Jan  Nepo= 
mucene,  Grazen,  Bohemia,  April 
8,  1818  — Hoboken,  N.  J.,  March  18, 
1900;  pianist  and  teacher;  pupil 
Prague  Cons,  and  of  Tomaschek; 
1850  moved  to  New  York;  from  1855 
in  Hoboken;  c.  violin  sonata,  etc. 


Quadflieg  (kvat'-flekh),  Gerhard 
Jakob,  b.  Breberen,  Aug.  27,  1854; 
pupil  Church  Music  School,  Regens- 
burg;from  1881,  teacher;  from  1898, 
rector  at  Elberfeld;  also  cond.  and 
organist;  c.  7  masses,  many  motets, 
etc. 

Quil'ter,  Roger,  b.  Brighton,   Nov. 


I,  1877;  composer;  pupil  of  Knorr 
Frankfort;  c.  serenade  for  orch. 
(London,  1907),  part  songs,  etc. 

R 

Raabe  (ra'-b6),  Peter,  b.  Frankfort- 
am-Oder,  Nov.  27,  1872;  pupil  of 
Bargiel;  cond.  at  various  theatres; 
1899  at  the  Opera,  Amsterdam;  1903, 
dir.  Kaim  orch.,  Munich;  from  1907 
court  cond.  Weimar;  c.  song  and 
piano  pieces. 

Rachmaninoff,  S.  V.,  add  correct 
birth  date,  April  2  (N.  S.),  1873; 
in  1899  appeared  in  London  as 
conductor  and  pianist;  from  1903 
piano  prof.  Maryinski  Inst,  for  Girls, 
Moscow;  191 2,  appointed  chief  cond. 
of  the  Opera  St.  Petersburg;  c.  symph. 
(1895);  cantata  "Spring,"  fantasia 
for  orch.,  "The  Rock,"  Gipsy  ca- 
priccio;  2  piano  concertos;  chamber 
music,  incl.  Elegiac  trio  in  memory  of 
Tchaikovsky;  'cello  sonata,  etc. 

Radeglia  (ra-dal'-ya),  Vittorio,  b. 
Constantinople,  1863;  composer;  c. 
operas  "Colombo"  (Milan,  1887), 
"Amore  occiilto"  (Constantinople, 
1904),  etc. 

Radicati  (ra-di-ka'-te),  Felice  da 
Maurizio  di,  Turin,  1778 — Vienna, 
April  14,  1823;  violinist,  court  com- 
poser and  1815  cond.  at  Bologna; 
c.  operas  and  important  chamber 
music. 

Raida  (ri'-da),  Karl  Alex.,  b.  Paris, 
Oct.  4,  1852;  pupil  Stuttgart  and 
Dresden  Cons.;  theatre-cond.  in  vari- 
ous cities;  1878-92,  in  Berlin;  from 
1895,  Munich;  c.  operettas,  ballets, 
etc. 

Rand'les,  Elizabeth, Wrexham,  Aug. 
I,  1800  —  Liverpool,  1829;  pianist; 
prodigy,  playing  in  public  before  the 
age  of  two;  daughter  of  a  blind  harp- 
ist; pupil  of  John  Parry;  later  a 
teacher  in  Liverpool. 

Randolph,  Harold,  b.  Richmond, 
Va.,  Oct.  31,  1 861;  pupil  of  Mrs. 
Auerbach  and  Carl  Faelten,  at  Pea- 
body  Cons.,  Baltimore;  from  1898  its 


DICTIONARY  OF  MUSICIANS       915 


director;    pianist,    has   played   with 
Boston  Syniph.,  etc. 
Rap'pold,  Marie  (nee  Winteroth), 

b.  Brooklyn,  N.  Y.;  sang  in  London 
at  10;  m.  Dr.  Julius  Rappold  of  Brook- 
lyn; studied  with  Oscar  Saenger  and 
sang  in  concert;  from  1905  Met.  Op. 

Rase'lius,  Andreas,  Hahnbach, 
upper  Palatinadte,  1562-64  —  Heidel- 
berg, Jan.  6,  1602;  court  cond.  and 
comp. 

Ravel',  Maurice,  b.  Ciboure,  March 
7,  1875;  pupil  of  Faure,  Pessard  and 
De  Beriot  at  Paris  Cons.;  important 
French  composer;  he  won  the  2nd 
Prix  de  Rome  1901  with  cantata 
"Myrr/za";  c.  overture  "Sbeherazade," 
(1898),  Spanish  Rhapsodie  for  orch., 
etc.;  operetta  "Uheure  espagnole" 
(Op.  Com.  191 1);  opera  "La  cloche 
engloiUie "  (after  Hauptmann's 
"Sunken  Bell"),  string  quartet, 
strikingly  individual  songs  such  as 
"Histoires  naturelles"  (1906),  and 
piano  pieces  including  the  5  pieces 
caUed  "Miroirs"  (1905). 

Raway  (ra'-vl),  Erasme,  b.  Liege, 
June  2,  1850;  priest,  teacher  and 
cathedral  cond.  at  Liege;  c.  church 
works,  Hindu  scenes,  a  dramatic 
dialog.  " Freya,"  1908,  etc. 

Rebikov  (reb'-i'-kof),  Vladimir 
Ivanovich,  b.  Krasnojarsk,  Siberia, 
June  I  (N.  S.),  1866;  pupil  Moscow 
Cons.,  and  in  Berhn;  1897-1902  cond. 
in  Kishinev;  later  in  Berhn  and 
Vienna;  theorist  and  composer  of 
daring  originality,  as  in  his  famous 
piece  "Satan's  Diversions,"  his  "Melo- 
mimik,"  lyric  scenes  in  pantomime, 
i-act  fairy  opera,  "  Der  Chrisibaum," 
etc. 

Reger,  Max,  add  that  he  has  come 
to  be  recognized  as  one  of  the  most 
important  of  living  composers,  es- 
pecially in  chamber  music  and  sacred 
music;  1891-96  he  was  teacher  at 
Wiesbaden  Cons.,  then  took  his  year 
of  military  service.  After  a  severe 
illness  he  settled  in  Munich,  1901, 
and  married  there;  1905  he  taught 


counterpoint  at  the  Royal  Academy; 
1907-8  taught  composition  at  Munich 
Cons.,  and  was  University  music  dir.; 
1908  was  named  Royal  Prof,  and  Dr. 
Phil,  by  Jena;  1910  Mus.  D.  Berlin  U. 
in  191 1 ,  he  became  General  Music  Dir. 
at  Meiningen,  cond.  Meiningen  orch., 
continuing  to  teach  one  day  a  week  at 
Leipzig  Cons.  He  toured  with  the 
orch.,  1912.  His  compositions  are 
exceedingly  numerous,  and  include  a 
sinfonietta,  op.  90,  symph.  prologue  to 
a  tragedy,  op.  108,  "Lustpicl"  over- 
ture (19 11),  violin  concerto;  a  vast 
amount  of  chamber  music,  sonatas  for 
piano,  organ,  violin,  clarinet,  'cello, 
variations,  fugues,  canons  in  all  keys, 
left  hand  studies,  and  transcriptions 
for  piano;  much  organ  mueic;  "Gesang 
der  Verklarten"  for  choir  and  orch., 
"An  die  Hofming"  for  contralto  and 
orch.  (1912);  three  orch.  pieces  "Noc- 
turne," " Elfenspuk,"  and  "Helios" 
(191 2);  organ  fantasie  and  fugue, 
B-A-C-H;  violin  suite  op.  103,  sonata 
op.  42,  for  violin  alone;  tone-forms 
for  pianos,  "Aus  meineni  Tagebuch"; 
cantatas,  male  and  mixed  choruses, 
and  many  beautiful  sacred  and 
secular  songs. 

Reggio  (red'-j6),  Pietro,  Genoa  — 
London,  July  23,  1685;  private  luten- 
ist  to  Christina  of  Sweden;  from 
1677  at  Oxford;  c.  songs,  etc. 

Reichwein  (rikh'-vin),  Leopold, 
director  and  composer;  b.  Breslau, 
May  16,  1878;  cond.  1909  of  the 
Court  Opera  at  Carlsruhe;  c.  operas 
"  Vasantasena,"  (Breslau,  1903), 
"Die  Liebenden  von  Kattdahar" 
(1907),  and  music  for  "Faust" 
(Mannheim,  1909). 

Rein'hardt,  Heinrich,  b.  Pressburg, 
April  13,  1865;  c.  operettas  for  Vienna 
"Das  silsse  Model"  (1901);  "Ein 
Madchen  fiir  Alles"  (Munich,  1908), 

Reiter  (ri'-tgr),  Josef,  b.  Braunau, 
Jan.  19,  1862;  composer;  Viennese 
composer  of  operas,  including  "Der 
Totenlanz"  (Dessau,  1908),  symph., 
cantatas,  male  choruses,  etc. 


9i6 


THE  MUSICAL  GUIDE 


Rembt,    (rempt),    Johann   Ernst, 

Suhl,  1 749-1810;  organist  and  com- 
poser. 

Rheineck  (ri'-nek),  Christoph. 
Memmingen,  Nov.  i,  1748  — July 
29,  1797;  c.  operas. 

Rice,  Elihu  S.,  Genesee  Co.,  N. 
Y.,  1827  —  Logansport,  Ind.,  May 
191 2;  merchant;  lived  Logansport 
from  1838;  c.  pop.  hymns,  "Shall  we 
Meet  Beyond  the  River,"  etc. 

Richafort  (resh-a-for),  Jean, 
important  Flemish  composer  of 
masses,  motets  and  songs;  pupil  of 
Depres:  1543,  choirmaster  in  Bruges. 

Rid'dell,  (i)  John,  Ayr,  1718- 
1795;  blind  Scots,  composer  of  dance 
music,  (2)  Robert,  d.  Friar's  Carse, 
1794;  captain,  friend  of  Bums;  c. 
dances  and  songs. 

Rider=Kelsey,  Corinne,  b.  Le  Roy, 
N.  Y.,  Feb.  24,  1880;  soprano;  studied 
with  L.  A.  Torrens,  Chicago,  Mr.  and 
Mrs.Toedt,  N.  Y.;  sang  widely  in  con- 
cert and  oratorio;  1908,  debut  in 
opera  at  Covent  Garden;  returned  to 
concert  work. 

Rietsch  (retsh),  Heinrich,  b.  Falk- 
enau,  Sept.  22,  i860;  professor  and 
composer;  pupil  of  Krenn,  Mandycze- 
vski,  and  Fuchs;  from  1892  teacher 
in  Vienna;  from  1900  prof,  at  the 
German  Univ.,  Prague;  author,  and 
historian;  c.  opera,  chamber  music, 
etc. 

Rimsky=Koraskov,  N.  A.,  add  that 
he  died  at  St.  Petersburg,  June  21, 
1908;  in  1 90 1  he  ceased  to  cond. 
Russian  symph.;  1905  he  wrote  a 
letter  protesting  against  the  use  of 
armed  force  in  the  Cons,  to  repress 
students'  political  expression,  and  he 
was  dismissed;  Glazounoff,  Liadov, 
and  others  at  once  resigned,  public 
feehng  was  aroused,  and  his  opera 
"Kotschei"  was  prod,  at  the  Theatre 
du  Passage,  1905,  with  great  acclaim; 
later  he  was  reinstated  and  Glaz- 
ounoff chosen  director.  His  opera 
"Kitesch"  was  prod,  the  same  year, 
and  "Zolotoi  Pietouchok "  (igog);  his 


symphonic  suite,  "Scheherazade," 
(Boston  Symph.,  1897),  was  used  for 
the  Russian  ballets  in  Paris,  191 1, 
with  immense  success. 

Rinal'do  di  Capua,  ca.  1700  (?)  — 
Rome,  after  1771;  important  Italian 
composer  of  30  or  more  light  operas, 
popular  in  Italy,  France,and  England. 

Rip'fel,  Karl,  Mannheim,  1799  — 
Frankfort-on-Main,  March  8,  1876; 
'cellist  and  composer. 

Rip'pon,  John,  Tiverton,  1751  — 
London,  1836;  clergyman;  c.  oratorio 
"  The  Crucifixion. " 

Riseley  (riz'-li),  George,  b.  Bristol, 
Aug.  28,  1845;  organist;  pupil  of 
Corfe,  later  his  successor  at  the 
Cathedral;  cond.  orch.  societies; 
pensioned,  1898,  then  cond.  London; 
c.  Jubilee  Ode,  1887,  etc. 

Rivarde  (re-var'-dg),  Serge  Achille, 
b.  New  York,  Oct.  31,  1865  (of 
Spanish  father,  American  mother); 
violinist;  at  11  taken  to  Europe, 
pupil  of  Dancla,  Paris  Cons.;  dividing 
first  prize,  1879,  with  Ondricek;  1885- 
90,  solo  violinist  Lamoureu.x  orch., 
from  1899,  prof.  R.  C.  M.,  London. 

Rob'erts,  John,  Wales,  1822  — 
Aberdare,  1877;  composer  of  church 
music;  founder  of  festivals. 

Rockel,  Jane  Jackson,  d.  CHfton, 
August  27,  1907,  age  73;  wife  Jos. 
Leopold  R.  (q.  v.);  pupil  Pauer, 
Halle,  Mme.  Schumann;  pianist  and 
teacher;  c.  piano  pieces  with  pen- 
name  "Jules  de  Sivrei."  Inventor  of 
"  Paniphonia,"  appliance  for  learning 
staves  and  clefs. 

Rodwell,  George  Herbert  Bona= 
parte,  London,  (?),  1800-1852;  pupil 
of  Novello  and  Bishop;  from  1828 
prof,  of  harmony  R.  C.  M.;  c. 
numerous  operettas,  farces,  etc. 

Roguski  (ro-goo'-ski),  Gustav,  b. 
Warsaw,  1839;  pupil  there  and  of 
Marx,  Kiel,  and  Berlioz;  from  1865 
prof,  of  composition  at  the  Warsaw 
Cons.;  c.  symph.,  2  masses,  chamber 
music,  etc. 

Rohr,  (rar),  Hugo,  b.  Dresden,  Feb. 


DICTIONARY  OF  MUSICIANS       917 


13,  1866;  pupil  of  the  Cons.;  cond.  in 
various  cities;  from  1896  royal  court 
cond.  at  Munich  Court  Opera;  c. 
oratorio  "Ekkehard,"  opera  "Valer 
unser"  (Munich,  1904),  etc. 

Rolland  (rul-lan),  Romain,  b. 
Clamecy,  Jan.  29,  1868;  teacher  of 
history  at  the  Ecole  normale  super- 
ieure,  at  Paris;  1900  organized  an 
international  congress  of  music;  his- 
torian at  Paris;  author  of  many  his- 
torical and  critical  works,  dramatic 
poems,  and  the  musical  romance 
"Jean  Christophe"  (1905- 1908). 

Roman,  Johann  Helmich,  Stock- 
holm, 1694- — near  Calmar,  1710, 
called  the  father  of  Swedish  music; 
pupil  of  Handel  in  London  with  a 
municipal  stipend;  1727,  court  cond. 
at  Stockholm;  c.  funeral  march  for 
King  Fredrik  (1751),  coronation 
march  for  King  Adolph  Fredrik; 
2  symphonies,  etc. 

Roo'tham,(i)  Daniel Wilberforce, 
b.  Cambridge,  Aug.  15,  1837;  pupil 
of  Walmesley  and  Schira;  1865- 
77,  cathedral  org.,  Bristol;  cond. 
Bristol  madrigal  society.  His  son 
(2)  Cyril  Bradley,  b.  Bristol,  Oct. 
5,  1875;  Mus.  B.  at  Cambridge, 
1900;  from  1901,  organist  there,  St. 
John's  College;  pupil  also  at  R.  C.  M., 
London;  c.  overture  "The  Spirit  oj 
Comedy,"  (1909),  and  vocal  works 
with  ovch.  " Albert  Graeme's  Song" 
(1904);  "Andromeda"  (Bristol  Festi- 
val, 1908),  "Coronach,"  etc. 

Ropartz  (ro-pirs),  J.  Guy,  b. 
Quingamp,  France,  June  15,  1864; 
pupil  of  Dubois,  Massenet,  and  Cesar 
Franck;  from  1894,  dir.  Nancy  Cons., 
and  cond.  symph.  concerts;  c.  symph. 
on  a  Breton  chorale,  1895;  incid. 
music  to  Loti's  "Pecheiir  d'Islande" 
(Paris,  1893);  suite  "  Dimanche  bre- 
ton"  (1898);  Psalm  1^6  for  organ 
and  orch.  (Nancy,  1898),  etc. 

Rosch  (resh),  Friedrich,  b.  Mem- 
mingen,  Dec.  12,  1862;  author  and 
conductor  of  male  choruses,  etc.;  pu- 
pil of    Wohlmuth  and  Rheinberger; 


lived  in  various  cities;  from  1898  in 
Berlin. 

Rose  (ro-za),  Marie,  singer  and 
teacher  in  Paris;  from  191 2  also  in 
London.  Her  son  (2)  Raymond, 
191 1,  cond.  London  Op.  House;  cond. 
His  Majesty's  Theatre,  and  c.  incid. 
music  for  Beerbohm  Tree's  prods,  of 
Shakespeare  "Macbeth,"  etc.,  c.  text 
and  music  of  operas  "Joan  of  Arc" 
(in  concert  form  Queen's  Hall,  191 1); 
"Antony  and  Cleopatra";  a  symph. 
poem  on  the  same  subject  (Queen's 
Hall,  191 1);  songs,  etc. 

Ro'seingrave,  (i)  Daniel,  d.  Dublin, 
1727;  English  composer  of  anthems; 
pupil  of  Blow  and  Purcell;  1679-98 
org.  at  various  cathedrals;  1698  at 
St.  Patrick's,  Dublin;  father  of  (2) 
Thomas  (q.  v.),  and  of  (3)  Ralph, 
SaHsbury,  ca.  1695  —  Dublin,  1746; 
pupil  of  his  father  and  his  successor 
as  organist  at  St.  Patrick's,  Dublin; 
c.  anthems. 

Ro'senfeld,  Leopold,  Copenhagen, 
July  21, 1850  —  July  19,  1909;  studied 
in  Germany;  critic  and  teacher  in 
Copenhagen;  c.  vocal  works  with 
orch.,  "Henrik  og  Else,"  " Liden  Hel- 
ga,"  "Naar  Solen  daler,"  songs,  etc. 

Ro'senhoff,  Orla,  b.  Copenhagen, 
Oct.  1, 1845;  pupil  of  Lund  and  Gade; 
from  1880  teacher  of  theory  at  the 
Cons.;  c.  chamber  music,  etc. 

Rosenzweig,  (ro'-zents-vikh)  Max, 
b.,Roumania,  1900;  violinist;  brought 
to  America  at  7;  son  of  a  barber;  he 
studied  at  the  Music  Settlement 
under  David  Mannes,  then  with 
Sinsheimer;  debut  at  MacDowell 
Club  banquet  March  10,  191 2,  with 
such  success  that  subscription  was 
taken  up  to  send  him  abroad  to  study. 

Ro'ser,  (von  Reiter)  Franz  de 
Paula,  Naarn,  1779  —  Pest,  1830; 
cond.  in  theatres;  c.  100  operettas, 
ballets,  etc 

Ros'si  (i)  Carlo,  b.  Lemberg,  April  4, 
1839;  pupil  of  Menzel;  from  1851  in 
Venice;  c.  symph.,  etc.  (2)  Cesare,  b. 
Mantua,  1864;  c.  operds" I fitgitivi" 


9i8 


THE  MUSICAL  GUIDE 


(Trient,  1896),  and  "Nadeya" 
(Prague,  1903);  (3)  Arcangelo, 
suicide,  San  Francisco  1905  (?);  buffo 
barytone;  pupil  Milan  Cons.;  sang 
at  Covent  Garden  and  Met.  Op. 
House,  N.  Y.;  toured  with  the  latter 
troupe  and  was  injured  at  San  Fran- 
cisco in  the  earthquake;  lost  his  voice 
and  his  mind. 

Rossi  (rgs'-l),  Damian  von,  b.  Belts, 
Russia,  July  13,  1852;  pianist;  pupil  of 
Liszt;   from  1882  teacher  in  Odessa. 

Rothig  (ra'-tikh),  Bruno,  b.  Ebers- 
bach,  Oct.  7,  1859;  pupil  of  Riedel 
Papperitz  and  G.  Weiss;  18S9,  can- 
tor in  Leipzig;  1908  royal  cond.; 
founder  and  cond.  "Solo  Quartet 
for  Church  Songs,"  with  which  he 
has  toured  widely;  c.  songs. 

Roth'well,  Walter  Henry,  b.  Lon- 
don, Sept.  22,  1872;  conducted  the 
first  English  performance  of  "Par- 
sifal" in  America;  pupil  Vienna  Royal 
Acad.;  cond.  in  various  cities,  and 
at  Amsterdam  Royal  Opera;  1903, 
America  to  conduct  English  pro- 
ductions of  "Parsifal, "  and  "Madame 
Butterfly";  1908  cond.  Minneapolis 
symph.  orch. 

Roussel,  (roos'-sei)  Albert,  b. 
Tourcoing,  April  5,  1869;  composer; 
at  first  attracted  to  the  navy  and  a 
naval  student,  he  made  a  voyage  to 
China  as  an  ensign;  but  resigned  in 
1894  and  took  up  music,  studying 
harmony  with  Gigout;  1898  erktered 
the  Schola  Cantorum  and  studied 
under  d'Indy  till  1907;  since  1900 
he  has  been  prof,  of  counterpoint  at 
the  Schola  Cantorum.  His  comps. 
include  symph.  prelude.  Resurrection 
(after  Tolstoi's  novel);  symph, 
sketch,  Vendanges;  symphony,  Le 
poeme  de  la  Foret  (1904-6);  s>Tnph. 
sketches  Evocations  (1910-11),  poem 
for  orch.  La  Menace  (1907),  etc. 

Rozycki  (roo-zhet'-ski),  (i)  Jacet, 
Polish  court  cond.  and  composer  to 
John  Sobieski  at  Warsaw,  17th  cen- 
tury. (2)  Ludomirvon,  b.  Warsaw, 
1883;    pupil    of    the    Cons,    and    of 


Humperdinck;  from  1908  teacher  at 
the  Cons,  in  Lemberg  and  cond.  at 
the  Opera;  c.  opera  "Boleslas  der 
Kiihne"  (Lemberg,  1909);  symph. 
poem  "  Stanczyk ,"  etc. 

Ru'bensohn,  Albert,  Stockholm, 
Dec.  20,  1826-1901;  violinist;  pupil  of 
David;  1872  dir.  of  the  Stockholm 
Cons.;  c.  symph.,  incid.  music  to 
Bjornson's  "Halte  Hulda,"  etc. 

Rubert  (roo'-bert),  Johann  Mar= 
tin,  Nuremberg,  1614  —  Stralsund, 
1680;  organist  and  comp. 

Rubinel'li,  Giovanni  Battista, 
Brescia,  ca.  1753-1829;  Italian  opera 
singer;  debut  at  18,  Stuttgart. 

Rubinstein,  Anton,  the  correct 
birth  date  is  Nov.  (16)  28,  1829, 
Rubinstein  having  been  in  error 
himself  until  1889. 

Rubner,  (i)  Cornelius,  add  that 
he  succeeded  MacDowell  as  prof,  of 
music  Columbia  University,  N.  Y., 
1905;  c.  3-act  dance  legend  "  Prinz 
Ador"  (Carlsriihe,  1903),  etc.;  has 
given  piano  recitals,  often  with  his 
daughter  (2)  Dagmar,  pianist, 
debut  Carlsruhe,  playing  the  Schu- 
mann concerto  under  Mottl;  toured 
the  U.  S.;  c.  songs. 

Ruckauf  (rik'-owf),  Anton,  Schloss 
Alt-Erler,  Prague,  March  13,  1855 
Sept.  19,  1903;  composer  of  im- 
portant songs;  pupil  of  Proksch, 
and  teacher  at  his  institute,  then 
pupil  of  Nottebohm  and  Navratil, 
at  Vienna;  c.  opera  "Die  Rosen- 
thalerin"   (Dresden,  1897),  etc. 

Rudnick  (root^-nik),  Wilhelm,  b. 
Dammerkow,  Pomerania,  Dec.  30, 
1850;  pupil  of  KuUak's  acad.,  and  of 
Dienel;  org.  at  Liegnitz;  c.  opera 
"Otto  der  Schiitz"  (1887);  oratorio 
"Judas  Ischariot"  "Der  Verlorene  I 
Sohn,"  etc. 

Ru'dolph,  Fd.,  d.  Wiesbaden,  May 
23,  191 1 ;  barytone  at  the  opera, 
1872-1904;  famous  as  "  Beckmesser. " 

Ruffo,  (roof'-fo)  Titta,  b.  Tuscany; 
eminent  barytone;  pupil  of  St.  Cecilia 
Cons.,  Rome;  after  two  years  dis- 


DICTIONARY  OF  MUSICIANS       919 


missed  and  advised  to  give  up  sing- 
ing; then  Cassini  of  Milan  taught  him 
gratis;  he  won  his  first  success  at  Rio 
Janeiro  and  throughout  South  Amer- 
ica, then  triumphed  in  Italy,  later  in 
Vienna;  191 2  a  sensation  in  Paris  and 
engaged  for  Chi. -Phil.  Opera  Co., 
appearing  Philadelphia  Nov.  4,  19 12. 

Runge,  (roong'-e)  Paul  b.  Heinrichs- 
feld,  Posen,  Jan.  2,  1848;  pupil  of 
church  music  Institute,  Berlin,  and  J. 
Schneider;  from  1873  ^t  Colmar  as 
historian  and  comp. 

Riinger,  (rlng'-er),  Julius,  b.  Holies, 
Hungary,  July  26,  1874;  barytone; 
first  studied  organ  and  conducting 
at  Prague,  then  voice  with  Giannini 
and  Vogl;  sang  in  various  cities; 
touted  the  world;  c.  songs,  etc. 

Ruter  (re'-ter),  Hugo,  b.  Hamburg, 
Sept.  7 ,  1859;  pupil  of  the  Cons. ;  from 
1897  singing  teacher  and  cond.  at 
Wandsbeck;  c.  symph.;  2  operas,  etc. 

Rutini  (roo-te'-ne),  Giovanni 
Marco,  Florence,  ca.  1730 — ca. 
1797;  c.  operas  and  clavier  sonatas. 

Rybakov  (re'-bii-kof),  Sergei  Qav= 
rilovich,  b.  1867;  pupil  of  St. 
Petersburg  Cons.;  author;   c.  songs. 

Ryder,  Arthur  H.  b.  Plymouth, 
Mass.,  April  30,  1875;  pupil  of  his 
mother,  F.  H.  Rowse,  Loraine  Hol- 
lo way,  and  at  Harvard,  of  J.  K. 
Paine  and  W.  R.  Spalding;  from 
1894,  org.  and  dir.  at  various 
churches  in  Boston  and  Providence, 
R.  I.;  editorof  musical  texts;  c.  organ 
and  piano  pieces,  etc. 

Ryelandt  (re'-lant),  Joseph,  b. 
Bruges,  April  7,  1870;  composer;  pupil 
of  Tinel;  c.  choral  works  with  orch., 
"St.  Cecile,"  and  "Furgatoritim," 
chamber  music,  etc. 


Saar,  Louis  Victor,  add  that  he 
has  been  principal  of  the  dept.  of 
theory  at  Cincinnati  College  of 
Music  from  1906;  1903  he  won  Kaiser 
prize  for  composition,  Baltimore;  c. 


piano  quintet  (Chicago  1912),  "Hymn 
to  Venus"  (Cincinnati  191 2),  etc. 
Sachsenhauser  (zakh'-zen-how-zer), 
Theodor,July  27,  1866  —  Munich, 
Feb.  25,  1904;  comp. 
Sack  (zak),  J. 'Ph.,  Harzerode,  Anhalt, 
1722  —  Berlin,  1763;  organist  at  Ber- 
lin Cathedral;  important  composer  of 
songs  and  clavier  pieces. 
Sacks,  (i)  Woldemar,  b.  Riga,  1868; 
teacher  and  critic  in  Leipzig;  c.  songs. 
His  wife  and  pupil  (2)  Elly  Schel= 
lenberg=S.,  b.  Nannhof,  near 
Leipzig,  1879;  concert  soprano;  pupil 
Leipzig  Cons. 
Sacrati  (sa-kra-te),  Francesco,  d. 
Modena,  May  20,  1650;  court  cond. 
and  important  early  composer  of 
opera.  • 
Safonoff,  Wassily  Ilich,  add  that 
in  1906  he  visited  London  and  cond. 
the  Phil.  orch.  once;  1906-9  he 
cond.  the  Philh.  orch.,  New  York 
City,  with  great  success,  then  re- 
turned to  Russia.  He  conducts 
without  a  baton. 
Sahlender  (sal'-en-der),  Emil,  b. 
Ibenhain,  Thuringia,  March  12, 1864; 
cond.  at  Heidelberg;  pupil  Leipzig 
Cons.;  c.  operas,  choruses,  etc. 
Saint=Leon  (sah-la-6n),  Ch.  V.  A., 
Paris,  1821-1870;  ballet  dancer  and 
violinist;  c.  concertos. 
Salazar  (sal-a-thar ),  Don  Juan 
Garcia,  d.  1710  at  Zamora,  where 
he  was  cond.  at  the  Cathedral;  c. 
motets. 
Saint=Saens,  Chas.  Camille,  add 
that  he  c.  operas  "Lola,"  (1901), 
"Les  Barbares"  (1901),  "Andro- 
maque"  (1903),  "Helene"  (Monte 
Carlo,  1904),  "L'Anceire"  (do.,  1906), 
" Dej a nir e "  (igii);  cantata  "La  feu 
celeste"  (1900);  fantaisie  for  violin 
and  harp  (1907);  "La  Muse  et  le 
Poete"  for  violin  and  orch.  1909; 
"Overture  de  Fete"  op.  133,  1909; 
songs,  piano  pieces,  etc. 
Salter,  (i)  Sumner,  add  that  since 
1905  he  has  been  mus.  dir.  at 
Williams  College.     (2)  Mrs.  Mary 


920 


THE  MUSICAL  GUIDE 


nee  Turner,  b.  Peoria,  111.,  March 
15, 1856;  studied  singing  with  Alfred 
Arthur,  Burlington,  la.,  where  she 
sang  in  church;  then  pupil  of  Max 
Schilling,  John  O'Neill,  and  Mme. 
Rudersdorf,  Boston;  1877  succeeded 
Emma  Thursby  as  soprano  of  Broad- 
way Tabernacle,  N.  Y.;  1879,  soprano 
Trinity  Church,  New  Haven,  teach- 
ing also  at  Wellesley  College.  1881, 
married  Sumner  Salter,  who  was  her 
teacher  in  composition;  1803  retired 
from  church  and  concert  work,  de- 
voting her  time  to  teaching  and 
composition  of  songs. 

Samar'off  (nee  Hickenlooper), 
Olga,  b.  San  Antonio,  Texas,  Aug.  8, 
1880  (of  German-Russian  parents); 
pianist;  at  9  pupil  of  Von  Sternberg, 
later  of  Marmontel,  Widor,  and  the 
Paris  Cons.;  studied  again  with 
Ernest  Hutcheson  and  with  Jedlicka; 
debut,  N.  Y.,  1905;  1906,  London; 
has  toured  widely;  191 1  married 
L.  Stokovski. 

Samazeuilh  (sSm-a-zu'-e),  Qustave, 
b.  Bordeaux,  June  2,  1877;  Paris- 
ian critic  and  composer;  pupil  of 
Chausson  and  dTndy;  c.  " Poeme" 
for  violin  and  orch.,  "La  barque"  for 
voice  and  orch.,  songs,  etc. 

Sammar'co,  Mario,  b.  Palermo, 
1873;  barytone;  pupil  of  Cantelh; 
debut  Milan;  from  1904  at  Covent 
Garden;  from  1907  also  at  New 
York  Manhattan  Opera  House,  and 
later  at  Metropolitan;  has  sung  also 
in  Russia,  South  America,  etc. 

Sances  (san'-ches),  Giovanni  Felice, 
Rome,  1600 — Vienna,  Nov.  24,  1679; 
tenor  and  court  cond.  at  Vienna;  one 
of  the  first  to  write  "cantatas";  c. 
operas,  oratorios,  etc. 

San'den,  Aline,  dramatic  soprano, 
member  of  the  Leipzig  Opera  since 
1909;  has  sung  as  guest  at  Berlin, 
191 2,  Dresden  and  Braunschweig 
court  operas  with  sensational  success 
as  "Salome,"  "Elektra,"  under 
Strauss'  direction,  "Carmen,"  etc. 

San'ford,  Samuel  Simons,  Bridge- 


port, Conn.,  March  15,  1849 — New 
Haven,  Conn.,  Jan.  6, 1910.  Professor 
of  applied  music  Yale  University. 

Sank'ey,  Ira  David,  Edinburg,  Pa., 
1840 —  Brooklyn,  Aug.  14,  1909; 
world-famous  singer  of  gospel  hjTnns 
as  the  singing  colleague  of  the  late 
D.  L.  Moody  at  their  mission  services, 
ed.  a  coll.  of  mission  hjonns  "Sacred 
Songs  and  Solos, "  which  had  an  en- 
ormous circulation. 

Sauer,  Emil,  add  that  he  resigned 
his  professorship  at  the  Master  School 
of  Vienna  Cons.,  1907,  and  moved  to 
Dresden. 

Savage,  (i)  William,  1720  — Lon- 
don, 1789;  singer  in  Chapel  Royal; 
c.  church  music.  (2)  Henry  W., 
b.  Boston,  Mass.;  impresario;  gradu- 
ate of  Harvard;  as  a  builder  and 
real  estate  owner  in  1895  took  over 
the  Castle  Square  Theatre,  Boston, 
and  organized  a  stock  co.  which  gave 
light  and  serious  operas  for  many 
years  in  Boston,  New  York,  etc.; 
produced  many  new  American  ope- 
rettas as  well  as  plays;  made  the 
immensely  successful  productions  of 
"Parsifal"  and  "Madame  Butterfly." 

Savard  (sa-var),  M.  A.,  b.  Paris, 
May  15,  1861;  pupil  of  the  Cons., 
taking  the  Prix  de  Rome,  1886;  from 
1902  dir.  Lyons  Cons. 

Saw'yer,  F.  H.,  Brighton,  June  19, 
1857  — April  29,  1908.  Bachelor  of 
music,  Oxford,  1877;  Mus.  Doc,  1884, 
Pillow  R.  C.  of  organists;  organist  for 
over  30  years;  prof,  of  singing;  c.  ora- 
torio, "Mary,  the  Virgin"  (1884), 
recast  as  "Star  of  the  East"  (1889); 
cantatas,  etc. 

Sbriglia  (sbrel'-ya),  Giovanni,  b. 
Naples,  1840;  tenor  and  famous 
teacher;  pupil  of  De  Roxas;  debut 
Naples,  185 1 ;  sang  throughout  Italy 
and  toured  America  with  Patti  and 
others;  became  a  ver>'  successful 
teacher  in  Paris,  numbering  the  De 
Reszkes,  Plangon,  Nordica,  Sand- 
erson, etc.,  among  his  pupils. 

Schafer  (sha'-fer),  Alex.  Nikolaje= 


i 


DICTIONARY  OF  MUSICIANS       921 


vich,  b.  St.  Petersburg,  Sept.  ii, 
1866;  pupil  of  the  Cons.,  teacher  and 
cond.,  c.  operas,  2  symph.,  etc. 

Schaffrath  (shaf'-rat),  Christoph., 
Hohenstein,  1709 — Berlin,  1763;  court 
composer. 

Schall  (shal),  Klaus,  Copenhagen, 
April  28,  1757  — Aug.  10,  1835; 
vioHnist;  c.  30  ballets,  etc. 

Schaub  (showp),  Hans  F.,  b.  Frank- 
fort, Sept.  22,  1880;  pupil  of  Knorr, 
Humperdinck,  and  A.  Mendelssohn; 
teacher  and  editor;  c.  symph.  pro- 
logue "Mo7ina  Vanna,"  etc. 

Scheinpflug    (shin'-pflookh),    Paul, 

b.  Loschwitz,  Dresden,  Sept.  10, 1875; 
pupil  of  the  Cons.;  from  1909  cond. 
at  Konigsberg;  c.  "  FruhUngs  symph. " 
(1907),  chamber  music,  etc.;  overture 
to  a  comedy  of  Shakespeare  (based  on 
English  melody  of  i6th  century), 
Boston  Symph .  Orch. ,  1 909 ;  tone-poem 
for  orch.  (Bremen,  1908),  songs,  etc. 

Schel'ling,  Ernest  (Henry),  b. 
Belvedere,  N.  J.,  July  26,  1876; 
pianist;  played  in  public  before  he 
was  five;  pupil  of  Mathias,  Mosz- 
kowski,  Leschetizky,  and  for  four 
years  of  Paderewski;  toured  widely; 

c.  symphonic  legend,  orch.  suite, 
violin  sonata,  etc. 

Schenk  (shenk),  Peter  Petrovich, 
b.  St  Petersburg,  Feb.  23,  1870; 
pupil  of  the  Cons.,  and  of  Saloviev; 
librarian  and  critic;  c.  operas,  3 
symph.,  etc. 

Schering  (Aa'-rinlc),  Arnold,  b. 
Breslau,  April  7,  1870;  viohnist  and 
historian,  pupil  of  Joachim  and  Succo. 

Schiefferdecker  ( shef'-fer-dek-6r ), 
Jn.  Chrn.,  d.  Liibeck,  1732;  organ- 
ist; c.  operas,  etc. 

Schiever  (she'-ver),  Ernst,  b.  Han- 
over, March  23,  1844.;  violinist;  pupil 
of  Joachim,  later  member  of  his 
I  quartet;  from,  1878  in  Liverpool  as 
I  cond.  of  the  Richter  orch.  and  the 
Schiever  quartet. 

iSchjelderup    (sh6lt'-er-oop),     Qer= 

■  \     hard,    b.    Christiansand,    Norw^ay, 

Nov.    17,    1859;     'cellist;     pupil     of 


Franchomme,  Savard  and  Massenet; 
c.  operas  "Norwegische  Hochzeit" 
(Prague,  1900),  and  "Friihlings 
Nacltt, "  a  symph.  and  orch.  works, 
" Eine  Sommernacht  anf  dem  Fjord," 
etc. 

Schlemuller  (shla'-mil-ler ),  (i) 
Qustav,  Konigsberg,  Nov.  7,  1841 
— Leipzig,  May 2 2,  1900;  teacher  and 
critic.  His  son  (2)  Hugo,  b.  Konigs- 
berg, Oct. 2,  1872;  'cellist  and  teacher 
in  Leipzig;  pupil  of  Schroder,  Klen- 
gel  and  Becker;teacher;c. 'cello  music. 

Schlogel  (shla'-ggl),  Xavier,  b. 
Brillonville,  Belgium,  1854  —  Ciney, 
1889;  pupil  Liege  Cons.;  c.  mass  with 
orch.,  chamber  music,  etc. 

Schmeidler  (schmit'-ler),  Karl,  b. 
Kattowitz,  Silesia,  Aug.  21,  1859; 
teacher  in  Berhn;  c.  piano  pieces,  etc. 

Schmitt,  (shmet)  Florent.  b.  Bla- 
mont,  France,  Sept.  28,  1870;  studied 
at  Nancy;  1889,  entered  Paris 
Cons,  winning  second  Prix  de  Rome 
1897;  first  1900,  with  cantata  Semi- 
ramis.  He  sent  from  Rome  a  sjonph. 
poem  Combat  des  Raksasas  et  Deliv- 
rance  de  Sita,  a  symph.  etude  based 
on  Poe's  "Le  Palais  haute"  and  the 
46th  Psalm,  which  was  later  played 
with  success,  1906,  increasing  to 
furore  (1910  and  Colonne  Concerts, 
1912);  his  piano  quintet  (1909)  has 
won  great  fame;  his  Tragedie  de 
Salome  was  danced  by  Loie  Fuller 
1907;  his  symph.  poem  Selamlik 
(1904),  much  chamber  music,  piano 
pieces,  and  songs  have  given  him  a 
high  place  in  France. 

Schmittbauer  (schmit'-bow-gr), 
Joseph  Alois,  Bamberg,  1718 
—  Carlsruhe,  1809;  cond.  and  com- 
poser. 

Schneider,  Edward  Faber.  b.  Oma- 
ha, Neb.,  Oct.  3,  1872;  pupil  of 
X.  Schanvenka  in  N.  Y.,  and  O. 
B.  Boise,  Berlin;  from  1900  in  San 
Francisco.  Dean  of  mus.  dept.  of 
Mills  College;  c.  music-drama  "Tri- 
umph of  Bohemia,"  text  by  George 
Sterling,    (Bohemian     Club,     1907); 


922 


THE  MUSICAL  GUIDE 


symph.  "The  Autumn  Time"  (San 
Francisco  Orch.  191 2),  songs,  etc. 
Schonberg    (shan'-berkh),   Arnold, 

b.  Vienna,  Sept.  13,  1874;  composer 
of  startling  originality;  pupil  of 
Zemlinsky;  c.  symph.  poem  "Pelleas 
und  MeHsaiuie,"  etc.  His  music  is 
written  without  bars  and  has  aroused 
great  hostility  and  great  enthusiasm. 
His  string  quartet  in  D  minor,  op. 
7,  played  in  Berlin,  191 2,  was  actually 
hissed  as  well  as  applauded;  in  Lon- 
don, 191 2,  5  orch.  pieces  provoked  a 
storm;  also  wrote  treatise  on  har- 
mony. 

Scholtz  (sholts),  (i)  Adolf,  1823 
—  Breslau,  1834;  trumpet  virtuoso. 
(2)  Hermann,  b.  Breslau,  June  9, 
1845;  pianist;  pupil  of  Brosig,  Liszt, 
von  Billow  and  Rheinberger;  teacher 
in  Dresden,  1880  chamber  virtuoso; 

c.  concerto;  edited  Chopin's  text. 
Schon,  Ed.,  vide  engelsberg. 
Schop  (shop),  Johann,  d.  Hamburg, 

ca.  1665;  court  violinist  in  Den- 
mark, 1615-19;  from  1621  cond.  at 
Hamburg;  c.  instrumental  works. 

Schopf  (shepf),  Franz,  b.  Girlau, 
1836;  organist  at  Bozen;  c.  an  opera 
and  church  music. 

Schor  (shor),  David,  b.  Simferopol, 
1867;  pianist;  pupil  of  Amenda  and 
Safonoff;  at  St.  Petersburg;  member 
of  the  Moscow  Trio  at  Moscow. 

Schos'takovski, Peter  Adamovich, 
b.  1853;  pianist;  pupil  St.  Petersburg 
Cons.,  and  of  Kullak  and  Liszt;  prof, 
at  Moscow  Cons.;  1894-98  dir.  Italian 
opera  at  Moscow. 

Schroeder,  Alwin,  add  that  in 
1903  he  resigned  from  the  Boston 
Symph.  Orch.,  and  joined  the  Kneisel 
Quartet;  1905-7,  teacher  at  New 
York  Institute  of  Musical  Art;  1907, 
first  'cello  teacher  at  Hoch  Cons., 
Frankfort-on-Main;  1908,  returned 
to  Boston  as  co-founder  of  Hess- 
Schroeder  Quartet;  19 10,  first  'cellist 
of  Boston  Symph;  resigned  191 2  for 
concert  tours. 

Schultz=Adajevski  ( shoolts  -  a  -  da - 


yef'-ski),  Ella  von,  b.  St.  Peters- 
burg, Feb.  10,  1846;  pupil  of  Henselt 
and  the  St.  Petersburg,  Cons.;  pianist; 
toured  and  from  1882  lived  at 
Venice;  c.  opera.  "Die  Morgenrote der 
Freiheit"  (1881);  "Sonate  grecque" 
for  clarinet  and  piano,  etc. 

Schumann=Heink,  Ernestine, 
add  that  1899- 1904  she  sang  at  Ber- 
lin Royal  Opera  as  well  as  at  Met. 
Op.,  N.  Y.;  1904  she  starred  in  a  comic 
opera,  "Love's  Lottery^';  1909  she 
created  " Clytemnestra"  in  Strauss's 
"Elektra"  at  Dresden;  Paul  Schu- 
mann, d.  1904;  she  m.  William  Rapp, 
Jr.,  1905;  divorced  him,  1912;  she  has 
sung  in  concert  with  enormous  suc- 
cess in  America  and  in  opera  abroad; 
became  naturalized  American,  1908. 

Schuppan  (shoop'-pan),  Adolf,  b. 
Berlin,  June  5,  1863;  pupil  of  B. 
Hartel;  c.  chamber  music. 

Schwindel  (shvint'-l),  Fr.,  d.  Carls- 
ruhe,  1786;  violinist;  c.  operettas, 
symphonies,  etc. 

Scott,  (i)  Lady  John  Douglas 
(nee  Alicia  Ann  Spottiswoode) ;  Spot- 
tiswoode,  1810  —  March  12,  1900; 
composer  of  "Annie  Laurie,"  and 
other  songs,  (2)  Cyril  Meir,  b. 
Oxton,  Sept.  27,  1879;  pupil  of  Hoch 
Cons.;  c.  a  symph.,  3  overtures, 
vocal  works  with  orch.,  songs,  etc. 

Scot'ti,  Antonio,  b.  Naples,  1869; 
barytone;  debut  Malta,  1889;  satig  in 
various  cities;  from  1899  at  Covent 
Garden  and  Met.  Op.  House,  N.  Y., 
regularly;  famous  as  "Don  Giovanni. " 

Scriabine  (or  Skrjabin ),  Alex., 
add  that  according  to  Rosa  New- 
march  he  was  born  Jan.  lO;  not  6; 
he  was  piano  prof,  at  Moscow  Cons. 
1898-1903,  then  devoted  himself  to 
composition;  played  in  New  York, 
1906,  his  own  concerto;  3  symph.,  the 
first  with  choral  finale  " Reverie"  smd 
"  Poeme  de  I'Extase"  for  orch.,  3  piano 
sonatas,  etc.  He  gave  recitals  of  his 
own  works,  Berlin,  1911.  His  wife 
Vera,  is  also  a  pianist. 

Sebald  (za'-balt),  Alex.,b.  Pest,  April 


pril      I 

I 


DICTIONARY  OF  MUSICIANS       923 


29, 1869;  violinist;  pupil  of  Saphir  and 
C.  Thomson;  member  of  Gewand- 
haus  orch.,  Leipzig,  and  toured  with 
Gewandhaus  Quartet;  toured  widely 
from  1903;  was  concertm.  Berlin  Royal 
Orch.;  1906  taught  in  Chicago;  1907 
opened  a  school  in  Berhn;  \vrote  a 
method  and  c.  \'iohn  pieces,  etc. 

Seck'endorff,  Karl  Siegmund, 
Freiherr  von,  Erlangen,  Nov.  26, 
1744  —  Ansbach,  May  6,  1809;  c.  a 
monodrama  and  songs  to  Goethe's 
texts. 

Seeg(e)r  (sa'-g6r)  (or  Segert  or 
Zeckert),  Joseph  Norbert, 
Rzepin,  Bohemia,  March  21,  1716  — 
Prague,  April  22,  1872;  composer; 
famous  organist  and  teacher;  c.  tocca- 
tas, masses,  etc. 

Segni  (san'-ye),  Qiulio,  (caUed  Giulio 
da  Modena),  Modena,  1498  —  Rome, 
1561;  organist. 

Seiffert  (zif'-fert).  Max,  b.  Eeeskow, 
Feb.  9,  1868;  historian  and  com- 
poser; pupil  of  Spitta;  from  1891  at 
Berlin  as  author  and  1907  Royal 
Prof. 

Seixas  (sa'-shSs),  Jose  Ant.  Carlos 
de,  organist  and  composer;  Coimbra, 
June  11,  1704  —  Aug.  25,  1742, 
organist  and  church  composer. 

Sekles  (zek'-lgs),  Bernhard,  b. 
Frankfort-on-Main,  June  20,  1872; 
pupil  of  Hoch  Cons.,  later  theory 
teacher  there;  c.  symph.  poem  ''Die 
Garten  der  Semiramis,"  songs,  etc. 

Sel(e)neccer  (sa'-le-nek-ker),  Niko= 
laus,  Hersbruch,  n.  Nuremberg, 
1528  —  after  1587;  organist  and  com- 
poser of  hymns. 

Sel'igmann,  Julius,  Hamburg,  1817 
—  Glasgow,  May  4,  1903 ;  teacher  and 
conductor;  founder  of  Glasgow  Soc. 
of  IMusicians,  and  for  14  years  its 
president. 

Sel'mer,  Johann,  Christiania,  Jan. 
20,  1844  —  Venice,  July  21,  1910; 
Norwegian  composer;  cond.  and 
author;  pupil  of  A.  Thomas,  Paris, 
Richter  and  Paul,  Leipzig;  1883-6 
cond.  Phil,  orch.,  Christiania;  driven 


south  by  pulmonary  trouble;  c.  Nor- 
wegian Festival  March,  "  Scene  fmie- 
bre,"  Finnish  Festival  Bells,  "In  the 
Mountains,^'  "Carnival  in  Flanders," 
etc.,  for  orch.,  choral  works  with 
orch.,  songs,  etc. 

Senaille  (sun-i-ya),  Jean  Baptiste, 
Paris,  Nov.  23,  1687 — April  29, 
1730;  famous  violinist;  at  court  of 
Louis  XV;  c.  violin  sonatas,  etc. 

Senger=Bettaque(zeng'-k6r-bet-tak- 
ve),  Katharina,  b.  Berlin,  Aug.  2, 
1862;  soprano;  a  ballet  dancer  at 
the  Imperial  Opera,  Berlin,  then 
studied  with  Dorn,  and  1879  ap- 
peared on  the  same  stage  in  soubrette 
roles;  sang  in  various  cities,  1888  in 
BajTeuth  as  "Eva";  1895  married 
the  actor  Alex.  Senger. 

Serato  (sa-ra'-to),  Amigo,  b.  Bo- 
logna, Feb.  7,  1877;  vioHnist,  son  and 
pupil  of  a  violinist  and  prof,  at  the 
cons.;  later  pupil  of  Sarti;  has  played 
with  success  in  Germany  and  else- 
where. 

Serran'o  (or  Serrao),  Emilio,  b. 
Vitoria,  1850;  court  pianist  at  Mad- 
rid; prof,  at  the  Cons.,  and  dir.  of 
Royal  Opera;  c.  operas. 

Servais  (serve),  Franz  or  Frangois, 
(Matthieu),  1844  —  Asnieres,  Jan. 
14,  1901;  cond.  at  Brussels;  c.  opera 
"L'Appolonide"  or  "Jon"  (Carlsruhe 

^  1899).    Son  of  Adrien  Fr.  (g.  v.) 

Sevcik  (shef'-chik),  Otokar,  b. 
Horazdowitz,  Bohemia,  March  22, 
1852;  famous  violin  teacher;  pupil  of 
Prague  Cons.;  from  1870  concert- 
master  various  cities;  1875  prof.  at 
Kiev;  1892  at  Prague  Cons.;  teacher 
of  Kubelik,  Kocian,  etc.;  author  of 
methods;  c.  Bohemian  dances,  varia- 
tions, etc. 

Severac  (sa-va-rak),  Deodat  de,  b. 
Saint  FeUx,  July  20,  1874;  writer 
and  composer;  pupil  Toulouse  Cons., 
and  the  Schola  cantorum,  Paris;  a 
concert  oi  his  works  was  given  in 
1905  with  success;  c.  2-act  lyric 
drama  "Le  Coeur  de  Moulin"  (Op. 
Com.  Paris,    1909);     lyric    tragedy 


924 


THE  MUSICAL  GUIDE 


"Heliogabale"  (Arenes  de  Beziers, 
iQio);  "Muguetio"  (191 1);  "Helene 
de  Sparie"  (Paris  1912);  symph. 
poems,  "Nymphes an Crepuscule"  and 
^'Dldon  et  Enee";  a  piano  sonata,  etc. 

Seydel,  Irma.  b.  Boston  (?)  1896 
(?);  violinist;  pupil  of  her  father, 
Theodore  S.  (contrabass  of  Boston 
Symph.)  Strube,  C.  M.  Loeffler,  and 
Maquarre;  debut  at  Cologne  1910; 
played  with  Boston  Symph.  191 2. 

Seyfert  (zl'-fert),  Johann,  b.  Prague, 
1837;  'cellist;  pupil  Prague  Cons.; 
from  1859,  teacher  at  St.  Petersburg 
Cons. 

Shaliapin,  vide  chaliapine. 

Sharpe,  Ethel,  b.  Dublin,  Nov.  28, 
1872;  pianist;  pupil  R.  Irish  Acad., 
and  of  R.  C.  M.,  London;  debut  Lon- 
don 1891;  1895  married  Alfred  Hob- 
day, viola-virtuoso. 

Shepherd,  Arthur,  b.  Paris,  Idaho, 
Feb.  19,  1880;  11892,  pupil  at  N. 
E.  Cons.  Boston,  of  Dennee  and 
Faelten  (piano),  Benj.  Cutter  (har- 
mony); Goetschius  and  Chadwick 
(comp.);  graduated  1897,  and  settled 
in  Salt  Lake  City  as  teacher;  cond. 
Salt  Lake  S>Tnph.  Orch.;  from  1909, 
teacher  of  piano,  harmony  and  cpt. 
at  N.  E.  Cons.;  1902,  won  Paderewski 
prize  with  "Ouverture  Joyeuse''; 
1909  won  two  Nat.  Fed.  prizes  with 
piano  sonata,  and  song,  "The  Lost 
Child";  c.  also  barytone  solo  with 
chor.  and  orch.,  songs  and  piano 
pieces. 

Shir'reff,  Jane,  1811  —  Kensington, 
Dec.  23,  1883;  singer  at  Covent 
Garden;  1838  toured  America. 

Sibelius,  Jean,  add  that  he  became 
the  principal  of  the  Helsingfors  Cons, 
and  has  increased  his  fame  as  a  com- 
poser of  remarkable  national- 
ism, though  he  denies  that  he  uses 
folk  -  music.  Add  to  his  composi- 
tions 2  symphs.,  overture  and  suites, 
"Karelia,"  tone-poems  for  orch. 
"En  Saga,"  and  " Finlandia";  erch. 
suite,  "Pelleas  and  Melisande," 
symphonic       fantasias,      "Pokgolas' 


Daughter,"  "  Belshazzar's  Feast," 
incid.  music  to  " Kuolema,"  etc. 

Sichra  (sikh'-ra),  Andreas  Ossipo= 
vich,  Wilna,  1772— St.  Petersburg, 
1 861;  guitarist  and  composer. 

Sick  (sik),  Theodor  Bernhard,  b. 
Copenhagen,  Nov.  7,  1827;  artillery 
officer  and  composer  of  chamber 
music. 

Siefert  (ze'-fert),  Paul,  Danzig, 
1586-1666;  organist  and  composer. 

Simon  (se-m6n),  Anton  Yulievich, 
b.  France,  1851;  composer;  pupil 
of  Paris  Cons.;  187 1  theatre  cond.  in 
Moscow;  1891  prof,  at  Phil.  Society 
School;  c.  6  operas,  sjonph.  poems,  etc. 

Simonet'ti,  Achille,  b.  Turin,  June 
12,  1859;  vioHnist;  pupil  of  Sivori, 
Dancla,  and  Massenet;  member  of 
the  "London  Trio";  c.  violin  sonatas, 
etc. 

Sinclair  (sink'-ler),  George  Robert- 
son, b.  Croyden,  Oct.  28,  1863; 
organist;  pupil  Ouseley,  Stewart,  and 
Lloyd;  at  17  was  organist  of  Truro 
Cathedral;  from  1889  at  Hereford 
Cath.,  cond.  the  H.  Festivals,  1891- 
1906;  1899  Mus.  Doc.  from  Arch- 
bishop of  Canterbury;  1904  fellow 
of  R.  Coll.  of  Organists. 

Sinding,  Christian,  add  that  he  c. 
2  s^Tnph.;  the  first  was  played  by 
the  Boston  Sjrmph.,  1899  and  1906, 
"Episodes  chevaleresques"  for  orch. 
(based  on  a  poem  by  Holgar  Drach- 
mann),  "Rondo  injinito"  for  orch. 
(1898,  Theo.  Thomas,  Chicago,  1900); 
piano  concerto,  2  violin  concertos; 
chamber  music,  piano  pieces,  a  song- 
cycle,  "Heimjahrt,"  etc. 

Sin'ico,  (i)  Francesco,  Trieste, 
1 810-1865;  conductor  and  composer. 
His  son  (2)  Giuseppe,  Trieste,  Feb. 
10,  1836  —  Dec.  31,  1907,  c.  operas. 

Sinigaglia  (se-ni-gal'-ya),  Leone,  b. 
Turin,  Aug.  14,  1868;  pupil  of  the 
Cons,  and  of  Mandyczewski;  c.  violin 
concerto,  rhapsody  "  Piemontese," 
for  violin  and  orch.,  string  quartet, 
concert  etude  for  quartet,  overture 
"Le  banijfe  chiozzotte,"  etc. 


DICTIONARY  OF  MUSICIANS       925 


Sladek    (sla'-dek),    Wendelin,    d. 

Prague,  July  i,  1901;  contrabassist ; 
composer  and  teacher  at  Prague  Cons. 

Smieton,  (i)  John  More,  Dun- 
dee, 1857  —  Broughty  Ferry,  July 
13,  1904.  Before  the  age  of  10,  c. 
songs,  piano  pieces  and  produced 
cantata  "Peflce."  Pupil  of  Sir  Her- 
bert Oakeley.  In  collaboration  with 
his  brother,  (2)  James,  prod,  several 
choral  works. 

Smith,  David  Stanley,  b.  Toledo, 
Ohio,  July  6,  1877;  pupil  of  Hora- 
tio W.  Parker,  at  Yale,  where  he 
graduated  1900  with  a  "Commence- 
ment Ode"  for  barytone  (Herbert 
Witherspoon),  chorus  and  orch.; 
studied  then  with  Thuille  and  Widor 
abroad;  1903  Mus.  Bac.  Yale;  from 
1904  teacher,  later  asst.  prof,  at 
Yale;  c.  symph.,  sjmiph.  poem 
"Darkness  and  Dawn,"  overture 
"Joyeuse"  (Boston  Symph.  Orch., 
1904);  1909,  won  Paderewski  Prize 
with  "The  Fallen  Star,"  for  chorus 
and  orch. 

Smolen'ski,  Stephan  V.,  Kasan, 
1848  —  St.  Petersburg,  Aug.  6,  1909; 
prof,  of  history  of  Russian  church 
music  at  Moscow  Cons.;  1901  cond. 
court  chapel  at  St.  Petersburg;  author 
of  important  historical  works. 

Smul'ders,  Karl  Anton,  b.  Maest- 
richt,  May  8,  1863;  pupil  of  Liege 
Cons.;  c.  piano  pieces,  etc. 

Smyth,  Ethel  Mary,  add  that  she 
was  bom  London,  April  23,  1858; 
daughter  of  Artillery  general;  pupil 
of  Leipzig  Cons,  and  of  Herzogenberg. 
Her  string  quintet  was  played  there 
1884;  her  violin  sonata  1887;  c.  orch. 
serenade  (London,  1890),  overture 
"Antony  and  Cleopatra"  (do.);  Mass 
in  D  (London,  1893  under  Barnby), 
and  operas,  "Fantasia"  (her  own  hb- 
retto,  Weimar  1898,  Carlsruhe,  1901); 
i-act  "Dcr  Wald"  (her  own  German 
libretto,  Dresden,  1901,  Covent  Gar- 
den, 1902  and  1903,  Met.  Op.,  N.  Y., 
1903);  3 -act  "Les  Naufrageurs" 
(book  by  Leforestier),  given  at  Leip- 


zig, 1906,  as  " Strandrecht"  (Prague, 
do.) ;  c.  also  songs  with  orch. 

Snoer  (snoor),  Johannes,  b.  Amster- 
dam, June  28, 1868;  harpist  at  Leipzig 
and  Bayreuth;  pupil  of  Schuecker; 
c.  harp  pieces. 

Sokal'ski,  (i)  Peter  Petrovich, 
Charkov,  Sept.  26,  1832 — Odessa, 
April  II,  1887;  author  and  composer 
of  operas  and  piano  pieces.  His 
nephew  and  pupil  (2)  Vladimir 
Ivanovich,  b.  Heidelberg,  April  6, 
1863;  lawyer  and  composer  of  a 
symph.  (1894),  a  children's  opera, 
"The  Turnip,"  a  dramatic  fantasie 
for  orch.,  etc. 

Sokolov,  Nikolai  Alexandrovich, 
add  correct  birth  date,  St.  Petersburg, 
March  26,  1858;  from  1896  teacher  at 
the  Cons.;  c.  incid.  music  to  Shake- 
speare's "Winter's  Tale,"  ballet, 
"  The  Wild  Swans, "  3  string  quartets, 
songs,  etc. 

Sol'dene,  Emily,  Ishngton,  1844  — 
London,  April  8,  191 2;  at  first  a 
music  hall  singer;  1871  appeared  in 
"Geneiieve  de  Brabant,"  1873  "La 
Fille  de  Mme.  Angot,"  touring  Amer- 
ica and  Australia;  she  wrote  a  novel 
and  contributed  to  journals. 

Sol'nitz,  Anton  Wilhelm,  1722  — 
Amsterdam,  1758;  c.  symphonies,  etc. 

Soltys  (sdl'-tes),  Mieczyslaw,  b. 
Lemberg,  Feb.  7, 1863;  pupil  of  Krenn 
and  Gigout;  director  and  teacher 
Lemberg  Cons.;  c.  operas,  symph., 
oratorio,  etc. 

Som'born,  Theodor  Karl,  b.  Bar- 
men, Nov.  16,  1851;  pupil  of  Rhein- 
berger  and  Wiillner;  from  1882 
teacher,  Strassburg  Cons.;  c.  operas 
"Philenor"  (Strassburg,  1903),  "Die 
Flanime"  (1908),  etc. 

Son'neck,  Oskar  Geo.  Th.,  b. 
Jersey  City,  N.  J.,  Oct.  6,  1873; 
author;  at  20  studied  at  Heidelberg, 
Munich  and  Italy;  1899  returned  to 
America  as  music  librarian  at  the 
Library  of  Congress. 

Spagnoletti  (span-yo-lgt'-te),  Paolo 
(rightly      P.     Diana),      Cremona, 


926 


THE  MUSICAL  GUIDE 


176S  —  London,  1834;  violinist  and 
cond.;  pupil  Naples  Cons.;  from  1802 
in  London  in  the  King's  theatre  orch.; 
i8i2cond.  Italian  Opera,  1817  cond. 
King's  theatre  orch.;  gained  immense 
popularity  in  London. 

Spanuth  (span'-oot),  August,  b. 
Brinkum,  Hanover,  March  15,  1857; 
pianist  and  critic;  pupil  of  Hoch 
Cons.,  Frankfort-on-ISIain;  1886-1893 
Chicago  as  pianist  and  teacher;  then 
in  New  York  as  critic;  1906  returned 
to  Berlin  as  editor. 

Speer,  (i)  Charlton  T.,  b.  Chelten- 
ham, Nov.  21,  1859;  pupil  R.  A.  M. 
London,  winning  a  scholarship;  from 
1885  prof,  of  piano  there,  also  organist 
at  various  churches;  c.  2  operas, 
"The  Battle  of  Lake  Rcgillus,"  for 
chorus  and  orch.;  symph.  poem, 
"King  Arthur,"  etc.  His  cousin 
(2)  William  Henry,  b.  London, 
1863;  organist;  pupil  of  Lloyd  and 
the  R.  C.  M.;  1906  Mus.  Doc.  Cam- 
bridge; c.  s>Tnph.,  overture,  orch., 
rhapsody,  ballad,  "The  Jackdaw  of 
Rheims,"  etc. 

Spielter  (shpel'-ter),  Hermann,  b. 
Bremen,  April  26,  i860;  pupil  Leip- 
zig Cons.;  from  1894  in  New  York  as 
composer  and  teacher. 

Sporck,  Georges,  b.  Paris,  April 
9,  1870;  pupil  of  the  Cons,  and  of  d' 
Indy;  c.  symph.  poems,  symphonic 
"Vivaraise,"  "Esquisses  symphoni- 
ques,"  etc. 

Spring'er,  Max,  b.  Schwendi,  Dec. 
19,^877;  pupil  of  Schachleiter  and 
Klicka;  joined  the  Benedictine  abbey 
of  Saint  Emaus  at  Prague;  organist 
and  composer  there. 

Squarcialupi  ( skwar-cha-loo'-pe ), 
Antonio,  famous  15th  century 
organist  and  composer  of  the 
Florentine  School. 

Squire,  William  Barclay,  b. 
London,  Oct.  16,  1855;  historian  and 
author,  educated  at  Cambridge,  1879, 
B.  A.;  1902,  M.  A.;  critic,  hbrettist 
and  antiquarian. 

Stamm,  (shtam),  Thomas  Oswald, 


b.  Uthleben,  April  17,  186S;  pupil  of 
Jadassohn  and  Radecke;  teacher 
and  cond.  at  Weissenfels;  c.  sym- 
phony, etc. 

Stanford,  Sir  Chas.  Villiers,  add 
that  he  was  knighted,  1901,  and 
made  cond.  of  the  Leeds  Festival, 
resigning  the  Bach  Chair,  1904;  com- 
posed motet  with  orch.,  "The  Lord 
of  Might"  (1903);  s>'mphony  No.  6, 
"In  Memoriam  G.  F.  Watts,"  7th 
symphony  (London  Phil.,  Feb., 
1912),  "Stabat  Mater,"  with  orch. 
(Leeds  Fest.,  1907);  "Wellington," 
for  voices  and  orch.,  incid.  mus.  to 
"Attila"  (1907),  overture  "Ave 
atqiie  Vale"  (Haydn  Centenary, 
1909),  etc. 

Stan 'i forth,  T.  W.,  Sheffield,  June 
7,  1845  —  March  25,  1909;  pianist, 
organist  and  composer. 

Starczewski     (star-chef '-ski),  Felix, 

b.  Warsaw,  1868;  critic  and  author; 
pupil  of  the  Music  Institute  and  of 
Humperdinck,  Fleischer,  and  d'Indy; 

c.  orchestral  pieces,  etc. 

Starzer  (shtar'-tser),  Josef,  Vien- 
na, 1726  —  April  22,  1787;  from  1760 
court  conductor  at  St.  Petersburg;  c. 
ballets,  oratorio,  etc. 

Statkov'ski,  Roman  von,  b.  near 
KaUsch,  Dec.  24,  1859;  pupil  of  Zelen- . 
ski,  and  of  St.  Petersburg  Cons.; 
teacher  of  instrumentation  and  his- 
tory at  ^^'arsaw  Cons.  His  opera 
"Philacnis"  took  an  international 
prize  in  London  and  was  prod.,  War- 
saw, 1904;  c.  also  opera  "Maria 
(Warsaw,  1906);  fantasie  and  polon- 
aise for  orch.,  piano  pieces,  etc. 

Stefani  (sta'-fa-ne),  (i)  Jan.  Prague, 
1746^ — Warsaw,  Feb.  24,  1829; 
Mus.  Director;  director  at  War- 
saw Cathedral;  c.  opera  "Die  Krako- 
uiter  tind  die  Bergiolker,"  1794,  and 
others,  also  masses  and  polonaises. 
His  son  (2)  Josef,  Warsaw,  April 
16,  1800 — (?);  pupil  of  Eisner;  c. 
ballets,  operettas,  also  10  masses,  etc. 

Stef'fan,  Joseph  Anton,  Copi- 
dino,   Bohemia,   March   14,  1726  — 


I 


DICTIONARY  OF  MUSICIANS       927 


Vienna,  1800;  court  piano  teacher  at 
Vienna,  numbering  among  his  pupils 
Marie  Antoinette  and  Queen  Caroline 
of  Naples;  c.  piano  pieces  and  songs. 

Steigleder  (stlkh-la-der),  Johann 
Ulrich,  Lindau,  1580  —  Stuttgart, 
1635;  from  1605  court  organist  and 
composer  at  Stuttgart. 

Stein  (shtin),  Fritz,  b.  Heidelberg, 
Dec.  17, 1879;  theologian  at  first,  then 
studied  music;  organist  and  cond.  at 
Heidelberg,  1906;  musical  dir.  of  Jena 
University,  cond.  academic  concerts. 

Steinhauer  ( shtln'-how-er )  Karl, 
b.  Diisseldorf,  May  29,  1852;  pupil  of 
Leipzig  Cons.;  singing  teacher  and 
cond.  at  Diisseldorf;  from  1901  at 
Oberhauser;  c.  male  choruses  with 
orch.,  etc. 

Stendhal  (stan-dSl),  pen-name  of 
Marie  Henri  Beyle  (bel), Grenoble, 
Jan.  23,  1783  —  Paris,  March  23, 
1842 ;  French  consul  at  Civitavecchia, 
1831-42,  and  author  of  numerous 
books  in  music. 

Sten'hammar,  (i)Fredrika,  Wisby, 
1836  —  Stockholm,  1880;  operatic  so- 
prano; bom  Andree.  (2)  Ulrik, Stock- 
holm, 1829-1875;  composer  of  oratorio 
"Said,"etc.  His  son  (3)  Wilhelm, 
b.  Stockholm,  Feb.  7,  1871;  pianist; 
pupil  of  the  Cons.,  and  of  H.  Earth; 
from  1898  cond.  Phil.  Society  in 
Stockholm;  from  1900  assistant  cond. 
at  the  Royal  Theatre;  c.  symph., 
" Prifisessan  och  Svennen"  for  voices 
and  orch.,  music,  dramas  "  Tlrfing" 
(Stockholm,  1898),  and  "Das  Fest  auf 
Solhaug"  (Stuttgart,  1899),  overture 
"Excelsior,"  and  many  important 
songs. 

Stephani  (sta'-fa-ne),  Hermann, 
b.  Grimma,  June  23,  1877;  from  1906 
director  and  organist  at  Eisleben; 
pupil  Leipzig  Cons.;  c.  Fest.  overture, 
etc. 

Stierlin  (shter'-lln),  Joh.  Qottfr. 
Adolf.,  b.  Adenau,  Oct.  14,  1859; 
bass;  pupil  of  F.  Schmidt;  1897 
founded  a  Cons,  in  Miinster;  c.  operas 
ballets,  etc. 


Stock,  Fr.   Wm.  Aug.,  b.  Dulich, 

Nov.  II,  1 87  2;  composer;  son  and  pupil 
of  amilitary bandmaster;  then  studied 
with  Humperdinck,  ZoUner,  Jensen 
and  Wiillner,  at  the  Cologne  Cons.; 
1891-5  violinist  in  the  City  Orch.; 
then  joined  the  Thomas  Orch.  in 
Chicago;  1899  became  assistant  cond. 
to  Theodore  Thomas,  on  whose  death 
in  1905  he  was  chosen  as  conductor; 
c.  symphonic  poems,  symph.,  varia- 
tions, chamber  music,  songs,  etc. 

Stojowski,  Sigismund,  add  that 
he  has  Uved  in  New  York  since  1906 
as  piano  prof.  Musical  Art  Inst., 
giving  frequent  recitals.  Add  to  his 
comps.  s>Tnph.  (Leipsiz,  1898);  ro- 
mance for  violin  and  orch.;  chor. 
with  orch.  "Spring";  Polish  Rhap- 
sodie  for  piano  and  orch.;  violin 
concerto  (1908);  violin  and  piano 
sonata  op.  37  (New  York,  1912). 

Stokowski,  (sto-kof'-ski)  Leopold. 
b.  London,  of  Polish  parentage; 
graduated  at  Oxford;  studied  at 
Paris  Cons.,  acted  as  cond.  there 
1905-8  mus.  dir.  St.  Bartholomew's, 
N.  Y.;  1908,  cond.  in  London;  1909- 
12,  cond.  Cincinnati  Symph.  Orch; 
191 2,  cond.  Philadelphia  Orch.,  vice 
Carl  Pohlig;  191 1,  married  the  pianist 
Olga  Samaroff. 

Stolze  (shtol'-tse),  (i)  Q.  Chr., 
Erfurt,  1 762-1830;  organist.  His  son 
(2)  H.  Wm.,  Erfurt,  1801— Celle, 
1868;  organist;  c.  oratorio,  canta- 
tas, etc. 

Stradal  (stra'-dal),  August,  b. 
Teplitz,  i860;  pupil  of  Door,  Bruck- 
ner, and  Liszt;  pianist  and  composer. 

Stran'sky  Josef,  b.  Bohemia,  1873, 
of  German  parents;  studied  medicine 
at  first;  and  then  music  while  at  the 
Universities  of  Vienna,  Leipzig  and 
Prague;  debut  as  cond.  at  Prague 
Opera,  succeeding  Muck,  later  suc- 
ceeded Mahler  at  Hamburg;  cond. 
Bliithner  orch.,  Berlin;  1911,  suc- 
ceeded Mahler  as  cond.  N.  Y.  Phil. 

Straus  (shtrows),  Oskar,  b.  Vienna, 
April  6,  1870;  pupil  of  Gradener  and 


928 


THE  MUSICAL  GUIDE 


Max  Bruch;  cond.  theatres  in  various 
cities;  c.  overture  '■' Der  Traum  ein 
Leben,"  chamber  music  and  many 
operas,  some  of  them  extremely  suc- 
cessful, especially  "Ein  Walzer- 
trmtfn"  (Vienna,  1906;  London  and 
America  as  "The  Waltz  Dream"); 
" Der tapfere  Soldat"  (Vienna,  1908), 
"Little  May"  (Paris,  1909),  etc. 

Strauss,  Richard,  Add  that  a 
Strauss  Festival  was  given  in  London, 
1903,  vnih  S.  conducting  the  Amster- 
dam Orch.;  1904  he  was  made  general 
musical  director  of  the  Berlin  Royal 
Opera;  c.  2  s>'mphonies,  F  moll.  op. 
12  and  Sinfonia  Domestica  (1904); 
operas  "Salome"  (i  act  after  Oscar 
Wilde,  Dresden,  1905,  and  through- 
out Europe;  prod,  at  Met.  Op.,  X.  Y.; 
it  was  withdrawn  by  the  subscribers' 
request  after  one  performance); 
"Elektra"  (Dresden,  1909,  and  in 
many  other  capitals);  "Der  Rosen- 
kavalier"  (Dresden,  June  26,  191 1, 
and  throughout  Europe);  "Circe," 
"Ariadne  aiif  Naxos."  (Stuttgart, 
Oct.   25,  1912). 

Strube,  Qustave,  add  that  the 
Boston  S}Tnph.  Orch.  of  which  he  is 
still  a  member,  has  plaj-ed  composi- 
tions of  his  as  follows;  sjTnphony  m 
C  minor  (1896),  in  B  minor  (1909 
and  191 2);  overtures  "The  Maid  of 
Orleans"  {i8gs);  "Fantastic"  (1904); 
"Puck"  (1910);  s>Tiiph.  poems 
"Longing"  (1905  and  1908);  "Fan- 
tastic Dance"  (1908);  concertos,  vio- 
lin (1897,  1905,  IQ06);  'cello  (1909), 
etc.;  1909  he  became  a  cond.  of  the 
Worcester  Festivals. 

Strungk,  Delphin,  1611  —  Bruns- 
wick, 1694;  organist  and  composer; 
father  of  Nikolaus  S.  (q.  v.). 

St(s)cherbatschev  ( sht  -  cher'  -  bat- 
shef),  (i)  Nikolai  Vladimirovich, 
b.  Aug.  24,  1853;  Russian  composer  of 
songs  &  piano  pieces ;  c.  also  Serenade- 
op.  33  and  2  Idyllsjfor  orch.,  (2)  An- 
drew, v.,  b.  Pultava,  Jan.  29,  1869; 
■  pupil  St.  Petersburg  Cons.;  c.  orch. 
march,  piano  sonata,  songs,  etc. 


Such,  Henry,  b.  London,  March  31, 
1872;  violinist  in  public  at  eight; 
pupil  of  the  Hochschule,  Berlin, 
1885-92;  then  toured,  studied  further 
with  Wilhelmj;  1898  prof,  at  Guild- 
hall School. 

Suter  (zoo'-ter),  Hermann,  b. 
Kaiserstuhl,  Switzerland,  April  28, 
1870;  pupil  of  his  father,  an  organist, 
and  of  the  Stuttgart  and  Leipzig 
Cons.;  from  1892,  organist  and  cond. 
in  Zurich,  from  1902  in  Basel  as  cond. ; 
c.  quartets  and  choruses. 

Sutor  (zoo'-t6r),  Wilhelm,  Edel- 
stetten,  1774  —  Linden,  Sept.  7, 1828; 
court  cond.  at  Hanover;  c.  operas,  etc. 

Swoboda  (svo'-bo-da),  (i)  August, 
Bohemia,  1787  —  Prague,  May  17, 
1856;  teacher  of  theory,  at  Vienna. 
His  son  (2)  Adalbert  Viktor, 
Prague,  Jan.  26,  1828  —  Munich, 
]May  19,  1902;  historian  and  editor. 

Szamotulski,  vide  wenzel. 


Tanejew  (or  Taneiev),  (i)  Sergei 
Ivanovich,  add  that  he  composed 
a  cantata  "John  of  Damascus,"  1884; 
four  s>-mphonies.  No.  i  pub.  1902, 
a  Russian  overture,  seven  string 
quartets.  His  uncle  (2)  Alexander 
Sergeivich,b.  St.  Petersburg,  Jan.  5, 
1850;  statesman  and  high  chancellor; 
was  a  pupil  of  Reichcl  and  later  of 
Rimsky-Korsakov  and  Petrov;  c.  two 
sjinphs.;  symph.  poem  "  Alecha  Popo- 
vich";  i-act  opera,  etc. 

Taubmann  ( to\\p'-man),  Otto, 
b.  Hamburg,  March  8,  1859;  mus. 
director;  pupil  Dresden  Cons.;  1886-9 
dir.  Wiesbaden  Cons.  1891  theatre 
cond.  in  St.  Petersburg;  from  1895  in 
Beriin  as  critic;  c.  mass  with  orch. 
(1898),  choral  drama  " Sdngeru'eihe" 
(Elberfeld,  1904),  "Psalm  13"  with 
orch.,  etc. 

Taund  (shel-to^\Tit),  Eugen  von 
Schyll,  b.  Pressburg,  July  17,  1856; 
opera  composer;  c.  operettas  prod, 
at  Vienna. 

Tchaikovsky,     The     correct     birth 


i 


DICTIONARY  OF  MUSICIANS       929 


date  is  May  7  (new  style),  April  25 
(old  style),  1840. 

Tebaldini  (ta-bal-de'-ne), Giovanni, 
b.  Brescia,  Sept.  1864;  historian; 
pupil  Milan  Cons.,  and  in  musical 
history  of  Ameili,  Haberl  and  Haller; 
1889  cond.  at  St.  Mark's,  Venice;  1894 
at  San  Antonio,  Padua;  from  1897, 
dir.  Parma  Cons.,  wrote  historical 
works,  and  c.  Arabian  fantasia  for 
orch.,  also  church  music. 

Teichmuller  (tikh'-mil-ler),  Robert, 
b.  Braunschweig,  May  4,  1863;  piano 
teacher;  pupil  of  his  father  and  of 
Leipzig  Cons.;  later  teacher  there; 
1908  Royal  Prof. 

Tempia  (tgm'-pe-a),  Stefano,  Rac- 
conizi,  Dec.  5,  1832 —  Turin,  Nov. 
25,  1878;  violin  teacher  at  Turin 
Cons,  and  composer  of  masses,  etc. 

Terrabugio  (ter-ra-boo'-jo),  Qiu= 
seppe,  b.  Primiera,  May  13,  1842; 
writer; pupil  of  Rheinberger, etc.; from 
1883  editor  of  "Musica  Sacra"  at 
Milan,  and  active  in  the  reform 
of  church  music;  author  of  organ 
methods;  c.  overtures,  12  masses,  and 
much  chureh  music. 

Ter'ry,  Richard  Runciman,  b. 
Ellington  1865;  organist;  1890 —  2  at 
Elston  School,  then  in  Antigua, 
West  Indies,  at  St.  John's  Cathedral; 
1896-1901  Downside  Abbey;  from 
1 90 1  at  Westminster  Cathedral;  active 
in  reviving  early  EngUsh  Catholic 
music. 

Tetrazzini  (tgt-ra-tse'-ne),  Luisa, 
b.  Florence;  pupil  of  Ceccherini,  and 
her  sister  Eva,  wife  of  Cleofonte 
Campanini;  debut  1895  as  Inez 
in  "L'Africaine,"  Teatro  Pagliano, 
Florence;  later  at  Rome  and  else- 
where, touring  widely  in  Rus?ia 
and  South  America;  a  favourite  in 
San  Francisco,  her  fame  had  not 
reached  eastward  till  after  a  season  of 
great  success  at  Covent  Garden.  1907, 
she  made  a  sensation  at  the  Manhat- 
tan Opera,  N.  Y.  She  has  since  held 
a  foremost  position  among  the  world's 
sopranos  in  opera  and  concert.     Her 


voice  is  one  of  extraordinary  grace 
and  flexibility  in  coloratura  r61es. 

Theindl  (tint'-'l),  J.  N.,  d.  Pest, 
Dec.  30,  1902;  pianist. 

Thiard=Laforest  ( te-ar-la-for-a), 
Josef,  Puspoki,  March  16,  1841  — 
Pressburg,  March  2,  1897;  from  1881 
cond.  at  Pressburg  Cathedral. 

Thibaud  (te-bo),  Jacques,  b.  Bor- 
deaux, Sept.  27,  1880;  violinist;  pupil 
of  Marsick  at  Paris  Cons.,  winning 
first  prize  at  16;  played  at  the  Cafe 
Rouge  and  was  engaged  for  Colonne's 
orch.,  became  soloist  1898;  has  toured 
widely  in  Europe  and  America. 

Thiebaut  (t'ya'-bo),  Henri,  b. 
Schaerbeck,  near  Brussels,  Feb.  4, 
1865;  teacher  and  critic  in  Brussels; 
founded,  1896,  a  music-school  devel- 
oped 1907  into  the  "Institut  des 
hautes  etudes  musicales  et  dramati- 
ques";  c.  orch.  works,  songs,  etc. 

Thiele,  (i)  K.  L.,  should  be  Jo- 
hann  Fr.  Ludwig.  His  son  (2) 
Eugen  Felix  Richard,  Berlin,  Oct. 
29,  1847  —  April  25,  1903;  organist 
at  English  church;  composed  panto- 
mimes, etc.  (3)  Edvard,  d.  Dessau, 
Jan.  10, 1895. 

Thirion  (te-ri-6n),  Louis,  b.  Bac- 
carat, 1879;  piano  teacher  at  Nancy 
Cons. ;  c.  symph. ;  played  by  Colonne's 
orch. ,  under  Pierne,  19 1 1  ,with  success. 

Thomelin  (tum-lan),  Jacques, 
famous  organist  in  Paris;  ca.  1667 
chapel  organist  to  Louis  XIV;  c. 
organ  works,  etc. 

Thompson,   Lady,  vide  loder. 

Thoost  (tost),  Willem  Frans, 
Amsterdam,  July  10,  1829 — Rotter- 
dam, Aug.  27,  1900;  pupil  of  Dupont, 
Hauptmann  and  Richter;  founded 
the  German  opera  at  Rotterdam, 
i860;  c.  choral  prize  symphony, 
"Karl  V"  (1861);  3  other  symphs., 
an  opera,  etc. 

Thor'ley  Handel,  d.  Manchester, 
Jan.  20,  1910,  age  87;  bass  singer, 
chorister;  double  bass  in  Halle  orch. 
over  40  years. 

Thorne,  John  of  York,  d.  York, 


930 


THE  MUSICAL  GUIDE 


Dec.  7,  1573;  important  English 
musician;  c.  motet,  etc. 

Thouret  (too-ra),  Qeorg,  b.  Berlin, 
Aug.  25,  1855;  historian,  especially 
of  German  military  music. 

Thrane  (tra-ne),  Waldemar,  Chris- 
tiania,  1 790-1828;  violinist;  c.  over- 
tures, etc. 

Tierie  (te'-re),  Anton  H.,  b. 
Wageningen,  April  4,  1870;  organist, 
teacher  in  Amsterdam  Cons.;  cond. 
oratorio  society. 

Till'metz,  Rudolf,  b.  Munich,  April 
I,  1847;  flutist;  pupil  of  Bohm;  1864 
soloist  in  court  orch.;  1883  teacher 
in  Royal  Musichsch.,  and  cond.  to 
Prince  Ludwig  Fd.;  c.  flute  works. 

Tim'mermans,  Armand,  b.  Ant- 
werp, i860;  pupil  of  the  Cons.,  and 
teacher  in  Antwerp;  c.  prize  winning 
choral  works. 

Tischer  (tish'-gr),  Johann  Niko= 
laus,  1731-66  organist  at  Schmal- 
kalden;  pupil  of  J.  S.  Bach;  c. 
clavier-pieces,  orch.  works,  etc.  (2) 
Gerhard,  b.  Liibnitz,  Nov.  10, 
1877;  historian,  Ph.D.,  Berlin,  1903; 
from  1904  teacher  of  musical  history 
in  Cologne. 

Titelouze  (tet-looz),  Jean,  St. 
Omer,  1563  —  Rouen,  Oct.  25,  1633; 
organist;  called  the  "founder  of 
French  organ  music";  1585  org.  at 
St.  Jean  Rouen,  from  1588  at  the 
cathedral  there;  c.  mass,  and  organ 
works. 

Titov  or  Titoff  (te'-t6f),  (i)  Vassili, 
17th  century  church  composer.  (2) 
Alexei  Nikolaievich;  1769  —  St. 
Petersburg,  Nov.  20,  1827;  Russian 
cavalry  general;  c.  13  operas.  His 
brother  (3)  Sergei  N.,  b.  1770;  c. 
operas  and  ballets.  (4)  Nikolai 
Alexeivich,  St.  Petersburg,  May 
10,  1800  —  Dec.  22,  1875;  son  of  (2) 
called  the  "grandfather  of  Russian 
song";  a  heutenant-general,  whose 
songs  were  the  first  to  obtain  foreign 
vogue;  c.  also  popular  dances  and 
marches. 

Tiv'endell,     Frederick,     b.    Eng- 


land, 1825;  organist  at  Liverpool; 
1843  pupil  of  Spohr  and  Leipzig 
Cons.;  popular  as  accompanist  to 
Spohr,  Jenny  Lind,  etc. 

Tod  (tot),  Eduard  Adolf,  Neu- 
hausen,  1839  —  Stuttgart,  1872;  or- 
ganist and  composer. 

Todt  (tot),  Joh.  Aug.  Wilhelm, 
b.  Dusterort,  July  29,  1833  —  Stettin, 
Oct.  26,  1900;  organist,  cantor  and 
composer. 

Tofano  (to -fa' -no),  Gustavo, 
Naples,  Dec.  22,  1844  —  June  30, 
1899;  pupil  at  the  Bologna  Cons,  and 
prof,  there;  pianist  and  composer. 

Tofft,  Alfred,  b.  Copenhagen,  Jan. 
2,  1865;  pupil  of  Nebelong  and  Bohl- 
mann;  c.  opera  "  Vifajtdaka"  (Copen- 
hagen, 1898),  songs,  etc. 

Tofte  (tof'-te),  Lars  Waldemar, 
Copenhagen,  Oct.  21,  1832  —  June, 
1907;  court  violinist  and  teacher  at 
the  Cons. 

Tol'lius,  Jan.  b.  Amersfort,  1550  — 
Copenhagen,  1603  (?);  church-cond. 
in  Italian  cities;  1601  court-cond.  at 
Copenhagen ;  c.  motets,  madrigals,  etc. 

Tolstoi  (tol-sto-e),  Count  Theo- 
phil  Matveievich,  1809  —  St.  Pe- 
tersburg, March  4,  1881;  critic  under 
pen-name  "Rostislav"  and  composer; 
studied  singing  with  Rubini,  comp. 
with  Fuchs,  Miller,  Raimondi  and 
Hebel;  1832  prod,  opera  "Birichmo 
di  Parigi,"  Naples;  1835  at  St. 
Petersburg,  its  failure  led  Nicholas 
I  to  forbid  the  Italian  singers  to  ap- 
pear in  Russian  works.  He  c.  also 
songs. 

Tolstoy  (t6l'-st6f),  Victor  Paulo- 
vich,  b.  St."  Petersburg,  Dec.  5,  1843; 
pianist;  pupil  of  Leschetizky;  from 
1878  teacher  at  St.  Petersburg  Cons.; 
1889  prof,  there. 

Tonassi  (to-nas'-se),  Pietro,  Venice, 
Sept.  1801  —  Nov.  4,  1877;  composer 
of  church  music,  etc. 

Tonel'li,  Antonio,  Carpi,  Italy, 
Aug.  19,  1686  —  Dec.  25,  1765; 
important  early  'cellist;  pupil  of  his 
mother  and  of  Pace;  after  a  wander- 


DICTIONARY  OF  MUSICIANS       931 


ing  life  including  (perhaps)  three 
years  in  Denmark,  he  was  made  cond. 
at  the  Cathedral  in  Carpi;  c.  opera 
"Lucio  Vera"  (Alassio,  1740).  After 
some  years  the  Wanderlust  carried 
him  off  to  and  from  Carpi,  where  he 
died;  c.  oratorio,  cantatas,  etc. 

Topler  (tep'-ler),  Michael,  Ul- 
lersdorf,  Jan.  15,  1804  —  Briihl,  Nov. 
12,  1874;  teacher  and  composer  of 
church  music. 

Torrance,  Canon  Geo.  Wm.,  add 
that  he  returned  to  Ireland,  1897, 
and  1900  became  canon  at  Kilkenny, 
where  he  died  Aug.  20,  1907.  His 
madrigal  "Dry  be  that  tear,"  won 
Mol>Tieux  prize  and  London  Madri- 
gal Society  medal,  1903. 

Toscanini  (tos-ka-ne'-ne),  Arturo, 
b.  Italy;  pupil  Milan  Cons.;  won 
eminence  as  conductor  at  La  Scala, 
and  since  1908  has  cond.  with  greatest 
success  at  the  Met.  Op.  House,  N.  Y., 
not  only  Italian  operas,  but  Wag- 
nerian and  French. 

Toschi  (tesh'-e),  Carlo  Giuseppe, 
Romagna,  1724  —  Munich,  April  12, 
1788;  court  dir.  and  composer.  His 
son  and  successor  (2)  Johann  Bap= 
tist,  Mannheim,  ca.  1745  —  Mun- 
ich May  I,  1800;  c.  18  symphs.,  etc. 

Tournemire  (toom-mer),  Charles 
Arnould,  b.  Bordeaux,  Jan.  22, 
1870;  organist  and  successor  of  Cesar 
Franck  at  Ste.  Clothilde;  pupil  of 
the  Paris  Cons,  (winning  first  organ 
prize  1 89 1 );  then  of  d' Indy.  The  City  of 
Paris  prize  was  awarded  to  his  "  Le 
Sang  de  la  Sirene,"  for  voices  and  orch. 
1904,  and  it  has  been  given  in  various 
cities;  c.  symph.,  lyric  tragedy  "Nit- 
tetis,"  chamber  music,  etc. 

To'vey,  Donald  Francis,  b.  Eton, 
July  17,  1875;  pianist;  pupil  of 
Sophie  Weisse  (piano),  Parratt,  Higgs 
and  Parry  (comp.);  graduated  at  Ox- 
ford, 1898;  began  to  compose  at  8;  at 
19  gave  a  concert  at  Windsor  with 
Joachim;  from  1900  played  in  Lon- 
'  don  and  on  the  continent;  1903  and 

1906  performed  his  own  piano  con- 


certo under  Wood  and  Richter;  c. 
military  band  music,  chamber  music, 
sonata  for  clarinet  and  piano,  etc. 

Trautner  (trowt'-ner),  Fr.  Wm. 
Lorenz,  b.  Buch-am-Forst,  May  19, 
1855;  cantor  and  organist  at  Nordlin- 
gen;  c.  Reformation  cantata,  "Mar- 
tin Luther,"  "Sangers  Gebet"  for 
voices  and  orch.,  etc. 

Traver'sa,  Qioachimo,  prominent 
1 8th  century  violinist  to  Prince  Car- 
ignan;  pupil  of  Pugnani. 

Trem'bath,  Henry  Qough,  d. 
Heme  Bay,  July  31  1908,  age  65; 
pupil  R.  A.  M.,  organist  and  com- 
poser. 

Tricklir  (trek-ler),  Jean  Balthasar, 
Dijon,  1745  —  Dresden,  1813;  'cellist; 
from  1783  in  Dresden  court  chapel; 
c.  'cello  works. 

Trnecek  (tu-ru-ne'-chek),  Hans, 
b.  Prague,  May  16,  1848;  harpist; 
pupil  of  the  Cons.;  from  1882-8 
harpist  at  Schwerin  Court  Theatre, 
then  prof,  of  piano  and  harp  at 
Prague  Cons.;  virtuoso  on  the  Jankd 
Keyboard;  c.  piano  and  harp  music 
and  operas  "Der  Geiger  von  Cremona" 
(Schwerin,  1896),  "Amaranth" 
(Prague  1890),  and  "Andrea  Crini" 
(Prague,  1900). 

Trunk,  (troonk)  Richard,  b.  Baden- 
Baden,  1879;  composer  and  con- 
ductor; studied  at  the  gymnasium 
there;  1 896-1901,  at  Royal  Music 
x\cademy,  Munich,  under  Jos.  Rhein- 
berger,  winning  gold  medal;  founded 
the  Gemischter  Volkscor  Union;  dir. 
also  of  the  Munich  Burgers  Saenger- 
Zunft;  191 2  elected  director  Arion 
Singing  Society  of  New  York._ 
Tscherepnin  (cher-ep'-nen), Nikolai 
Nikolaievich,  b.  1873;  composer; 
studied  law  at  first,  then  at  St. 
Petersburg  Cons,  under  Rimsky- 
Korsakov;  c.  valuable  male  and 
mixed  choruses,  overture  "La  Prin- 
ces se  lointaine,"  "Sappho's  Song"  for 
soprano  and  orch.,  Ijnnc  poem  for 
violin  and  orch.,  choruses  with  orch., 


932 


THE  MUSICAL  GUIDE 


Tscheschichin  (chgsh-e'-chen), 
Vsevolod  levgrafovich,  b.  Riga, 
Feb.  i8,  1865;  critic  and  author  at 
Riga. 

Tura  (too'-ra),  Qennaro  de,  tenor, 
sang  at  Milan  and  in  Europe;  debut 
May,  191 2,  with  great  success  at 
Hammerstein's  London  Op. 

Tur'ban, CharlesPaul,  b.Strasburg, 
Oct.  3,  1845  —  Paris,  May  11,  1905; 
clarinet  soloist  at  the  Opera;  pupil 
and  frequent  prize  winner  at  the 
Cons.;  from  1900  prof,  there. 

Tutkov'ski,  Nikolai  Apollono= 
vich,  b.  Lipovetz,  Feb.  17,  1857; 
pianist;  pupil  of  Puchalski;  from 
1881-90  teacher  of  history  at  St. 
Petersburg  Cons.;  from  1893  dir.  of 
Cons,  in  Kiev;  c.  S3Tnph.  ^'■Pensce 
elegiaqiie"  and  "Bachanale  bohetii- 
iemie"  for  orch.,  etc. 

U 

Uberlee  (u'-ber-la),  Adelbert,  Berlin, 

June  27,  1837  —  Charlottenberg, 
March  15,  1897;  organist  and  royal 
director;  c.  opera,  oratorio,  etc. 

Udbye  (oot'-be),  Martin  Andreas, 
b.  Drontheim,  1820;  pupil  of  Haupt- 
mann  and  Becker;  organist  at  Dron- 
theim; c.  operas,  cantatas,  songs, 
etc. 

Ujj  (oo'-yi),  Bela  von,  b.  Vienna, 
1875;  Hungarian  composer,  blind 
from  his  7th  year;  c.  opera  "Der 
Bauernfeind"  (Baden,  near  Vienna, 
1897);  operettas  "Der  Hen  Profes- 
sor" (Vienna,  1903),  " Kaisermano- 
ver"  (do..  1907),  and  "Der  MUller 
und  sein  Kiiid"  (Graz,  1907). 

Urbach  (oor'-bakh).  Otto,  b. 
Eisenach,  Feb.  6,  1871;  composer; 
pupil  of  Muller-Harting,  Staven- 
hagen,  Scholz,  Knorr  and  Humper- 
dinck;  won  the  Liszt  stipend,  1890, 
and  the  Mozart  stipend  1896,  and 
studied  with  Draeseke  and  Klind- 
worth;  from  1898  piano  teacher  at  the 
Dresden  Cons.;  c.  opera  "Der  Muller 
von   Sanssouci"    (Frankfort,    1896); 


overture  "Bergfahrt,"  string  quartet 
"Haliba,"  etc. 

Urbanek  (oor'-ba'-nek),  Jan,  b. 
Slanin,  Bohemia,  Jan.  31,  1809;  vio- 
Hnist;  pupil  Prague  cons.;  concert- 
master  in  Berlin. 

Urlus  (oor'-loos),  Jacques,  tenor; 
sang  many  years  at  Leipzig  Stadt- 
theater;  191 2  Boston  Op.;  engaged  to 
sing  at  Met.  Op.,  191 2-13. 

Usiglio  (oo-sel'-yo) ,  Emilio,  Parma, 
Jan.  8,  1841  —  Milan,  1910;  operatic 
composer. 

V 

Note:  For  names  not  found  under  V, 
consult  W. 

Vaccari  (vak-ka'-re),  Frangois, 
Modena,  1775 — Portugal,  after  1823; 
violin-virtuoso  of  astonishing  powers; 
pupil  of  Nardini;  toured  Europe  with 
great  success;  acted  as  court  musician 
in  Spain;  c.  medleys,  etc. 

Vacher  (or  Levacher)  (lu-va-sha), 
Pierre  Jean,  Paris,  1772-1819; 
violinist  at  Paris  Opera;  c.  trios,  etc. 

Vachon  (va-shon),  Pierre,  Aries, 
1731  —  Berlin,  1802;  violinist  and 
composer  of  sonatas,  chamber  music, 
etc.;  toured  widely;  1784-98  court 
cond.  to  the  Emperor  in  Germany. 

Vacqueras  (va-ka'-rSs),  Beltrame, 
1481  singer  at  St.  Peter's,  Rome; 
1483-7  papal  chapel  singer;  c.  motets, 
etc. 

Val  or  Duval  (dii-val),  Frangois 
Du,  d.  Paris,  1738;  violinist  to  Louis 
XIV;  the  first  Frenchman  to  write 
violin  sonatas  in  the  Italian  style, 
with  basso  continno. 

Valente  (va-len'-tg),  Antonio 
il  deed) ,  blind  organist  and  composer 
at  Naples,  1580.  (2)  Vincenzo,  b. 
Corigliano,  near  Cosenza,  1855;  c. 
operas  and  songs. 

Van  Den  Eeden  (van  den  a'-den), 
Jean  Baptiste,  b.  Ghent,  Dec. 
26,  1842;  pupil  of  the  Cons.,  and 
of  Brussels  Cons.,  where  he  won  a 
prize  with  a  cantata,  "Fausts  laaste 
Nacht";  from  1878  dir.  music  school 


DICTIONARY  OF  MUSICIANS       933 


at  Mons.;  c.  s>'mph.  poem  "Za  liitte 
ail  XVI  siecle"  cantatas,  a  3-part 
work  "Judith"  or  " Le  siege  de 
Bethiilie,"  etc. 

Van  der  Stucken,  Frank,  add 
that  he  was  dean  of  the  Cincinnati 
College  of  Music  1897-1901;  cond. 
Cincinnati  Symph.  1895-1907,  when 
he  returned  to  Germany,  retaining 
the  conductorship  of  the  Cincinnati 
May  Festivals. 

Van'nius,  vide  wannenmacher. 

'/ar'lamov  (or  Warlamoff),  Alex= 
ander  Igorovich,  Moscow,  Nov. 
15  (27),  1801  — St.  Petersburg,  Oct. 
1848;  singer  in  the  court  chapel  as 
youth,  later  director  of  it;  then 
teacher  in  Moscow;  c.  the  famous 
melody  "The  Red  Sarafan,"  and 
many  other  songs. 

Vasquez  y  Gomez  (vas'-keth  e  go'- 
meth),  Marino,  Granada,  Feb. 
3,  1831  —  Madrid,  June  1894;  con- 
certmaster  at  Madrid  Royal  Theatre; 
c.  zarzuelas,  etc. 

Vassilen'ko,  Sergei  Nikiforovich, 
b.  Moscow,  1872;  writer;  pupil  of  the 
Cons.,  winning  gold  medal,  1901;  c. 
cantata  "  The  Legend  of  the  Sunken 
City  of  Kitesch"  (given  as  an  opera, 
'I  Moscow,    1903);    "Epic   Poem"    for 

orch.,  choral  works  "Nebuchadnezzar,'" 
and  "Daphnis,"  etc. 
.  Vatielli  ( va-ti-el'-le),  Francesco, 
b.  Pesaro,  Jan.  i,  1877;  pupil  of 
Liceo  Rossini;  1905  Hbrarian  at 
Bologna,  teacher  and  writer  on  his- 
tory; c.  intermezzi,  etc. 

Vau'tor,  Thomas,  English  song  com- 
poser of  early  17th  century;  probably 
a  musician  to  Sir  George  Villiers; 
1616  Mus.  Bac.  Oxford;  published 
songs  in  1619. 

Vecsey  (vet'-che-e),  Franz  von,  b. 
Budapest,  March  23,  1893;  vioHnist; 
at  8,  pupil  of  Hubay;  at  10  accepted 
by  Joachim  as  a  great  musician,  and 
toured  Germany,  England  and  Amer- 
ica with  immense  success;  toured 
South  America,  191 1;  reappeared  in 
London,  191 2. 


Venth  (vent),  Karl,  b.  Cologne,  Feb. 
10,  i860;  pupil  of  the  Cons,  and  of 
Wieniawski;  from  1880  in  New  York 
as  concertniuster  at  Met.  Op.  House; 
founded  1888  a  cons,  in  Brooklyn;  c. 
Schiller's  "Bells"  for  chorus  and 
orch.,  etc. 

Venturini  (ven-too-re'-ne),  Fran= 
cesco,  d.  Dresden  (?)  April  18, 
1745;  from  1698  in  the  Hanoverian 
court  chapel  as  cond.;  c.  concertos, 
etc. 

Venzl  (fents'-'l),  Josef,  b.  Munich, 
March  26,  1842;  pupil  of  the  Royal 
Music  Sch.;  c.  violin  pieces  and 
method. 

Ver'rinder,  C.  Q.,  d.  Ealing,  June 
27,  1904;  organist;  Bachelor  of  Music 
Oxford;  1873  Doctor  of  Music  by 
Archbishop  of  Canterbury;  c.  cantata 
"Israel,"  Hebrew  services  and 
Psalter;  Anglican  church  music,  etc. 

Verstovsky  (or  Werstowski),  Ale= 
xei  Nikolaievich,  Tambov,  Feb. 
18  (March  i),  1799  —  Moscow,  Nov. 
5  (17),  1862;  composer;  while 
stud3ang  civil  engineering  at  the 
Institute  in  St.  Petersburg,  he  was 
also  a  pupil  of  John  Field  and  Stei- 
belt  (piano),  Bohm  (violin),  Tar- 
quini  (voice),  Brandt  and  Tseiner 
(theory);  c.  a  vaudeville  at  19,  and 
soon  acquired  a  vogue;  at  25  was 
inspector  of  the  Imp.  Opera,  Moscow; 
at  29,  c.  a  succ.  opera,  "Pan  Tvardov- 
ski,"  followed  by  five  others,  includ- 
ing "^^y^oWi  Tomb"  (1835),  which 
had  enormous  success  and  was  revived 
in  1897;  was  accepted  as  a  beginning 
of  national  opera  and  had  undoubted 
influence  on  its  development.  He  c. 
also  cantatas  and  29  popular  songs. 

Vetter  (fet-tgr),  (i)  Nikolaus,  Konig- 
see,  1666  —  Rudolfstadt,  1710;  court 
organist  and  important  choral  com- 
poser; (2)  Hermann  b.  Gross- 
drebnitz.  Saxony,  July  9,  1859;  pupil 
Dresden  Cons.;  from  1883  teacher 
there;  1907  Royal  Prof.;  c.  technical 
studies,  etc. 

Verhey     (ver'-hi),      F.    H.    H.,     b. 


934 


THE  MUSICAL  GUIDE 


Rotterdam,  1848;  pupil  of  the 
Royal  Music  Sch.,  at  The  Hague  and 
of  Bargiel;  teacher  at  Rotterdam;  c. 
operas,  a  mass,  chamber  music,  etc. 

Vieuxtemps,  Jean  Joseph  Lu= 
cien,  Verviers,  July  5,  1828  —  Brus- 
sels, Jan.  iQoi;  pianist  and  composer; 
pianist,  teacher,  and  c.  of  piano 
pieces,  brother  of  Henri  and  Jules 
V.     (q.  v.). 

Vigna  (ven'-ya),  Arturo  cond.  Met. 
Op.  House,  N.  Y.,  1903-7;  pupil 
JNIilan  Cons. 

Vilain  (ve-lah),  Leandre,  b.  Tra- 
zegnies,  Belgium,  1866;  pupil  of 
Lemmens,  and  von  Mailly;  from  1890 
organist  at  Ostend;  from  1902 
teacher  at  the  Ghent  Cons. 

Vilano'va,   Ramon,  Barcelona,  Jan. 

21,  1801  —  Ma}',  1870;  cathedral 
cond.;  c.  church  music. 

Vilar  (ve'-lar),  Joseph  Teodor, 
Barcelona,  Aug.  10,  1836  —  Oct.  21, 
1905;  pupil  of  Vilanova  and  in  Paris 
of  Herz,  Bazin  and  Halevy;  later 
cond.  at  Teatro  Principal;  c.  zarzue- 
las,  etc. 

Vilda,  vide  wilt. 

Villafiorita  (vil-la-fe-o-re'-ta),  Qiu= 
seppe  Burgio  di,  Palermo,  March 

22,  1845 — Milan,  Nov.  1902;  com- 
poser of  operas. 

Vi'ner,  William  Letton(orLitton), 
Bath,  1790  — Westfield,  Mass.,  1867; 
organist;  from  1859  in  America;  c. 
popular  h>Tnn  tunes. 

Vizentini  (ve-zen-te'-ne),  Louis  Al= 
bert,  Paris,  [Nov.  9,  1841— Oct. 
1906;  violinist;  pupil  of  the  Paris 
and  Brussels  Cons.;  critic  on  the 
Figaro;  cond.  in  theatres  in  various 
cities;  c.  operettas,  ballets,  etc. 

Vock'ner,  Josef,  Ebensee,  March 
18,  1842  —  Vienna,  Sept.  11,  1906; 
organ  teacher  at  the  Cons.;  c.  ora- 
torio, organ  fugues,  etc. 

Volbach  (fol'-bakh),  Fritz,  b. 
Wipperfiirth,  Dec.  17,  1861;  organ- 
virtuoso;  pupil  of  Cologne  Cons,  for 
a  year;  studied  philosophy,  then  took 
up  music  again  at  the  Royal  Inst,  for 


church  mus.,  Berlin;  from  1887  teach- 
er there;  1892  cond.  at  Mainz;  1907 
at  Tubingen;  has  written  biogs.  and 
edited  musical  texts;  c.  sjTnph., 
symph.  poems,  "Osiern"  (Easter), 
for  organ  and  orch.  (Sheffield  Fest., 
1902) ;  "Es  waren  zwei  Kanigskinder, " 
^^  Ah  Heidelberg,  du  Feine, "  a  series  of 
vocal  works  with  orch.  which  he 
cond.  in  London,  1904,  etc. 

Volkov,  vide  wolkow. 

Vos  (vas),  (i)  Eduard  de,  b.  Ghent, 
Jan.  19,  1833;  director  and  teacher 
at  the  Cons.;  c.  songs.  (2)  Isidore, 
Ghent,  1851 — March  31,  1876;  dying 
just  after  he  won  the  Prix  de  Rome 
with  his  cantata  " De  Meermin";  c. 
also  piano  pieces,  etc.  His  brother 
(3)  Franz,  is  teacher  at  the  Cons. 

Vreuls  (vruls),  Victor,  b.  Verviers, 
Feb.  4,  1876;  pupil  Liege  Cons, 
and  of  d'lndy,  at  whose  Schola  can- 
torum  he  became  teacher  of  harmony; 
1903  won  the  Picard  prize  of  the 
Belgian  Free  Academy;  c.  s>Tnphonic 
poems,  "Triptyque"  for  voice  and 
orch.,  chamber  music  and  songs. 

W 

Note:  For  names  not  found  under  W, 
consult  V. 

Waack  (vak),  Karl,  b.  Lubeck, 
March  6,  1861;  pupil  of  Grand-ducal 
School,  Weimar,;  cond.  in  Finland 
and  at  Riga;  1890  studied  with  H. 
Riemann,  returned  to  Riga  as  editor, 
cond.  and  author. 

Wad'dington,  Sidney  Peine,  b. 
Lincoln,  July  23,  1869;  composer; 
pupil  R.  C.  M.,  London;  later  teacher 
there  and  pianist  to  Covent  Garden; 
c.  "John  Gilpin"  for  chorus  and 
orch.  (1894);  "Ode  to  Music,"  do.; 
violin  and  'cello  sonatas,  etc. 

Waefelghem,  ( va' -  f el  -  khem  or 
va-fel-gan),  Louis  Van,  Bruges. 
Jan.  13,  1840  —  Paris,  June  i9,_  1908; 
violinist  and  virtuoso  on  the  A-iole  d' 
amour;  pupil  Brussels  Cons.;  soloist 
at  Budapest  Opera;  1888  violaist  at 


DICTIONARY  OF  MUSICIANS 


935 


Paris  Op6ra,  and  in  Lamoureux's 
orch.;  after  1893  soloist  on  the  viole 
d'amour,  for  which  he  composes. 

Wagenaer  (vakh'-e-nar),  Johann, 
b.  Utrecht,  Nov.  i,  1862;  organist  at 
the  Cathedral;  c.  "Fritjofs  Meer- 
fahrt"  and  "Saul  and  David"  for 
orch.,  overture  "Cyrano de Bergerac," 
etc. 

Wagner,  Siegfried,  add  that  from 
1898  he  was  teacher  in  Vienna;  1901 
cond.  Acad.  Singing  Society,  and 
Tonkiinstler  Orch.;  191 2,  cond. 
special  concert  of  the  London  Sym- 
ph  orch.  c.  8  operas  "Dcr  Kobold" 
(Hamburg,  1904),  "Bntder  Litstig" 
(do.,  igo<i),  " Das  Stcrneugebot"  (do., 
1908),  "  Banadietrich"  (Elberfeld, 
1910)  and  "Schu'arzsclrd'anenreich" 
(Black-swan  Country),  c.  also  male 
and  female  choruses,  etc. 

Wakefield,  Augusta  Mary,  b. 
Sedgwick,  Aug.  19,  1853;  contralto; 
pupil  of  Randegger,  Alari  and 
Sgambati;  1885  organized  the  so- 
called  Wakefield  Competition  Festi- 
vals, said  to  be  "the  most  vital 
movement  in  the  musical  hfe  of 
England  to-day;"  from  1890  she 
lectured;  c.  songs,  etc. 

Waldauer  (val'-dow-er),  August, 
1825  —  St.  Louis,  Dec.  26,  1900; 
founder  and  dir.  Beethoven  Cons. 

Waldmann  (valt'-man),  Madame, 

b.  Vienna;  contralto;  made  sensation 
in  London,  1875. 

Waldteufel  (viilt'-toi-fel),  Emil,  b. 
Strasbui^,  Dec.  9,  1837;  pupil  Paris 
Cons.;  pianist  to  Empress  Eugenie; 

c.  immensely  succ.  waltzes. 
Walk'er,  Ernest,  b.  Bombay,  July  15, 

1870;  composer;  Mus.  Bac.  0.x- 
ford,  1893;  Mus.  Doc.  1898;  from 
1900,  dir.  at  Balliol  College;  mainly 
self-taught  as  composer  of  "Slabat 
Mater,"  "Hymn  to  Dionysus,"  and 
"Ode  to  Nightingale"  for  voices  and 
orch.;  overture,  chamber  music,  songs 
etc. 
Wall'ace,  William,  b.  Greenock,  July 
3,  i860;  at  first  a  surgeon;  in  1889 


took  up  music  and  studied  at 
the  R.  A.  M.,  London,  till  1890; 
c.  symph.  "The  Creation"  (New 
Brighton,  1892);  choral  s3Tnph. 
"Koheleth";  6  symph.  poems,  "The 
Passing  of  Beatrice"  (Crystal  Palace, 
1892),  "Amboss  oder  Hammer"  (do., 
1896),  "Sister  Helen"  (do.  1899), 
"Greeting  to  the  New  Century"  (Lon- 
don Phil.,  1891),  "Sir  William  Wal- 
lace" (Queen's  Hall,  1905),  "  Franqois 
Villon  (New  Symph.,  1909;  also  by 
New  York  Phil.,  1910,  19x2), 
overtures,  suites,  song  cycles,  i-act 
lyric  tragedy  "Brassolis,"  etc.  He 
is  author  of  poetry  and  a  critical 
work,  "The  Threshold  of  Music." 

Wairworth,Thos.  Adlington,i834 
—  Bri.xton,  Jan.  7,  1904,  age  70; 
pupil,  later  singing  prof.  R.  A.  M., 
London;  pupil  of  Crevelli;  sang  with 
Pyne  &  Harrison  Opera  Co. 

Walpurgis  (val-poor'-ges) ,  Antonia, 
1724-1780;  Saxon  Crown  Princess; 
c.  an  overture  "Talestria  Regina  dell' 
Amazone,"  revived  at  a  concert  of 
women's  compositions  by  ths  German 
Lyceum  Club,  Berlin,  191 2,  cond.  by 
Elizabeth  Knyper. 

Wal'thew,  Richard  H.,  b.  London, 
Nov.  4,  1872;  pupil  of  the  Guild- 
hall and  with  scholarship  at  R.  C.  M. 
under  Parry;  1907  prof,  at  Queen's 
College,  and  cond.  opera  class  at  the 
Guildhall;  1909  cond.  at  Finsbury. 
c.  "Pied  Piper"  for  chorus  and  orch; 
(1893);  piano  concerto  (1894),  two 
operettas,  etc. 

Wannenmacher  (van'-nen-makh-gr) 
(or  Vannius),  Johannes,  d.  Inter- 
laken,  ca.  1551;  important  Swiss 
church  composer;  and  canon,  re- 
nounced Catholicism,  was  tortured, 
and  banished. 

Ware,  Harriet,  b.  Waupun,  Wis.; 
graduated  at  Pillsbury  Cons.  Owa- 
tonna,  Minn.,  1895;  pupil  of  Wm. 
Mason,  N.  Y.  for  2  years,  then  of 
Stojowski  (piano  and  comp.)  and 
Juliana,  Paris,  later  of  Hugo  Kaun, 
Berlin;   c.    "The  Fay  Song,"    1905; 


936 


THE  MUSICAL  GUIDE 


cantata  "Sir  01  af"  (New  York 
Symph.  1910),  piano  pieces  and  many 
successful  songs. 

Warnke  (varn'-ke),  Heinrich,  b. 
Wesselburen,  Aug.  30,  1871;  'cellist; 
son  and  pupil  of  his  father,  a 
violinist;  later  at  Hamburg  Cons.; 
debut  there,  then  studied  withKlengel 
at  Leipzig;  member  of  various  orchs., 
finally  with  the  Kaimorch.,  Munich, 
for  10  years;  from  1905  with  Boston 
SjTnph.  Orch. 

Warot  (va-ro),  (i)  Charles,  Dunkirk, 
Nov.  14,  1804  —  Brussels,  July  29, 
1836;  vioHnist  and  theatre-cond.; 
pupil  of  Fridzeri;  c.  operas,  3  grand 
masses,  etc.  His  brother  (2)  Victor, 
Ghent,  1808  —  Bois  Colombes,  1877; 
cond.  and  teacher;  c.  operettas,  a 
mass,  etc.  (3)  Constant  Noel 
Adolphe,  Antwerp,  181 2 — Brussels, 
1875;   'cello-teacher,  Brussels  Cons.; 

c.  'cello-pieces,  etc.  (4)  Victor  Alex. 
Jos.,  Verviers,  1834  —  Paris,  1906; 
son  of  Victor  (2);  opera  tenor,  later 
teacher  at  Paris  Cons. 

War'rum  Helen,  b.  Washington, 
D.  C.  (?);  soprano;  pupil  of  Oscar 
Saenger;  engaged  for  Chicago  Opera, 
1912. 

Warwick  (war'-ik),  (i)  (orWarrock), 
Thomas,  organist  Hereford  Ca- 
thedral, 1586-9;  1625  org.  at  Chapel 
Royal;  c.  anthems,  etc.     (2)  Giula, 

d.  June  13,  1904;  pianist  and  opera 
singer,  then  prof,  of  singing  Guildhall 
School  of  Music,  later  founded  vocal 
academy. 

Web'ber,  Amherst,  b.  Cannes,  Oct. 
25,  1867;  studied  music  at  Oxford, 
then  at  Dresden  with  Nicod6  and 
at  Paris  Cons.;  pianist  to  Covent 
Garden  and  Met.  Op.,  N.  Y.;  c. 
symph.  (Warsaw  Phil.,  1904,  Bos- 
ton Symph.,  1905);  i-actopera"F/or- 
ella"  (London,  1905),  songs,  etc. 

Web'er,  Frederick,  Wiirtemberg, 
Nov.  5,  1819  —  London,  Feb.  16, 
1909;  organist  and  author  of  works  on 
the  pianoforte. 

Wecker    (vek'-er),   Georg  Kaspar, 


Nuremberg,  163  2-1 695;  organist, 
teacher  and  composer. 

Weckmann  (vek'-man),  Matthias, 
Oppershausen,i62i — Hamburg,  1674; 
organ-virtuoso  and  comp. 

Wedekind  (va'-de-kint),  Erika,  b. 
Hanover,  Nov.  13,  1869;  colora- 
tura soprano;  pupil  of  Orgeni  at 
Dresden  Cons.;  1894- 1909  at  court 
opera  Dresden,  then  at  Berlin  Comic 
Opera. 

Weeber  (va'-ber),  Johann  Chr., 
b.  Warmbronn,  1808  —  Niirtingen, 
1877;  court  mus.  director  and  com- 
poser. 

Weed,  Marion,  b.  Rochester,  N. 
Y.,  soprano;    1903-4  Met.  Op.,  N.  Y. 

Wehrle  (var'-Ie),  Hugo,  b.  Don- 
aueschingen,  July  19,  1847;  violinist; 
pupil  of  Leipzig  Cons,  and  Paris  Cons. ; 
toured  and  plaj^ed  in  Singer's  Quar- 
tet till  nervous  trouble  lamed  his 
hand;  1898  retired  to  Freiburg;  c. 
violin  pieces. 

Weidig  (vi'-dikh),  Adolf,  b.  Ham- 
burg, Nov.  28,1867;  pupil  of  the  Cons, 
and  winning  Mozart  stipend,  pupil  of 
Rheinberger;  from  1892,  teacher  in 
Chicago  and  co-director  of  the 
American  Cons.;  c.  orch.  and  cham- 
ber music. 

Weingartner,  Felix,  add  that  1908 
he  succeeded  Mahler  as  dir.  Vienna 
Royal  Opera;  Jan.  4,  191 1,  he  signed 
contract  for  3  years  with  Berlin  Phil. 
Orch.,  resigning  directorship  of  Royal 
Opera;  he  married  Marie  Juillerat; 
in  1903  he  married  Baroness  Feodora 
von  Dreifus;  author  of  "tber  das 
Dirigicren  (1895,  3rd  edition  1905), 
"Die  Symphonie  nach  Beethoven" 
(1897,  also  in  English),  a  drama 
"Golgotha"  (1908),  etc.;  c.  3  symph., 
"FrUhlingsmdrchenspiel"  (Weimar, 
1908),  music  to  "Faust"  (do.,  1908); 
his  3rd  symph.  was  played  by  New 
York  Phil.,  Dec.  28,  1911. 

Weismann  (vis'-man),  Julius,  b. 
Freiburg,  Dec.  26,  1879;  pupil  of 
Royal  Musicschool,  Munich,  then 
with  Herzogenberg  and  Thuille;  from 


DICTIONARY  OF  MUSICIANS       937 


1905    in    Freiburg    as    composer    of 
choral  works,  a  symph.,  etc. 

Weissheimer  (vis'-hi-mer) ,  Wen- 
delin,  b.  Osthofen,  Feb.  26,  1838; 
mus.  director  and  composer;  pupil 
Leipzig  Cons.,  teacher  and  theatre- 
cond.  in  various  cities;  c.  2  operas, 
"Theodor  Korner"  (Munich,  1872), 
and  "Meister  Martin  und  seine 
Gesellen"  (Carlsruhe,  1897),  bass 
solo  with  orch.,  "Das  Grab  in 
Busento,"  etc. 

Well'ings,  (Joseph)  Milton,  b. 
Handsworth,  n.  Birmingham,  Eng., 
Dec.  4,  1850;  c.  popular  songs  and 
"The  Darning  Master"  (London, 
1894). 

Wendel  (ven'-del),  Ernst,  b.  Bres- 
lau,  1876;  violinist  and  director; 
pupil  of  Wirth,  Joachim,  Lucco  and 
Bargiel;  1896  joined  Thomas  Orch., 
Chicago;  1898  cond.  Konigsberg 
Musikverein;  1909  cond.  Bremen 
Phil.;  c.  choruses  with  orch.,  etc. 

Wenzel  von  Qamter  (or  Szamo^ 
tulski)  (sha-mo-tool'-ski),  Gamter, 
1525  —  Cracow,  1572;  Polish  com- 
poser of  church  music, 

Werschbilovich  (versh-be'-lo-vich), 
Alex.  Valerianovich,  b.  Jan.  8, 
1850;  'ceUist;  pupil  of  Davidov  and 
his  successor  at  the  Italian  Opera  in 
St.  Petersburg;  from  1885  prof,  at  the 
Cons. 

Wessely  (ves'-se-le),  Hans,  b.  Vienna, 
Dec.  23,  1862;  violinist;  pupil  of  the 
Cons.;  toured  with  success;  from  1889 
prof.  R.  A.  M.,  London,  leader  of 
the  W.  Quartet. 

Wetzel  (vet'-tsel),  Hermann,  b. 
Kyritz,  Pomerania,  March  11,  1879; 
teacher  at  Riemann  Cons.  1905-7; 
then  in  Potsdam  as  teacher  and  a 
author;  c.  songs,  etc. 

Weweler  (va'-ve-16r),  August,  b. 
Recke,  Westphalia,  Oct.  20,  1868; 
composer;  pupil  Leipzig  Cons. ;  c.  fairy 
operas  " Doriiroschen"  (Kassel,  1903), 
comic  opera  " Der  grobe  Marker" 
(Detmold,  1908),  etc. 
Weymarn    (vi'-marn,)    Paul    Pla= 


tonovich,  b.  St.  Petersburg,  1857; 
son  of  a  lieut. -general  and  himself  an 
officer;  gave  up  the  army  for  music; 
writes  biographies,  criticisms,  'cello- 
pieces,  etc. 

White,  ( i)  John,  York,  1779  — 
Leeds,  1831;  organist  and  assist.- 
cond.  of  Leeds  Festivals.  (2).  Caro= 
lina,  b.  Dorchester,  Mass.,  Dec. 
23,  1883;  pupil  of  Weldon  Hunt; 
concert  debut,  1905;  1907  studied 
with  Sebastian  at  Naples;  debut 
at  San  Carlo  Theatre,  1908;  sang 
in  Italy,  and  from  1910  with 
Chicago  Op.  Co.;  191 1  with  Boston 
Op.;  married,  1910,  Paul  Longone, 
dir.  San  Carlo  Theatre. 

Whitehouse,  William  Edward,  b. 
London,  May  20,  1859;  'cellist;  pupil 
of  Pettit  and  R.  A.  M.,  winning  prize, 
1878;  and  from  1882  teacher  there; 
later  prof.,  member  of  Ludwig  Quartet 
and  London  Trio. 

Whitney,  (i)  Myron  William, 
Ashby,  Mass.,  Sept.  5,  1835  ~  iQ^o; 
bass;  pupil  of  Frost,  Randegger,  and 
Vannucini;  debut  Boston,  1858;  sang 
with  greatest  success  in  concert  and 
oratorio  and  for  a  time  in  opera  ^vith 
the  Boston  Ideals,  and  the  American 
Opera  Co.;  retired  1900;  his  son  (2) 
Myron,  Jr.,  is  a  popular  bass. 

Wichern  (vekh'-6rn),  Karoline, 
Horn,  near  Hamburg,  Sept.  13,  1836 
—  March  19,  1906;  soprano;  led 
choruses  at  the  houses  of  correction 
for  20  years,  then  for  15  years  taught 
in  Manchester,  returning  1896  to  her 
previous  task;  1900  cond.  at  Ham- 
burg a  concert  of  her  own  orchestral 
works;  c.  vocal  works  of  many  sorts, 
etc. 

Wickenhausser  ( vik'-en-hows'-ser ), 
Richard,  b.  Briinn,  Feb.  7,  1867; 
pupil  of  Leipzig  Cons.;  1894  was 
given  a  stipend  on  the  advice  of 
Brahms  and  Hanslicj;  1895  leader  of 
a  singing  society  in  Briinn;  1902  in 
Graz;  1907  dir.  Vienna  Singakademie, 
c.  choral  works  in  great  numbers,  also 
2  piano  sonatas,  a  violin  sonata,  etc. 


938 


THE  MUSICAL  GUIDE 


Wiedermann  (ve'-dgr-man),  K.  Fr., 
b.  Gorisseiffen,  Dec.  25,  1856;  organ- 
ist and  Royal  Dir.,  in  Berlin;  c.  over- 
tvire,  songs,  etc. 

Wiehmayer  (ve'-mi-er),  Theodor, 
b.  Marienfeld,  Westphalia,  Jan.  7, 
1870;  pianist;  pupil  Leipzig  Cons, 
and  of  Krause;  debut  Leipzig,  1890; 
teacher  there;  1902-6  at  the  Cons.; 
from  1908  at  Stuttgart  Cons.,  1909 
prof.;  c.  piano  pieces  and  songs. 

Wiemann  (ve'-man),  Robert,  b. 
Frankenhausen,  Nov.  4,  1870;  pupil 
Leipzig  Cons.;  cond.  various  theatre 
orchs.  and  singing  societies;  from 
1899  in  Osnabriick;  c.  orch.  works, 
"  Erden  ivallen, "  "  Kassandra, "  etc. ; 
choral  works  with  01  ch.,  etc. 

Wietrowetz  ( ve'  -  tro  -  v6tz ) ,  Qa= 
brielle,  b.  Laibach,  Carmola,  Jan. 
13,  1866;  violinist;  pupil  of  Joachim, 
winning  Mendelssohn  prize  at  Berlin 
Hochsch.;  debut  1885  at  Munster; 
toured  and  from  1904,  teacher  at  the 
Berlin  Hochsch.,  the  first  woman 
so  employed. 

Wig'gins,  Thomas  ("Blind  Tom"), 
Columbus,  Ga.,  May  24,  1849  — 
Hoboken,  N.  J.,  June  13,  1908; 
phenomenal  pianist;  a  negro  slave 
imbecile  in  all  except  music;  son 
of  slaves  and  exploited  by  the  for- 
mer owners  of  his  parents;  played  in 
public  for  forty  years,  with  enormous 
financial  success,  and  revealed  extra- 
ordinary gifts  for  musical  mimicry 
and  repetition  of  pieces  performed  in 
his  hearing,  though  of  course  his 
powers  were  greatly  exaggerated. 

Wilhelmj,  Adolf  (not  Anton),  cor- 
rect birth  date  is  March  31,  1872. 

Williams,  (i)  Charles  Lee,  b. 
Winchester,  May  i,  1853;  organist; 
pupil  of  Arnold;  1882-98  org.  at 
Gloucester  Cathedral;  cond.  of  five 
festivals;  c.  cantatas,  church  music, 
etc.  (2)  Charles  Francis  Abdy, 
b.  Dawlish,  July  16,  1855;  took  music 
degrees  at  both  Cambridge  and  Ox- 
ford; later  pupil  Leipzig  Cons.;  organ- 
ist at    various   posts;   authority   on 


Greek  music  and  Plain  song;  c.  church 
music,  choruses  for  "Alcestis"  "Anti- 
gone,' and  ^'Agamemnon."  (3)  Ralph 
Vaughan, b. Down  Amprey, Oct.  12, 
1872;  studied  music  at  Cambridge 
and  the  R.  C.  M.;  later  at  Berlin  with 
Max  Bruch  and  with  Ravel  in  Paris; 
organist  at  South  Lambeth,  1896-9; 
c.  "A  Sea  Symphony"  (Walt  Whit- 
man) for  voices  and  orch.;  symphonic 
impression  "In  the  Fen  Country" 
(London,  1909),  three  Norfolk  Rhap- 
sodies (1906-7),  cantata  "Willow 
Wood"  (Liverpool,  1909),  "Toward 
the  Unknown  Region"  (Walt  Whit- 
man), chorus  and  orch.  (Leeds  Fast., 
1907),  etc. 

Wille  (vU'-le),  Qeorg,  b.  Greiz, 
Sept.  20,  1869;  'cellist;  from  1899 
court-concertmaster  at  Royal  Chapel 
in  Dresden  and  teacher  in  the  Cons.; 
pupil  of  Leipzig  Cons. 

Wil'son.QrenvilleDean,  Plymouth, 
Conn.,  Jan.  26,  1833 — Nyack,  N.  Y., 
Sept.  20,  1897;  teacher  and  song 
composer. 

Wilt  (vilt),  Marie  (n6e  Lieben= 
thaler),  Vienna,  Jan.  30,  1883  — 
(suicide)  Sept.  24,  1891;  famous 
operatic  soprano;  debut  1865  at 
Graz;  sang  throughout  Europe,  also 
popular  in  concerts.  In  1866-7  she 
sang  at  Covent  Garden  under  the 
name"Vilda,"  again  in  1874-75. 

Wiltberger  ( vilt'-berkh- er),  (i) 
Heinrich,  b.  Sobemheim,  Aug.  17, 
1841;  son  of  an  organist;  1872-1906 
teacher  in  Alsace;  co-founder  of 
the  Cecilia  society  and  composer  of 
church  music,  and  favourite  Alsatian 
composer  of  male-choruses.  His 
brother  (2)  August,  b.  Sobemheim, 
April  17,  1850;  teacher  in  various 
towns;  1884  at  Briihl;  author  of  an 
organ  method,  a  theory,  and  c.  ora- 
torios "Cecilia"  and  Bonif actus," 
cantatas,  etc. 

Winkelmann  (i)  Hermann,  tenor; 
correct  birth  date  is  Braunschweig, 
March  8,  1849;  (2)  Hermann  d. 
Frankfort  -  on  -  Main,     March      11, 


DICTIONARY  OF  MUSICIANS       939 


1899;  organist  and  teacher  at  Raff 
Cons. 
Winkler  (vink-lgr),  (i)  Theodor,  d. 
Weimar,  Dec.  21,  1905;  flutist  at  the 
court   chapel;   c.   concerto,   etc.    (2) 
Alex.     Adolfovich,    b.    Charkov, 
March  3,   1865;  pianist;   studied  at 
Charkov     and     at     Vienna     under 
Leschetizky  and    Navrdtil;    teacher 
at     Charkov;    from     1896     at     St. 
Petersburg    Cons.;  c.  prize- winning 
string  quartet,  op.   7,  piano  pieces, 
etc. 
Winneberger   (vin'-ne-berkh- er ), 
Paul,   d.  Hamburg,     Feb.  8,  1821; 
'cellist  and  composer. 
Winter=Hjelm     (vin'-ter-hyelm), 
Otto,   b.   Christiania,  Oct.  8,  1837; 
organist  at  Christiania;  pupil  Leip- 
zig Cons,  and  of  Kullak  and  Wiierst; 
dir.  Phil,  concerts;   c.  2    symph.,  50 
Psalms,  45  Norwegian  "  Fjeld  melo- 
dier'"  or  mountain  songs,  etc. 
Wirtz   (verts),  Charles    Louis,    b. 
The  Hague,  Sept.   i,   1841;  pupil  of 
the  Cons.;  later  piano  teacher  there;, 
c.  church  music. 
Wis'ke,    Mortimer,  b.  Troy,  N.  Y., 
Jan.  12,  1853;  from  1872  organist  and 
dir.  Brooklyn;  c.  church  and  organ 
music. 
Witek    (ve'-tek),    Anton,    b.    Saaz, 
Bohemia,    1872;    violinist;    pupil   of 
Bennewitz;    concertmaster  of  Berlin 
Phil.;    also     toured;     later     became 
concertm.   Boston    Symph.;  married 
(2)      Witek,     Vita     (nee     Qer= 
hardt),  b.   Copenhagen;  at  first  a 
violinist;  pupil  of  Gade  and  Joachim; 
decided  to  be  a  pianist,  studied  with 
Leschetizky  and  Carreno. 
Witherspoon,    Herbert,    add  that 
his    correct    birthplace   is    Buffalo, 
N.    Y.,    July     21,    1873;    in    1908 
he  coached  with  Lamperti  in  Berlin; 
in    1908   he   joined    the    Met.    Op., 
N.  Y.,  and  has  sung   there  with  in- 
creasing  success,   making   especially 
deep    impression    in    the    roles    of 
Gurnemanz,  King  Mark,  etc.     Gave 
recitals  in  London  with  great  success. 


19 10,  and  has  continued  his  concert 
and  oratorio  appearances. 
Witkowsky  (vit-kof'-ski),  Q.  M., 
lieutenant  in  French  Army;  pupil  of 
d'lndy;  c.  symph.,  (Paris  1901) 
quintet,  etc. 
Wittkowska  (vlt-kof'-ska),  Marta, 
b.  Poland;  contralto;  brought  to 
America  as  a  child;  studied  at  Syra- 
cuse, N.Y.,  University  with  a  scholar- 
ship ;  pupil  of  Emma  Thursby,  then  of 
Colonogi;  debut  at  Perugia;  sang 
in  various  Italian  cities,  then  at 
Covent  Garden;  191 1  Chicago  Opera 
Co. 
Witting  (vit'-tink),  Karl,  Julich, 
Sept.  8,  1823  —  Dresden,  June  28, 
1907;  tenor  singer;  pupil  of  Reichel  in 
Paris;  teacher  in  various  cities;  c. 
'cello  sonata,  etc. 
Woikowski=Biedau  (voi-k6f'-ski-be'- 
dow),  Victor  Von,  b.  Nieder-Ams- 
dorf,  Sept.  2,  1866;  pupil  of  B.  Wolff 
and  W.  Berger;  c.  operas  "Helga" 
(Wiesbaden,  1904),  and  " Der  lange 
KerV  (Berlin,  1905). 
Wolf,  Hugo,  correct  birthplace  is 
Windischgraz,  Styria,  March  13, 
i86o;correctdeath  date  is  Vienna, Feb. 
22,  1903;  add  that  he  was  e.xpeUed 
from  the  Vienna  Cons,  as  incorrigible, 
and  suffered  constantly  from  poverty 
and  hunger,  giving  occasional  piano 
and  vioHn  lessons;  1886--90  he  was 
critic  to  the  Salonblatl;  1888-89  he 
c.  200  songs,  then  wrote  no  more  for 
3  years;  his  opera  ''Der  Corregidor" 
though  praised  was  never  repeated; 
he  was  at  work  on  another  "Manuel 
Venegas"  when  his  mind  failed;  after 
some  months  in  an  asylum,  he  was 
released  only  to  be  taken  back  as  a 
violent  maniac  in  1898;  paralysis 
followed,  hut  he  lived  for  five  years. 
His  songs  continue  to  deepen  their 
impression  and  he  seems  to  be  safely 
established  among  the  greatest  com- 
posers of  lyrics. 
Wolf=Ferrari  ( v61f'-fgr-ra'-re),  Er- 
manno,  b.  Venice,  Jan.  12,  1876; 
important    and    versatile   composer; 


940 


THE  MUSICAL  GUIDE 


son  of  a  painter;  largely  self-taught; 
later  pupil  of  Rheinberger,  Munich; 
1902  dir.  Liceo  Benedetta  Mar- 
cello,  Venice;  resigned  1909  and 
settled  in  Germany;  c  operas  "La 
Sulamita"  (Venice,  1889),  "Ceneren- 
tola"  (Venice,  1900  as  "Asckenbrodl," 
Bremen,  1902),  comic  opera  based 
on  Goldoni,  " Le  Donne  Curiose" 
given  at  Munich  as  "^  Die  neitgierigcn 
Frauen,"  Munich,  1903,  also  with 
great  success  Chicago  and  Met.  Op., 
N.  Y.,  191 2  and  throughout  Europe; 
"Die  vier  Grobiane"  (Munich,  1906), 
the  very  successful  '  I  Giojelli  della 
Madonna"  or  " Der  Schmnck  der 
Madonna"  (Berlin  Royal  Op.,  191 1, 
Chicago  and  Met.  Op.,  N.  Y.,  1912), 
"The  Secret  of  Susanne"  (do.,  1912), 
c.  also  the  important  oratorio  "La 
Vita  Nuova"  (text  from  Dante),  1903 
a  symphony  da  camera,  viohn  sonata, 
piano  quartet,  etc. 

Wolkenstein,  (vol'-ken-shtln),  Os= 
wald  von,  Tyrol,  ca.  1377  —  Aug. 
2,  1445;  a  knight,  ambassador,  and 
wanderer,  "the  last  of  the  Minne- 
singer," c.  poems  and  melodies. 

Wolkow  (v6l'-k6v),  Feodor  Qri- 
gorievlch,  Kostroma,  1729  —  St. 
Petersburg,  1763;  "founder  of  the 
Russian  theatre,  1 756,  and  the  first 
Russian  opera  composer",  according 
to  Riemann;  he  wrote  the  first 
original  Russian  libretto  "  The  Charit- 
able Titus"  for  Araja,  1751;  and  c. 
an  opera  "Tanjuscha"  (St.  Peters- 
burg, Dec.  9, 1756). 

Wolle  (vol'- Ig)  John  Frederick, 
b.  Bethlehem,  Pa.,  April  4,  1863; 
founder  of  a  choir  of  Moravians 
among  the  Bethlehem  steel-workers 
with  which  from  1900  he  gave  re- 
markable productions  of  the  works  of 
Bach;  in  1901  at  a  three-day  festival 
the  Christmas  oratorio,  Passion  Ac- 
cording to  St.  Matthew,  and  Mass  in 
C.  minor  were  given  entire;  1904,  a 
nine-day  festival  of  Bach's  works  was 
given;  from  1905  prof.  University  of 
California   and   cond.    symph.    con- 


certs at  the  Open  Air  Greek  Theatre 
at  Berkeley,  Cal. 

Wol'stenholme,  William,  b.  Black- 
burn, Feb.  24,  1865;  organist,  blind 
from  birth;  pupil  of  Dr.  Done, 
Mus.  B.  Oxford,  1887,  from  1888 
organist  in  London;  toured  the  U.  S. 
1908;  c.  organ  music  of  all  kinds, 
piano  sonata,  choral  ballad,  "Sir 
Humphrey  Gilbert,"  etc. 

Wood,  (i)  Charles  b.  Armagh,  June 
15,  1866;  pupil  of  T.  O.  Marks,  and 
at  R.  C.  M.,  London,  winning  the 
Morley  scholarship,  later  teacher 
there,  and  cond.  Cambridge  U.  Musi- 
cal Society;  Mus.  Doc.  Cambridge, 
1894;  L  L.  D.  Leeds,  1904;  c.  "Ode  to 
the  West  Wind,"  voices  and  orch., 
(1890);  incid.  music  to  Greek  plays; 
"Dirge  for  Two  Veterans"  (Leeds 
Fest.,  1901),  "Ballad  of  Dundee," 
(do.,  1904);  symphonic  variations  on 
"Patrick  Sarsfield"  (London,  1907), 
songs,  etc.  (2)  Henry  J.,  correct 
birth  date  is  London,  March  3,  1870; 
he  was  appointed  cond.  of  the  Shef- 
field Festivals  in  1902  and  of  the 
Nor\vich  Festivals  in  1908. 

Woodward,  Richard,  Dublin,  1744 
—  Nov.  22,  1777;  composer  of  church 
music;  org.  at  St.  Patrick's  Cath., 
1765;  vicar-choral  from  1772. 

Wool'ridge,  H.  Ellis,  b.  Winchester, 
March  28,  1845;  writer;  historian;  at 
first  a  painter  and  1895  Slade  Prof, 
of  Fine  Arts  at  Oxford;  took  up 
musical  history  and  has  written  ex- 
tensively on  mediaeval  music. 

Worobkiewicz  ( v6r-6p-k'-ya'-vich), 
Isidor,  Czernowitz,  1836  —  Sept. 
18,  1903;  priest  in  the  Greek  church, 
and  pupil  on  stipend  at  Vienna  Cons.; 
later  teacher  of  church  music  at 
Czernowitz  and  author;  c.  8  Rou- 
manian songs,  etc. 

Wot'quenne,  Alfred,  b.  Lobbes, 
Hennegau,  Jan.  25,  1867;  pupil 
Brussels  Cons.;  from  1894  librarian. 

Wright  (rit),  Thomas,  Stockton- 
on-Tees,  1 763-1 829;  organist,  com- 
poser and  inventor. 


DICTIONARY  OF  MUSICIANS       94 


Wydow  (or  Wedow,  Widow,  Wy= 
dewe)  (wid'-o),  Robert,  called 
"  Grammaticus  " ;  Thaxted,  Essex  (?) 
—  Buckland  Newton,  Oct.  4,  1505; 
music  master  to  Edward  IV  of 
England;  first  Mus.  Bac.  of  Oxford; 
rector  and  \'icar. 

Wyssotzki  (ves-sot'-ske),  Michael 
Th.,  1790  —  Moscow,  Dec.  28,  1837; 
guitar-virtuoso,  teacher  and  com- 
poser. 

F 

Yaw,  Ellen  Beach,  b.  Boston,  Sept. 
18,  1868,  concert  soprano  of  remark- 
able range  (to  c"");  has  toured 
Europe  and  America;  pupil  of  delle 
Sedie,  Paris  concert  debut  St  Paul, 
1894;  operatic  debut  Rome  1897. 


Zabel,  (tsa'-bel)  Albert,  Berlin,  1835 
—  St.  Petersburg,  1910;  harpist;  pupil 
Berlin  Royal  Inst,  for  church  mus.; 
soloist  Berlin  Opera  from  1851  at 
Royal  Ballet  orch.  St.  Petersburg; 
from  1862  prof,  at  the  Cons.;  c.  harp 
concertos,  etc. 

Zach  (tsakh),  Johann  Czelakowicz, 
1699  —  Irrenhause,  1773;  director  at 
Mayence  and  composer  of  church 
music. 

Zacherevich  ( tsa-che-ra'-vich), 
Michael,  b.  Ostroff,  Russia,  Aug.  26, 
1879;  violinist;  debut  Odessa  at  15, 
under  auspices  of  Tchaikovski,  who 
secured  funds  for  his  study  with 
Sevcik  at  Prague,  also  with  Ysaye; 
has  toured  widely. 

Zahn  (tsan),  Johannes,  Espenbach, 
Franconia,  Aug.  i,  181 7  —  Neudet- 
telsau,  Feb.  17,  1895;  historian  of 
church  music,  and  compiler  of  hymn 
books,  etc. 

Zajicek  (za'-i-tsek),  Julius,  b.  Vien- 
na, Nov.  2,  1877;  composer  of  opera 
" Helmbrecht"  (Graz,  1906). 

Zamara  (tsa-ma'-ra),  (i)  Antonio, 
Milan,  June  13,  1829  —  Hietzing, 
near  Vienna,  Nov.   11,   1901;  harp- 


virtuoso,  pupil  of  Sechters;  teacher  at 
Vienna  Cons.;  c.  for  harp,  flute,  etc. 
(2)  Alfred  Maria,  b.  Vienna,  April 
28,  1863;  c.  operettas. 

Zandonai  (tsan-do-na'-e),  Riccardo, 
b.  Sacco  (Trentino)  1883;  pupil  of 
Gianferrai  at  Trento;  from  1899  at 
Rossini  Cons.,  Pesaro,  in  1902  win- 
ning comp.  prize  with  s>Tnph.  poem 
for  voices  and  orch.;  c.  also  "Screnala 
Media^ale"  for  cello,  2  harps,  and 
strings;  "Ave  Maria"  for  female 
voices,  harp,  and  strings;  "0  Padre 
Nostra  "  (from  Dante's  Purgatorio), 
for  chorus,  orch.,  and  organ;  operas, 
"Grillo  del  Focolarc"  (Cricket  on  the 
Hearth)  (Turin,  1908),  and  with 
great  success  elsewhere,  and  the 
highly  succ.  "Conchita"  (based  on 
Pierre  Levy's  "  Femme  d  le  Panlin  " 
(Milan,  1911,  Covent  Garden,  1912, 
etc.);   "Melcenis"  (Milan,  1912). 

Zanella  (tsa-nel'-la),  Amilcare,  b. 
Monticelli  d'Ongina,  Sept.  26,  1873; 
pupil  of  Parma  Cons,  and  from 
1903  director,  after  years  as  operatic 
cond.  in  South  America,  etc.;  c.  a 
sjonph.  fantasie  and  fugue  for  piano 
and  orch.,  2  operas,  etc. 

Zan'ten,  Cornelie  Van,  b.  Dor- 
drecht, Aug.  2, 185  5;  operatic  soprano, 
pupil  of  Geul,  Schneider,  and  Fr; 
Lamperti;  debut  in  Turin,  sang 
throughout  Europe,  and  with  the 
"National  Opera"  in  America;  then 
sang  at  Amsterdam  and  taught  in 
the  Cons.;  froniiQ03  teacher  in  Beriin. 

Zel'ler  (tsg'-ler).  Dr.  Karl,  St.  Peter- 
in-der-Au,  Lower  Austria,  July  19, 
1842  —  Baden,  near  Vienna,  Aug.  17, 
1898;  c.  operettas. 

Zenatello  (tsen-a-tel'-lo),  Giovanni, 
b.  Verona;  very  popular  operatic 
tenor,  appearing  first  at  Covent  Gar- 
den 1905,  and  singing  there  aimually; 
from  1907  in  America  each  year,  1909 
at  Manhattan  Op.,  N.  Y. 

Zepler  (tsep'-ler),  Bogumil,  b.  Bres- 
lau,  May  6,  1858;  composer;  a 
physician  at  first  then  pupil  of 
Urban,     in     Beriin;    c.    parody    o!\ 


942 


THE  MUSICAL  GUIDE 


"Cavalleria  Ruslicana"  as  "Cav. 
Beroliiia"  i89i;c.  various  operettas 
and  ballets. 

Ziehn,  (tsen),  Bernhard,  Erfurt, 
Jan.  20,  1845  —  Chicago,  Sept.  8, 
1912;  theorist;  came  to  Chicago  1868; 
teacher  and  organist;  author  of  im- 
portant works:  "  Harmonic  iind  Mod- 
ulations Ichre"  (Berlin,  1888), '"Five 
and  Six  Part  Harmonies"  (Milwau- 
kee, 191 1),  etc. 

Ziehrer  (tse'-rer),  Carl  Michael, 
b.  Vienna,  May  2,  1843;  mihtary 
bandmaster;  toured;  c.  600  dances 
and  an  operetta  " Ein  tolles  Model" 
(Nuremberg,  1908). 

Zilcher  (tsiikh'-er),  Hermann,  b. 
Frankfort-on-Main,  Aug.  18,  1881; 
pupil  of  the  Hoch  Cons.;  lives  in 
Berlin;  c.  concerto  for  2  violins  with 
orch.,  violin  concerto,  etc. 

Zimbalist  (tsim'-ba-llst ),  Efrem, 
b.  Rostov,  Russia,  May  7,  1889;  vio- 
linist; pupil  of  his  father,  a  conduc- 
tor; 1901-7  at  St.  Petersburg  Cons, 
under  Auer,  winning  gold  medal  and 
scholarship;  toured  Europe  and  191 1 
America;  c.  3  Slavish  dances,  "Old 
Folks  at  Home,"  etc.,  for  vnolin. 

Zinck  (tsink),  Harnack  Otto  Kon- 
rad,  Husum,  1746  —  Copenhagen, 
1832;  singer,  teacher  and  composer. 


Zingel   (tsing'-el),  Rudolf    Ewald, 

b.  Liegnitz,  Sept.  5,  1876;  pupil 
Berlin  Royal  Hochsch.;  from  1899 
dir.  Singakad.  at  Frankfort-on-Oder; 
from  1907  at  Greifswald;  c.  operas 
"Margo^  "(Frankfort-on-Main,  1902), 
"Liebeszaither"  (Stralsund,  1908), 
"Persepolis"  (Rostock,  1909). 

Zoboli  (tso-bo'-le),  Giovanni,  b. 
Naples,  July  22,  1821;  pupil  of  the 
Cons.;  teacher;  c.  operas  and  church 
music. 

Zocca  (ts6k'-ka),  Qaetano,  Fer- 
rara,  1784  —  Sept.  14,  1834;  vioHnist 
and  cond. 

Zois=Edelstein  (tso'-es'-a'-del-shtin), 
Hans  Freiherr  von,  b.  Graz,  Nov. 
14,  1861;  c.  popular  songs  and  ope- 
rettas. 

Zuschneid  (tsoo-shnit'),  Karl,  b. 
Oberglogau,  Silesia,  May  29,  1856; 
pupil  Stuttgart  Cons.;  director  of 
societies  in  various  towns;  from  1907 
dir.  Mannheim  Hochschule;  c.  male 
choruses  with  orch.,  etc. 

Zwyssig  (tsves'-sikh),  P.  Alberich, 
(rightly  Joseph),  b.  Bauen,  Nov.  17, 
1808;  Cistercian  abbey  Mehrerau; 
entered  the  Cistercian  order  1826;  c. 
the  famous  "Swiss  Psalm"  (1841), 
etc. 


^ecrologp 


(Note.  This  list  contains  the  names 
of  those  who  are  included  in  the  Bi- 
ographical Dictionary  and  have  died 
since  the  original  publication.) 

AUitsen,  Frances,  d.  London,  Oct.  i, 

1912. 
Altes,  E.  E.,  d.  St.  Dye,  July  8,  1899. 
Anderton,  Thomas,  d.  Edgbaston,  Sept. 

18,  1903. 

Appel,  K.,  d.  Dessau,  Dec.  9,  1895. 
Arditi,  Luigi,  d.  Brighton,  Eng.,  May  i, 

1903. 
Armingaud,  J.,  d.  Paris,  Feb.,  1900. 
Artot,  Desiree,  d.  Vienna,  Apr.  3,   1907. 
Attrup,  Karl,  d.  Copenhagen,  Aug.  5, 

1892. 

Bach,  L.  E.,  d.  London,  Feb.  15,  1902. 
Bacon,  Mrs.  Elizabeth  (nee  Poole),  d. 

Jan.  15,  1906. 
Balakirew,  M.  A.,  d.   St.  Petersburg, 

May  30,  1910.     (Born  Dec.  21,  1836.) 
Baptie,  David,  d.  Mar.  26,  1906. 
Bargheer,  Adolf,  d.  Basel,  Mar.  10, 1901. 
Bargheer,  K.  Louis,  d.  Hamburg,  May 

19,  1902. 

Bartay,  Ede,  d.  Pest,  Aug.  31,  1901. 
Bassford,  W.  K.,  d.  New  York,  Dec. 

22,  1902. 
Batta,  d.  Versailles,  Oct.  8,  1902. 
Bechstein,  Fr.  W.  K.,  d.  Berlin,  Mar. 

6,  1900. 
Becker,  Jeanne,  d.  Mannheim,  Apr.  6, 

1893. 
Beer,  Max  J.,  d.  Vienna,  Nov.  25,  1908. 
Behr,  Franz,  d.  Dresden,  Feb.  15,  1898. 
Bellermann,  J.  G.,  d.    Potsdam,  Apr. 

10,  1903. 
Berger,  Wilhelm,  d.   Meiningen,  Jan. 

16,  1911. 
Bergson,  M.,  d.  London,  Mar.  9,  1898. 
Bernard,  Emile,  d.  Paris,  Sept.  11,  1902. 
Bernsdorf,  E.,  d.  Leipzig,  June  27,  1901. 
Bemuth,  J.  von,  d.  Hamburg,  Dec.  24, 

1902. 


Berwin,  Adolf,  d.  Rome,  Aug.  29,  1900. 
Betz,  Franz,  d.  Berlin,  Aug.  11,  1900. 
Bevignani,  Enrico,  d.  Naples,  Aug.  29, 

1903. 
Biese,  W.,  d.  Berlin,  Nov.  14,  1902. 
Bibl,  Rudolf,  d.  Vienna,  Aug  2,  1902. 
Bilse,  B.,  d.  Berlin,  July  13,  1902. 
Blanc,  Adolphe,  d.  Paris,  May,  1885. 
Blockx,  Jan,  d.  Antwerp,  May  22,  191 2. 
Boott,  Francis,  d.   Cambridge,  Mass., 

Mar.,  1904. 
Boulanger,  H.  A.  A.  E.,  d.  Paris,  Apr. 

14,  1900. 
Bourgault-Ducoudray,  L.   A.,  d.  Ver- 

nouillet  (Seine-et-Oise),  June  4,  1910. 
Braga,   Gaetano,   d.   Milan,   Nov.    21, 

1907. 
Brambach,  Joseph,  d.  Bonn,  June  19, 

1902. 
Brinsmead,  Edgar,  d.  Nov.  28,  1907. 
Brooks,  Walter  M.,  d.  Mar.  14,  1907. 
Bruch,  Max,  d.  Vienna,  Sept.  17,  1907. 
Brull,  Ignaz,  d.  Vienna,  Sept.  17,  1907. 
Bruyck,  Karl   Debrois  van,  d.  Waid- 

hofen,  Aug.  i,  1902. 
Biichner,  Emil,  d.  Erfurt,  June  9,  1908. 
Buck,  Dudley,  d.  Brooklyn,  N.  Y.,  Oct. 

6,  1909. 
Bullard,  F.  F.,  d.  Boston,  June  24,  1904. 
Burgel,  Konstantin,  d.  Breslau,  July  i, 

1909. 
Busoni,  Anna  Weiss,  d.  Trieste,  Oct.  3, 

1909. 

Cahen,  Albert,  d.  Cap  d'  Ail,  Mar.  1903. 
Callaerts,  J.,  d.  Antwerp,  Mar.  3,  1901. 
Calkin,  J.  B.,  d.  London,  May  15,  1905. 
Chaumet,  William,  d.  Gajac,  Gironde, 

Oct.  1903. 
Choudens,  A.,  d.  Paris,  1902. 
Chrysander,  Fr.,  d.  Bergedorf,  Sept.  3, 

1901. 
Clauss-Szarvady,  Wilhelmine,  d.  Paris, 

Sept.  2,  1907. 
Cobb,  G.  F.,  d.  Cambridge,  Mar.  31, 

1904. 


943 


•944 


THE  MUSICAL  GUIDE 


Coccon,  Nicolo,  d.  Venice,  Aug.  4,  1903. 
Coenen,  (i)  J.  M.  d.  Amsterdam,  Jan.  9, 

1899.    (2)  Franz,  d.  Leyden,  Jan.  24, 

1904. 
Cohen,  Jules,  d.  Paris,  Jan.  14,  1901. 
Coleridge-Taylor,  S.,  d.  London,  Sept. 

I,  1912. 
Colonne,  Ed.,  d.  Paris,  Mar.  28,  1910. 
Coquard,  Arthur,  d.  1910. 
Courvoisier,  Carl,  d.  1908. 
Cossmann,   B.,   d.   Frankfurt,   May   7, 

1910. 
Czartoryska,    Marcelline,    d.   Cracow, 

June  8,  1894. 

Dancla,  J.  B.  C,  d.  Tunis,  Nov.  8,  or  9, 

1907. 
Banks,  H.  P.,  d.  Philadelphia,  Nov.  20, 

1903. 
Dannreuther,  Edward  George,  d.  Pim- 

lico,  Feb.  12,  1905. 
Defies,  L.   P.,  d.  Toulouse,    June  10, 

1900. 
Deiters,  D.  H.,  d.   Coblenz,  May  11, 

1907. 
Delle  Sedie,  Enrico,  d.  Paris,  Nov.  28, 

1907. 
Dick,  Charles  G.  C,  d.  1895. 
Dienel,  Otto,  d.  Berlin,  Mar.  10,  1905. 
Dietrich,  A.  H.,  d.  Berhn,  Nov.  20,  1908 
Doppler,  Karl,  d.  Stuttgart,  Mar.  10, 

1900. 
Dorffell,  A.,  d.  Leipzig,  Jan.   22,  1905. 
Dorn,  Alexander,  Julius  Paul,  d.  Berhn, 

Nov.  27,  1901. 
Drobisch,  M.  W.,  d.  Leipzig,  Sept.  30, 

1896. 
Dupont,  Joseph,  d.  Brussels,  Dec.  31, 

1899. 
Durand,   Auguste,   d.   Paris,   May  31, 

1909.     , 
Durand,  Emile,  d.  Neuilly,  May  6,  1903. 
Duvemoy,  V.  A.,  d.  Paris,  March  7, 

1907. 
Dvorak,  Antonin,  d.  Prague,  May   i, 

1904. 

Edwards,  Julian,  d.  1910. 
Ehriich,  A.  H.,  d.  Berlin,  Dec.  30,  1899. 
Eitner,  Robert,  d.  Templin,  Jan.   22, 
190  ■;. 


Erdmannsdorfer,  Max  von,  d.  Munich, 

Feb.  14,  1905. 
Erkel,  Gyiila  (or  Julius),  d.  Pest,  Mar. 

22,  1909. 

Fernandez,  Caballero,  Manuel  (fgr- 
nan-deth  kav'-al-la'-ro),  d.  Madrid, 
Feb.  20,  1906.     See  Caballero. 

Fetis  E.,  d.  Brussels,  Jan.  31,  1909. 

Fleischer,  Reinhold,  d.  Gorlitz,  Feb.  i, 
1904. 

Fornari,  V.,  d.  Naples,  Aug.  1900. 

Fritzsch,  E.  W.,  d.  Leipzig,  Aug.  14, 
1902. 

Fuchs,  Albert,  d.  1910. 

Fumagalli,  P.,  d.  Milan,  June  21,  1900. 

Gadsby,  Henry  R.,  d.  Putney,  Nov.  11, 

1907. 
Garcia,  Manuel,  d.  Cricklewood,  Lon- 
don, July  I,  1906. 
Geistinger,  Marie,  d.  Rastenfeld,  Sept. 

29,  1903. 
Gevaert,  Fr.  A.,  d.  Brussels,  Feb.  24, 

1908. 
Gleason,  F.  G.,  d.  Chicago,  Dec.  6, 1903. 
Godfrey,  Daniel,  d.  Beeston,  June  30, 

1903. 
Goldschmidt,  Otto,  d.  South  Kensing- 
ton. Feb.  24,  1907. 
Goldschmidt,  Adalbert  von,  d.  Vienna. 

Dec.  21,  1906. 
Gotze,  Emil,  d.  Charlottenburg,  Sept. 

28,  1901. 
Grieg,    Edvard,   d.    Bergen,   Norway, 

d.  Sept.  4,  1907. 
Grimm,  J.  O.,  d.  Munster,  Westphaha. 

Dec.  7,  1903. 
Grossi,  Carlotta,  d.  May  28,  1900. 
Griitzmacher,  Fr.,  d.  Dresden,  Feb.  23, 

1903. 
Gudehus,  H.,  d.  Dresden,  Oct.  9,  1909. 
Guercia,  Alfonso,  d.  1890. 
Gumprecht,   Otto,   d.  Meran,   Feb.   7, 

1900. 
Gura,  Eugen,  d.  Aufkirchen,  Bavaria, 

Aug.  26,  1906. 
Gurlitt,  C,  d.  Altona,  June  17,  1901. 

Haberl,  F.  X.,  d.  Regensburg,  Sept.  7. 
iqio. 


NECROLOGY 


945 


Halir,  Karl,  d.  Berlin,  Dec.  21,  1909. 
Hanslick,     Eduard,     d.     Baden    near 

Vienna,  August  6,  1904. 
Hartel,  Benno,  d.  Berlin,  Aug.  4,  1909. 
Hartmann,  Ludwig,  d.  1910. 
Haser,  Charlotte  H.,  d.  Rome,  May, 

1871. 
Hasse,  Gustav,  d.  Berlin,  Dec.  31,  1889. 
Hatton,   Jno.   d.    Leptrot,      Sept.    20, 

1886. 
Hausegger,  Fr.  von.,  d.  Graz,  Feb.  23, 

1899. 
Hausmann,    Robert,    d.    Vienna,    Jan. 

19,  1909. 
Hegner,  Otto,  d.  Hamburg,   Feb.   27, 

1907. 
Heilf,  Arno,  d.  Bad  Elster,  Aug.  2,  1909. 
Heinze,  G.  Ad.,  d.  Muiderberg,  near 

Amsterdam,  Feb.  20,  1904. 
Heinze,  Sarah,  d.  Dresden,  Oct.  7,  1901. 
Held,  Leo,  d.  Vienna,  May  16,  1903. 
Henkel,    H.,    d.      Frankfort-am-Main, 

Apr.  10,  1899. 
Hey,  Julius,  d.  Munich,  Apr.  23, 1909. 
Hill,  Wilhelm,  d.   Homburg,   May  6, 

1902. 
Hillemacher,  Lucien,  d.  Paris,  June  2, 

1909. 
Hipkins,  A.  J.,  d.  London,  June  3,  1903. 
Hoi,  Richard,  d.  Utrecht,  May  14,  1904. 
Holmes,   Augusta,   d.    Paris,   Jan.    28, 

,1903. 
Holmes,  Henry,  d.  San  Francisco,  Dec. 

9,  1905- 
Homeyer,  Paul,  d.  Leipzig,  1908. 
Horwitz,  Benno,  d.  Berlin,  June  3,  1904. 

Ivry,   Marquis   Richard,  d',  d.  Hyeres, 
Dec.  18,  1903. 

Jackson,  John  P.,  d.  Paris,  Dec.  i,  1897. 
Jacobsohn,  Simon  E.,  d.  Chicago,  Oct. 

3,  1902. 
Jacques-Dalcroze,  vide  Dalcroze,  1865. 
Jadassohn,   Salomon,  d.  Leipzig,  Feb. 

I,  1902  (not  1901). 
Jansen,  Gustav  F.,  d.  Hanover,  May 

3,  1910- 
Japha,  Louise,  d.  Wiesbaden,  Oct.  13, 

1910. 
Jedliczka,  Dr.  Ernst,  d.  Berlin,  Aug. 

i,  1904- 


Joachim,  Joseph,  d.  Berlin,  Aug.   15, 

1907. 
Joncieres,  Felix-Ludger,  d.  Paris,  Oct. 

25,  1903- 
Jiirgensen,  P.,  d.  Moscow,  Jan.  6,  1904. 

Kauffmann,   Emil,  d.   Lubingen,  June 

18,  1909. 
Kirchner,  Fritz,  d.  Potsdam,  May  14, 

1904. 
Kirchner,  The.,  d.  Hamburg,  Sept.  18, 

1903. 
Kistler.Cyrill,  d.  Kessingler,  Jan.  i,  1907 
Klein,  Bruno  Oscar,  d.  New  York,  June 

22,  1911. 
Kleinmichel,    Richard,   d.    Charlotten- 

burg,  Aug.  18,  1901. 
Klingenberg,  Fr.  W.,  d.  Sirlan,  Silesia, 

Apr.  2,  1888. 
Klughardt,  A.  F.  M.,  d.  Dessau,  Aug. 

3,  1902. 
Kontski,  A,  de.,  d.  Ivanitshi,  near  Aku- 

lovka,  Dec.  2,  1899. 
Kretschmer,  Edmund,  d.  Dresden,  Sept. 

13,  1908. 
Krauss,  Gabrielle,  d.  Paris,  Jan.  6,  1906. 
Krug,   Arnold,   d.   Hamburg,   Aug.   4, 

1904. 
Kuczinski,  Paul,  d.  Berlin,  Oct.  21, 1897. 
Kuhe,  Wm.,  d.  Kensington,  Oct.,  191 2. 

Labitzky,  August,  d.  Reichenhall,  Aug. 

29,  1903. 
Lamoureux,    Charies,    d.   Paris,   Sept. 

21,  1899. 
Lang,  B.  J.,  d.  Boston,  Apr.  4,  1909. 
Langer,  Victor,  d.  Pest,  Mar.  19,  1902. 
Lassalle,  Jean,  d.  Paris,  Sept.  7,  1909. 
Lassen,  Eduard,  d.  Weimar,  Jan.   15, 

1904. 
Lasserre,    Jules,    d.    Tarbes,    Feb.    19, 

1906. 
Lavigne,  A.  J.,  d.  (in  the  almshouse), 

Manchester,  Eng.,  Aug.  i,  1886. 
Lenepven,  Chas.  Fd.  d.  1910. 
Levasseur,  J.  H.,  d.  Paris,  1823. 
Levi,  Hermann,  d.  Munich,  May  13, 

1900. 
Lie,  Erica,  d.  Christiania,  Oct,  27,  1903. 
Longhurst,  H.,  d.  Harbledown,  Canter- 
bury, June  17,  1904. 


946 


THE  MUSICAL  GUIDE 


Loschhom,  Albert,  d.  Berlin,  June  4, 

1905. 
Liibeck  Louis,  d.  Berlin,  Mar.  8,  1904. 
Lucas,  Stanley,  d.  So.  Hampstead,  July 

24,  1903,  aged  69. 
Lucca,   Pauline,   d.   Vienna,   Feb.    28, 

1908. 
Lussy,  Mathias,  d.  1910. 
Lutz,  W.  M.,  d.  W.  Kensington,  Jan. 

31,  1903- 

Macbeth,  Allan,  d.  Glasgow,  1910. 
MacDowell,    Edward,   d.    New  York, 

Jan.  24,  1908. 
Macfarren,  Walter  Cecil,  d.  London, 

Sept.  2,  1905. 
Mahler,  Gustav,  d.  Vienna,  May  18, 

1911. 
Mann,  J.  G.  H.,  d.  Amsterdam,  Feb. 

1904. 
Manns,  Sir  August,  d.  Norwood,  Mar. 

I,  1907. 
Martucci,  G.,  d.  Naples,  June  3,  1909. 
Marty,  G.  E.,  d.  Paris,  Nov.  11,  1908. 
Mason,   William,   d.   New  York,   July 
Massenet,  Jules,  d.  Paris,  Aug.  13,  191 2. 

14,  1908. 
Maszkowsky,  Raphael,  d.  Breslau,  Mar. 

14,  1901. 
Mathias,  Georges,  d.  Pontoise,  1910. 
Mathews,  W.  S.  B.,  d.  Denver,  Col., 

Apr.  8,  1912. 
Maylath,H.,d.NewYork,Dec.  31,1883. 
Mehrkens,  Fr.  Ad.,  d.  Hamburg,  May 

31,  1899. 
Merklin,  Jos.,  d.  Nancy,  July  10,  1905. 
Meyer-Lutz,  William,  d.  London,  Jan. 

31,  1903- 
Milanollo,Teresa,  d.  Paris.Oct.  25,1904. 
Milde,  Hans  F.  von,  d.  Weimar,  Dec. 

10,  1899. 
Millocker,   Karl,   d.   Baden,   Dec.   31, 

1899. 
Moir,  Frank  Lewis,  d.  Deal,  England, 

July  14,  1904. 
Monasterio,  Gesii,d.  Santander,  Sept.. 

28,  1903. 
Molloy,  J.  L.,  d.  Wooleys,  Bucks,  Feb. 

4,  1909. 
Monk,  E.  G.,  d.  Radley,  England,  Jan. 

3,  1900. 


Mottl,  Felix,  d.  Munich,  July  (?)  191 1. 
Mounsey,  Ehzabeth,  d.  London,  Oct. 

3,    1905- 
Miihlfeld,  Richard,  d.  Meiningen,  June 

I,  1907. 
Muller,  Richard,  d.  Leipzig,  Oct.,  1904. 
Musiol,  R.  P.  J.,  d.  Fraustadt,  Posen, 

Oct.  18,  1903. 

Neumann,  Angelo,  d.  Prague,  Dec.  20, 

1910. 
Nixon,  H.   C,  d.   Bromley,   Dec.   25, 

1907. 
Norman-Neruda,    (Lady     Hall6),     d. 

Berlin  (?)  Apr.  15,  1911. 
Noszkowski,    Sigismund,    d.    Warsaw, 

July  24,  1909. 
Novell©,    Clara,    d.    Rome,  Mar.    12, 

1908. 
Novello,  Mary  Sabilla,  d.  Genoa,  Jan. 

8,  1904. 

Oakeley,  Sir  Herbert  Stanley,  d.  East- 
bourne, Oct.  26,  1903. 
Odenwald,  R.  T.,  d.  Hamburg,    Apr. 

22,  1899. 
O'Leary,  Mrs.  Arthur,  d.  June  17,  1909. 

Paine,   J.  K.,  Cambridge,  Mass.,  Apr. 

25,  1906. 
Papperitz,    Robert,    d.    Leipzig,    Sept. 

29,  1903. 
Parratt,  H.  L.,  d.  Huddersfield,  Feb.  iS, 

1904. 
Parry,   Joseph,   d.   Penarth,   Feb.    17, 

1903. 
Pauer,  Ernst,  d.  Jugenheim,  Darmstadt, 

May  9,  1905. 
Petersilea,  Carlyle,  d.  Tropico,  near  Los 

Angeles,  Cal.,  June  11,  1903. 
Pfeiffer,  Jean  Georges,  d.  Paris,  Feb.  14, 

1908. 
Pfeil,   Heinrich,   d.    Leipzig,   Apr.    17, 

1899. 
Piccolomini,  Maria,  d.  near  Florence, 

Dec.  1899. 
Planquette,  Robert  Jean,  d.  Paris,  Jan. 

28,  1903. 
Plante,    Frangois,   d.    Prigueux,   July, 

1898. 
Poisot,  Charles  (Emile),  d.  Dijon,  Mar., 

1904. 


i 


NECROLOGY 


947 


Pole,  William,  d.  London,  Dec.  30, 1900. 
Polidoro,    Federigo,    d.    S.    Giorgia    a 

Cremano,  near  Naples,  Aug.  14,  1903. 
Pollitzer,  Adolf,  d.  London,  Nov.   14, 

1900. 
Porges,  H.,  d.  Munich,  Nov.  17,  1900. 
Preyer,  G.  von,  d.  Vienna,  May  9,  1901. 
Prout,  Ebenezer,  d.  Hackney,  Dec.  5, 

1909. 
Pyne,  Louisa  F.,  d.  London,  Mar,  20, 

1904. 

Randegger,  Alberto,  d.  London,  Dec. 

1911. 
Rappoldi,   Eduard,   d.   Dresden,   May 

16,  1903. 
Rauscher,  Max,  d.  Pfarring,  Mar.  14, 

1895. 
Rea,  William,  d.   Newcastle-on-Tyne, 

Mar.  8,  1903. 
Reay,    Samuel,    d.    Newark-on-Trenk, 

July  21,  1905. 
Rebicek,  Josef,  d.  Berlin,  Mar.  24,  1904. 
Rebling,  Friedrich,  d.  Leipzig,  Oct.  15, 

1900. 
Rebling,  Gustav,  d.  Madgeburg,  Jan. 

9,  1902. 
Reichel,  A.  H.  J.,  d.   Berne,  Mar.    4, 

1896. 
Reichmann,    Theodor,     d.     Marbach, 

Switzerland,  May  22,  1903. 
Reinecke,  Carl,   d.   Leipzig,  Mar.    10, 

1910. 
Reisenauer,  Alfred,  d.  Libau,   Silesia, 

Oct.  3,  1907. 
Reissmann,  August,  d.  Berlin,  Dec.  i, 

1903. 
Reuss,  Edward,  d.  Dresden,  191 1. 
Reyer,   Ernst,  d.    Le  Lavandon,    near 

Toulon,  Jan.  15,  1909. 
Rheinberger,  Joseph,  d.  Munich,  Nov. 

25,  1901. 
Ricordi,  Giulio,  T.,  d.  Milan,  June  6, 

1912. 
Rimsky-Korsakov,   Nicholas   Andneie- 

vitch,   d.   St.   Petersburg,  June,    21, 

1908. 
Ritter,    Josef,    d.    Salzburg,    Austria, 

June  21,  1911. 
Rockel,  Edw.,  d.  Bath,  Nov.  2,  1899. 
Roger,  Victor,  d.  Paris,  Dec.  2,  1903. 


RotoH,  A.,  d.  Boston,  Nov.  26,  1904. 
Rosseau,    Samuel,    d.    Paris,    Oct.    r, 

1904. 
Ryan,  Thomas,  d.  New  Bedford,  Mass., 

Mar.  25,  1903. 

Salaman,  C.  K.,  d.  London,  June  23, 

1901. 
Sanderson,    Sibyl,   d.   Paris,   May    16, 

1903. 
Sarasate,  Pablo,  d.  Biarritz,  Sept.  20, 

1908. 
Sauzay,  Eugene,  d.  Paris,  Jan.  27,  1901. 
Schatler,  Julius,  d.Breslau.Feb.  10,1902. 
Schitler,  Madeline,  d.  New  York,  July 

3.  iQii- 
Schimon-Regan,     Anna,     d.     Munich, 

Apr.  18,  1902. 
Schnecker,  P.  A.,  d.  New  York,  Oct. 

3,  1903. 
Schneider,  Theodor,  d.  Zittau,  June  15, 

1909. 
Schneider,  Theodor,  d.  Zettan,  June  15, 

1909. 
Schnorr  von   Karolsfeld,  Malwina,  d. 

Karlsruhe,  Feb.  8,  1904.     (aged  72). 
Schytte,  Ludwig,  d.  Berlin,  Nov.   10, 

1909. 
Seibert,  Louis,  d.  Eisenberg,  near  Wetz- 

lar,  July  29,  1903. 
Seiss,    Isidor,    d.    Cologne,  Sept.    25, 

1905. 
Serpette,  Gaston,  d.  Paris,  Nov.  3, 1904. 
Sherwood,  William  H.,  d.  Chicago,  Jan. 

7,  1911. 
Silas,    Eduard,    d.    West    Kensmgton, 

Feb.  8,  1909. 
Singer,  Edmund,  d.  Stuttgart,  Jan.  23, 

1912. 
Sittard,  Josef,  d.  Hamburg,  Nov.   23, 

1903. 
Slaughter,  W.,  d.  London,  Mar.  2, 1908. 
Smith.   Gerrit,   d.  Greenwich,  Conn., 

July  21,  191 2. 
Smolian,   Arthur,   d.  Leipzig,  Nov.  5, 

1911. 
Sontheim,  Heinrich,  d.  Stuttgart,  Aug. 

2;  1912,  aged  92. 
Spicker,M.,d.  New  York,  Oct.  16, 1912. 
Spindler,  Fritz,  d.  Lossnitz,  near  Dres- 
den, Dec.  26,  1905. 


948 


THE  MUSICAL  GUIDE 


Spinelli,  Nicolo,  d.  Rome,  1909. 
Stade,  F.  W.,  d.  Altenburg,  Mar.  25, 

1902. 
Stainer,  Sir  John,  d.  Verona,  Mar.  31, 

1901. 
Steggall,  Charles,  d.  London,  June  7, 

1905. 
Steingraber,  Theodor,  d.  Lepzig,  Apr. 

5,  1904- 
Stehle,  G.  Ed.,  d.  St.   Gallen,  Apr.  11, 

1896. 
Sterling,    Antoinette,    d.    Hampstead, 

Jan.  10,  1904. 
Stem,  Leo,  d.  London,  Sept.  3,  1904. 
Stem,  Margarethe,  d.  Dresden,  Oct.  4^, 

1899. 
Stiehle,    L.    M.    A.,    d.    Mulhaiisen, 

Alsatia,  July  6,  1896. 
Stoltz,  Rosine,  d.  Paris,  July  31,  1903. 
Stockhausen,   Julius,   d.   Frankfort-on- 

Main,  Sept.  22,  1906. 
Sucher,  Josef,  d.  Berlin,  Apr.  4,  1908. 
Sunderland,    Mrs.     Susan    Sykes,    d. 

Brighthouse,  May  7,  1906. 
Svendsen,  J.  S.,  d.  Copenhagen,  June 

13,  1911. 
Szekely,  Imre,  d.  Pest,  Apr.,  1887. 

Taffanel,  Paul,  d.  Paris,  Nov.  22,  1908. 
Tamagno,  Francesco,  d.  Varese,  Aug. 

31,  1905- 
Tappert,  Wilhelm,  d.  Berlin,  Oct.  27, 

1907. 
Taubert,  Otto,  d.  Torgau,  Aug.  i,  1903. 
Thallon,  Robert,  d.  1910. 
Thiele,   Eduard,   d.   Dessau,   Jan.    10, 

1895. 
Thomas,  Theodore,  d.  Chicago,  Jan.  4, 

1905. 
Thome,   Franfois,  d.   Paris,  Nov.    16, 

1909. 


Thuille,  Ludwig,  d.  Munich,  Feb.   5. 

1907. 
Trotere,  Henry,  d.  London,  April  10, 

1912. 
Tinel,    Edgar,    d.   Brussels,   Oct.    28, 

1912. 
Turpin,  Dr.  E.  H.,  d.  London,  Oct,  25, 

1907. 

Ugalde,  Mme.  D.,  d.  Paris,  July  18, 
1910. 

Verdi,   Giuseippina,  d.   Busetto,  Nov. 

14,  1897. 
Vianesi,  Auguste,  d.  New  York,  Nov. 

II,  1908. 
Viard-Louis,  J.  Jenny,  d  Auteuil,  Paris, 

Jan.  27,  1904. 
Viardot-Garcia,     Mme.     Michelle,     d. 

Paris,  May  18,  1910. 
Vidal,  L.  A.,  d.  Paris,  Jan.  7,  1901. 
Vincent,  H.  Jos.  d.  Vienna,  May  20, 

1901. 
Walter,  Gustav,  d.  Vienna,  Feb.,  1910. 
Weber,  Miroslaw,  d.  Munich,  Jan.  2, 

1906. 
Weckerlin,  J.  B.,  d.  Trottberg  (Alsace), 

May  20,  1910. 
Willing,  Chris.  Edwin,  d.  St.  Albans, 

Dec.  I,  1904. 
Willis,  Henry,  d.  London,  Feb.  11,  1901. 
Winkelmann,    Hermann,    d.     Vienna, 

Jan.  19,  191 2. 
Wood,  Mrs.  Henry  J.  (nee  Olga  Narish- 

kin),  d.  London,  Dec.  20,  1909. 
Wurm,    Wilhelm,    d.    St.    Petersburg, 

June  20,  1904- 
Zerrahn,  Karl,  d.  Milton,  Mass.,  Dec. 

29,  1909. 
Zumpe,  Hermann,  d.  Munich,  Sept.  4, 

1903. 


t 


o\A 


i 


33-  Soprano. 

c"" to  5 
32.  Contralto 
31.  Tenor— ro 

octave  1 
30.  Barytone, 
29.  Basso  Pr 
28.  Piccolo  01 

lower  tl 
27.  Flute.  G 
26.  Clarinet  i 

distinct 
25.  Clarinets 

^d  (a  mi 
24.  Alto-Clari 

it  soun 
23.  Bass  Clar 
22.  Alto  Saxo 

ranging 

sounds, 
21.  Oboe,  ti 
20.  English  i 

5th  higl 

10.  Bassoon. 
18.  Double   B 

higher  1 
17.  Double  B 

than  it  s 
16.  Cornet-a 

higher  t 
15.  Valve  (or 

4th  lowi 
14.  Valve  (or 

feet  sth 
13.  Alto  Tron 
12.  Tenor  Tn 

11.  Bass  Tror 
10.  Tuba  (Euj 

g.  Bass  Tubi 
8.  Contrabas 
7.  Violin.  G 
6.  Viola.  C 
5.  VioloncelU 
4.  Double-ba 

than  it  s 
3.  Harp.    F 

but  diat 
a.  Piano.  F 
I.  Large  Pip 

in  paren 


hroi 
thu 


— G- 
F  Clef,  or  Ba 


I 


Table  of  Pronunciations 

Giving  the  Code  of  Symbols  used  in  this 
Book;  and  also  a  Guide  to  the  Pronun- 
ciations of  sixteen  Languages,  arranged 
in   a    novel   Tabular   Form   by   Letters 


s  top  row  gives  the  phonetic 
leaning  of  the  letters  and  sym- 
-.Is  AS  USED  IN  Tins 
OOK. 


ABIAN  :    very  difficult  even 

or  sojourners  among  the  peo- 

le. 

HEMIAN  :    See  Note  4.     In 

liphthongs  the  vowels  are  pro- 

lounced  separately,  as  in  Ital- 

an. 

LNISH  :    doubled   vowels   are 

iimply  prolonged. 


JTCH  :  ^^  in  be  and  ge;  /be- 
fore k.  t;  and  ris^ ;  and  ij  in  the 
suffix  lijk  are  silent. 

LEIVUSH  :  dead  as  a  literary 
language,  but  of  great  historic 
importance. 

RENCH  :  a  silent  final  conso- 
nant is  usually  sounded  with 
the  following  word  when  that 
begins  with  a  vowel.  This  is 
called  liaison.  French  sylla- 
bles have  duration  rather  than 
accent;  the  tendency  is.  to  give 
a  slight  stress  to  the  final  syl- 
lable. In  this  book  accent  is 
rarely  marked. 

rERMAN  :  long  words  usually 
accent  the  first  syllable  most 
strongly,  and  give  a  lesser  ac- 
cent to  one  or  more  of  the 
others. 

lUNGARIAN  :  long  and  short 
vowels  are  so  rather  in  dura- 
tion than  in  sound.  There  are 
no  silent  letters  and  no  accents. 
[TALIAN  :  doubled  consonants 
are  distinctly  pronounced,  as 
fred-do.  Doubled  vowels  are 
also  separately  pronounced. 

NORWEGIAN  : 


;  /,   in,  n,  p,   s^  iu,  z. 
PORTUGUESE  :  a  very  difficult 
language  ;  placed  usually  just  | 
back  of  the  teeth.     The  nasal  1 
vowels  are  also  unique.   Note  5. 

RUSSIAN  :  has  36  letters,  in- 
cluding 12  vowels.  It  is  usu-  | 
ally  written  phonetically  in  | 
German  pronunciation  as  fol- 
lows : 

SPANISH  :  a  language  of  ideal 
regularity  and  precision ;  all 
vowels  are  separately  pro- 
nounced. 


as  used  in  this  book  :  d  as 
in  father;  «  as  in  fate;  d 
as  in  fat ;    an  and  aii.  see 

Note  I. 


B 

as  in  bob. 


as   in   fat ;    before  r  as   in  1  as  in  bob. 
far. 


as  u  in  fun  ;   d  as  in  father, 
as  in  father ;  aa  us  a  in  fall. 


when  short  as  in  half:  also 
before  c/i ;  when  open  as 
in  father  :  aa,  nni  (see  ai), 
prolonged  as  in  father. 

a  or  a,  as  in  father  or  mica  ; 
aa  or  ae,  the  same  pro- 
longed. 

as   in   fat ; 


as  in  father ;  «,  see  Note  2  ; 
d  is  sometimes  spelled  ae  ; 
ai  =  i  in  bite  ;  for  du  and 
aeu,  see  au. 

as  in  what ;  a.  is  prolonged, 
as  in  father. 


WELSH 

tions 

nounced  ;     the    letter 

in  moon 


all    vowel    combina- 
separately     pro- 


a  as  in  father ;  aa 
no  ;   au  as  o  in  no. 


;  in  father  ;  ^  as  in  ball. 


as  in  father;  when  two  as 
occur  in  a  word  the  first 
is  more  like  a  in  fat ;  Ti, 
see  Note  5. 

when  accented,  as  in  father; 
unaccented,  as  in  bat ;  at 
the  beginning,  as  ya  in 
yacht;  if  unaccented,  as 
ui  yank.  ^ 

as  in  father  or  in  hat ;  a  as 
in  father. 


as  in  father  or  in  mica  ;  a  as 
o  in  go,  when  long ;  when 
short,  as  a  in  what ;  a  as 
in  hare. 

as  in  fat  ;  <$  as  in  dare. 


beginning  a  syllable,  as  in 
bet;  ending,  as^  in  trap. 


seecA,  at  end  of  the  alphabet. 


as  in  English  ;  ch  like   Ger- 
man ch,  see  Note  3. 


c  like  is,   or  German    s  / 
like  cli  in  child. 


only  in  foreign  words;  like 
^  before  <',  /  and  y  ;  like 
k,  otherwise. 

like  k  ;  ch  like  German  ch. 


as  i-  before  r,  /  and  y  ;  as  k 
otherwise,  e.xcept  that  e  is 
always  J.     See  ch. 


beginning  a  syll.-^.ble,  as  in     like   fs    in    hats  before 
bet ;  ending  a  syllable,  as  '      and  d  ;  like  k  before  a, 
;nd  u;  ch.     See  Note  3. 


1  before    e    and    i   as    ck    \x 
chime;  cc  before    e  and 
=  tch,    as    wretched ;     ch 
=  k. 

as  in  bob.  only  in   foreign  words  ;  as 

before  e.  i  and ' y  ;     as  k 

otherwise. 
as  in  bob.  c  ~  ts,    a.s    in    hats ;      ch 

German    ch  ;    cz  —  c7i 

church. 

nearly  as  in  bob  ;  but  softer,  like  s  before  e,  i  and  y  ;  like 
I  /.'Otherwise;  f  always  like 
(  .J  ,■  in  cc  the  first  c  is  like  /■, 
the  second  is  determined 
by  the  following  letter, 
s  in  cent  or  zone  ;  -  c// = 
German  ch  at  the  end  ;  a 
the  beginning,  as  in  chest. 


our/" 
as    in 


this  letter  resembling 
is    pronounced    v, 
vane,  or  /,  as  in  foe ;  the 
equivalent  of  our  b  sounds 
as  *  or/  in  bet  or  trap*. 

like  V  in  very. 


before  e  or  /,  as  th  in  think  ; 
otherwise  as  k :  ch  as  ir 
churcli ;  c/i  as '^w  in  quart. 


before  e,  /  or  j,  as  in  ce 
otherwise  as  in  gash ;  ch 
■  =  X',  e.xcept  in  fofeigr, 
words. 

always   like  .k-;   ck  =  Ger- 
■  niari  <r,4;  See  Note  3. 


as   in    deed :     dh    as    th 
these  ;  dj  as  in  adjoin. 


e  as  in  bean  ;  ?  as   in  pet  — at 
the  end  of  words  almost  like 


F 
as  in  fife. 


G 


BiBU 


soft  like  Italian  d. 


s  in  deed.     For  d\  de  and 
di,  see  Note  4. 


beginning  a  syllable  as  in 
date  ;  ending  as  ih  in 
bathe ;  after  /,  n,  and  r, 
silent  :  ds  =  ss  in  hiss. 

at  the  beginning  of  syllables 
as  in  date:  at  the  end  as 
(  in  hot. 

like  German  d  and  dt 


t  the  beginning  or  in  the 
middle  as  d  in  deadlock  : 
usually  silent  at  the  end 
of  the  word;  in  liaison  it 
becomes  /. 


beginning  a  syllable  as  in 
date ;  ending  a  syllable  as 
t  in  hat ;  di  =  tin  hat. 


as  in  deed  ;  d/  same  as  '£y , 
djs  =  J  in  judge. 


as    in   deed,   but  softer  and 
more  palatal. 


as  in   deed ;   dz  as  in  adze 
dz  as  dg^e  in  judge. 


much  like  i/i  in  those 
(marked  in  this  book  by 
(//:) ;  when  two  lis  occur  in 
a  word,  only  the  second 
has  this  sound,  the  first  as 
in  date. 

as  in  deed,  but  silent  in  njn 
and  nds  and  before/ or  t. 


as  in  date ;  dd  as  M  in  these. 


as  m  prey ;  ^  as  in  pet. 


as  in  pet ;  <f  as  in  ere  ;  e  =  ya,  .  as  in  fife, 
as   in   beatitude.     See    also 
Note  4- 


as  in  prey  and  there  ;  ej'like  i 
in  bite. 


when  short  as  in  met;  when     as  in  fife ;  Jl  as  in  flow  ;  yV 

open  as  in  prey  ;    re  simply  j      as  in  fresh. 

prolongs    the    sound;      see 

also  fu. 
^  or  (•  as  in  pet ;  eu  like  French 

eu  ;   e  after  a  vowel  usually 

simply  prolongs  it ;  ee  =  a'\n 

fate  or  as  in  seen  ;  see  eu. 
as  f  in  father  or  u  in  cut ;   as  a 

final  syllable  generally  silent; 

e   as   in    prey   when    it    has 

stress,   otherwise   as  in  pet ; 

i  as  ai  in  fair ;   ^  as  in  pet ; 

see  ei,  d,  s,  t,  z,  r. 


^hen  long  as  in  prey ; 
short  as  in  pet ;  ei  ■■ 
right ;    see  eu. 


before  >«  or  a  sharp  consonant 
as  in  fat ;  otherwise  as  e  in 
ten  ;  ?  as  in  prey. 

as  in  prey  when  long ;  when 
short  as  in  pet ;  ^  as  in  pet. 


as  in  prey ;    but  when  final  as     as  in  fife. 
e  in  father.  i 


e  as  in  met ;  g  =  French  in,  see 
Note  I ;  ^  =  a  as  in  pate. 


g  and  e  usually  as  in  prey  ; 
has  a  curious  closed  sound. 


fife. 


as  in  fife,  not  silent  at  the 
ends  of  words,  except  in 
clef;  in  liaison  it  becomes  v. 


at  the  beginning  of  words  =  yo 
in  yolk  if  accented  ;  if  unac- 
cented as  ye  in  yesterday  ; 
otherwise  as  e  in  pet. 

as  in  prey_  when  long  ;  when 
short  as  in  pet ;  1^  as  in  prey 
or  pet. 


s  in  film  when  long  ;  when 
short  as  in  pet ;  ^r  as  ar  in 
bare. 


usually  represented  by   the 
German  v  or  w. 


as  in  fit  at  the  beginning  of 
syllables  or  after  a  short 
vowel ;  at  end  of  syllable 
like  V  in  slave ;  before  v 
silent. 

like  V  in  revive ;  ^  like  /  in 
oflf. 


as  in  gig. 
as  in  gig. 


as  in  gig ;  after  ^  or  iJ  like  yia 
yoke  ;  between  vowels  often 
mute. 

like  German  £^  ;  ng  as  in  loot 


as  German  g,  very  guttural. 


lire 


;u 


s    in  gate   e.xcept  before  e, 
and  y,  then  as  i-  in  pleasure 
(marked  here  as  zh) ;   silent 
when   final,    becoming   /t  in  pK 
liaison  ;  gn  as  ni  in  minion. 


at  the  beginning  of  a  syllable 
asin  gate,  but  softer;  at  the 
end,  see  Note  3 ;  ng  when 
final  vanishes  in  a  faint  k 
sound  as  sang  =  zangk. 

as  in  gig ;  gy  =^  d  m  due  (not 
doo) ;  ggy  =  gygy  or  d'  d\ 


before  e  and  /  as  in  gem',  gg 
as  dj  in  adjoin  ;  gli  =  ly' 
like  //  in  million ,  gn  =  ny* 
or  ni  in  pinion  :  gu  =  gzv  ; 
gui  —  we. 

as  in  gig,  but  before  J  and  y 
as  y  in  yoke. 

as  in  gig. 


as  in  gate ;  but  before  ^,  :  and 
y  as  in  gem. 


at  the  beginning  usually  as  in 
go ;  sometimes  at  the  begin- 
ning, always  at  the  end  as 
German  ck  ;  see  Note  2. 

as  in  gate  ;  but  before  e  and  i, 
as  a  very  harsh  /;  in  hate; 
gue  =  ga  as  in  gate .  gui  = 
ge  as  in  gear :  gfi  as  in  ig- 
nite ;  gl  as  in  glow. 

as  in  gate  ;  before  a,  e,  i,  o,  y 
and  after  /  and  r,  like  y  in 
yoke  ;  silent  before/  /  gn  = 
ng  in  sing. 

as  in  gate ;  ng  as  in  wrong. 


~-^       onetic  meaning 
.              >f     the     letters 
l*            'in  d     symbols 

H 

1 

J 

K 

as  in  hate. 

i  as  in  fight ;   i  as  in  pin. 

as  in  jug. 

as  in  kick ;  kh  =  German 

w         iS   USED    IN 
THIS  BOOK. 

choT  g ;  see  Note  3. 

-^^      iABIAN  : 

strongly  aspirated 
at  end  or  begin- 
ning of  a  word. 

as  in  pin  ;   r  as  in  bird. 

as  in  jug. 

strongly  guttural. 

JHEMIAN: 

as  in  hate. 

as  in  pin  ;  /  as  in  machine. 

like  y  in  yes  ;  after  vowels 
It  prolongs  their  sounds 
somewhat  as  y  in  day, 
whey,  etc. 

as  in  kick. 

'ih     imSR : 

as    in     hate    but 

as  in  machine  ;   after  a,  e,  o,  o. 

even    with  vowels  aj,   ej\ 

as  in  kick. 

VO.(U 

silent   before  J 
and  V. 

and  «likej'inyoke. 

X\key  in  yoke. 

UTCH: 

as  in  hate. 

when  short  as  in  pin  ;    when 
open  as  e  in  rely  ;  te  prolongs 
the  open  sound  only  before 

as  y  in  yoke. 

as    in    kick :  ks  —  x   in 
fi.x :   kiv  =  qu  in  quart. 

uttinl 

r,  otherwise  as  c  in  rely  ;    ij 

XEMISH  : 

as  in  hate. 

z  or  z  as  in  pin  ;    ii  or  it-  the 

as  J/  in  yoke. 

as  in  kick  :  ks  —  x  in  fix. 

*(i 

same  prolonged ;  u-u  sounds 

pb 

like  e-ii. 

''.VRENCH  : 

always  silent. 

as  in  pin,  see  ei,  oi ;  t  as  /  in 

as  J  in   measure  (marked 

as  in  kick. 

1 

machine,  but  see  ai. 

in  this  book  as  zh). 

as  in  hate. 

as  in  machine ;  ie  as  in  believe. 

as>'inyoke. 

as  in  kick. 

BUWGARIAW: 

as  in  hate. 

as  the  quick  e  in  rely  ;    i  as  in 

as  y  in  yoke;  jj  as  y  in 

as  in  kick. 

machine. 

paying. 

ITALIAN: 

silent;    after  c  or 
^  it  has   simply 
a  hardening  ef- 

as in  machine,  but  when  short 
as  in  pin  ;    at  the  beginning 

same  as  //  at  the  begin- 
ning of  words  like  y  in 



of  words  like^  in  yoke. 

yoke  ;    as   a  vowel   like 

fect. 

i  in  machine. 

NORWEGIAN  : 

as  in  hate. 

as  in  machine  ;    at  the  begin- 

as in  yoke. 

as  in  kick ;  before  /  and 

ning  as  y  in  yoke. 

J  like  h;    kv  =  qu  in 

POLISH : 

quarter. 

as  in  hate  ;  see  c. 

i  as  in  machine;   after  aeon- 

as  y  in  yoke. 

as  in  kick. 

I  and  n. 

sonant  it  has  the  effect   of 
the  iraaginarj'  y  in  due  (not 
doo) ;  iu=  u  in  gun. 

PORTUGUESE : 

silent. 

as  in  machine. 

as  in  jug. 

only  in  foreign  words,  as 

in  kick. 

RUSSIAN  : 

used  only  in  a  few 

as  in  machine,  but  well  back 

as^-  in  yet. 

as  in   kick;    before  k,  i 

native      words, 

in  the   throat;  after  labials 

and    ck    softly    as    in 

and   in   foreign 

{b,  /,    m,  p  and  v)   as  /  in 

German  ch. 

derivations. 

pin. 

SPANISH  : 

usually    silent   or 
very  slight;  see 

as    in    machine    when    long; 
when  short  as  in  pin  ;  i  as  in 

as  a  very  harsh  h  in  hate  ; 
almost  like  German  ;■/(. 

c. 

machine. 

SWEDISH  : 

as  in  hate  ;   silent 
beforeyor  v. 

as  in  machine. 

as^inyoke. 

as  in  kick  but  before  a,  e 
i,  d  and  y  in  the  sam> 
syllable  like  ch. 

WELSH: 

as  in  hate. 

as  in  machine. 

as  in  kick. 

L 

as  in  lull. 


as  in  nun  ;  «,  see  Note  i 


o  as  in  note ;  oi  as  in  noise ; 
00  as  in  moon  or  foot ;  o  as 
in  wrong ;  ow  as  in  cow ;  dk, 

see  Note  i. 


P 
In  pop. 


iBli 


as  in  mum. 


as  in  mum. 


as  in  lull,  but  when  fol-  i 
lowed  by  another  con-  j 
sonant  a  short  e  is  in-  : 
terpolated,  as  if  elk  ! 
were  spelt  elek.  I 

as  in  lull. 


as  m  mum. 


as  in  lily,  t  sometimes  /  :  at  the  beginning,  as 
(called  "  1  mouille  ")  is  !      in  mate.   See  note 
liquid,  as  y  in  yoke  or         i. 
paying.  j 


as  in  mum. 


;  in  late  ;  11  or  ly  —  y  \n  '  as  in  mum. 
paying.  j 


in  lull ;  see  g. 


as  in  lull ;  i  is  sounded 
by  closing  the  teeth  on 
the  tip  of  the  tongue 
as  /  is  pronounced. 

as  in  lull;  Ui  like  ///  in 
million. 


as  in  lull ;  before  a  or  ( 
as  //  in  collar. 


5  in  look  :    //  like  ///  in 
billiards. 


1]  IS    in    lull,   but    usually 
M      silent  before/. 

h  IS  in  look;  //hasacuri- 
S'l     ous  mingling  of  «■// and/ 


as  in  mum. 


as  in  mum. 


as  Hi  mum. 


as  in  meet,  but  at 
end  of  syllables 
or  after  e,  like 
French  nasal  «. 
See  Note  i. 

as  in  mum. 


as  in  mum. 


as  in  nun. 


as  in  nun  ;  w  asm  caiion. 


as  in  nun. 


as  in  nun. 


at  the  beginning,  as  in 
name.     See  Note  i. 


as  m  nun  ;  tty  =  n  as  m 
new  (not  noo) ;  tiny 
=  nyny,  or  «'  «'. 

as  in  nun  ;  see  g. 


jerman  o,  see 


lEil 


as  in  note ;  6  z&'m  wrong. 


when  open  as  in  bother ;  when 
dosed  as  in  move ;  <^  = 
French  eu  closed  as  in  peu  ; 
a  =  the  same  open  as  in 
coeur ;  see  Note  2. 

as  in  bother  when  short,  when 
long  as  in  over  ;  00  =  o  \n 
over ;  ooi  =  0  in  over  fol- 
lowed by  i  in  pin  ;   see  oe. 


as  in  note  or  not ;  00  or  oe 
usually  the  same  prolonged, 
sometimes  like  lua  in  was, 
oei  or  oey  as  o-e. 


as  in  not 


often  almost  as  J? 
5  as  in  note  ;   see  oi. 


as  in  note;  but  at  end 
of  syllables  or  after 
e,  hke  French  nasal 
K,  see  Note  i ;  tth  = 
ni  in  minion. 

as  in  nun. 


as  in  nun  ;  n  divides 
into  ny  as  «/  in  min- 
ion, thus  caflon  — 
canyon. 


nun;  gn  ==  ng 


as  in  wrong  ;  o  see  Note  2  ;  o 
is  sometimes  spelled  oe. 

o  as  in  note ;  6  is  prolonged  as 
in  slow ;  '6  —  French  eu  ;  o 
OT  'd-=  German  long  o. 

as  in  note  ;  ^  as  in  wrong. 


as  u  in  full,  but  often  as  o  in 
note  or  not ;  oe  =  am  sale  ; 
0  like  French<r«  long  or  short. 

o  as  in  note ;  i  is  between  note 
and  move. 


as  in  note  or  in  not ;  o  see  Note 
5- 


vhen  long  as  in  note  ;    when 
short  o   as  in  not ;  o  as  in 


5  in  move  or  not,  according 
to  complex  rules;  o  =  Ger- 
man o. 


as  in  pop;  ph 


at  the  beginninj 
and  middle,  a 
in  paper;  p  u 
=  almost /7yc 
ph=/;  silen 
when  final, 

as  in  pop. 
as  in  pop. 


as  in  pop ;  ph 


as  in  pop ;  silent 
before  J,  n  and 
t. 


as  m  mum. 


as  in  nun. 


as  in  gone :  ,3  as  in  bone  :    the     as  in  pop  ;  ph 
sound  00  is  represented  by  iv.        /. 


onetic  meaning 
f  the  letters 
n  d  symbols 
LS    USED  IN 

rms  BOOK. 


qv  =  qu  in  quart. 
qu  as  in  quart. 

qu  as  in  quart. 


qu  always  as  k  in 
kick  ;  cq  as  k. 


qu  as  kv ;    thus 
quart  =  k'vart. 


qu  as  in  quart. 
qu  as  in  quart. 


qua  as  in  quart ; 
before  e  or  i,  qu 
is  like  k. 


qu  as  k  in  kick. 


qv  =  k\n  kin. 


as  in  roar ;  r  =  rzh 
or  ri/j  as  in  "  for 
sure,"  thus  Dvor- 
ak is  dvor-zhak. 

as  in  roar. 


hurry. 


nly  rolled  on 
the  back  of  the 
tongue  ;  in  Paris 
almost  like  vj  in 
bower ;  as  a  final 
letter  it  is  sounded 
e.\cept  after  e  ;  er 
=  rt  in  sale. 


usually  rolled  and 
always  strongly 
sounded. 


always  trilled. 

usually  trilled, 
as  in  hurry. 


French  j  or  j  in 
measure. 


with  a  burr  as  rr  in 
worry. 


as  in  roar. 


as  ill  hurry. 


as  in  roar. 


as  in  sense. 


J  as  in  sis ;  j  as  sh  in  show. 


as  in  sense ;   ski  or  sky  as  in 
skim. 


as  in  suppose. 


as  in  suppose ;  when  final  it 
is  silent  except  in  proper 
names ;  in  liaison  it  becomes 


beginning  a  syllable  Defore  a 
vowel  usually  as  s  in  zone  ; 
as  the  end  of  a  syllable  as  in 
this  ;  sp  and  st  —  slip  and 
sht ;  sch  =:  sh. 

as  sh  in  show ;  sz  —  sh. 


as  in  suppose;    see  =  sha , 
=  she  ;  seh  =  sk. 


as  in  sis ;  ski  =  sh  in  show, 
as  in  sense  ;  sz  =  sh  in  show. 


as  in  suppose ;   having  the  z 
sound  between  vowels. 


as  in  sense ;    sh  as  in  show ; 
ski  =  shk  /  sz  =  sh. 


as  in  sense. 


ie  ;   sk,  sj,  and  s(;  all 
1  show. 


as  in  sense. 


T 

as  in  tot ;  //:  a 


strongly  palatal 

as  in  tot ;  see  also  Note  4. 


after  a  hard  vowel  it  is  soft  aa 
in  note,  otherwise  as  in  hot. 


in  tot;  o'/'as/in  hat. 


as  /  in  tub;  like  s  in  such 
fixes  as  -tion  :  almost  always 
silent  when  final ;   ei  =  a  'm 


as  in  tot ;  M  =  /  in  hat. 


as  in  tot ;    iy  strongly  as  /  in 
tube ;  i/y  =  iy'  ty'  or  /'   f ; 

is  =  ch. 

as  in  tot ;  ti  usually  =  tsi. 


as  in  tot ;  is  beginning  or  end> 
ing  as  in  hats ;  tsch  as  thick 
in  waj///-<rAum. 


as  in  tot ;  ijr=  ch  in  chtmb ; 
but  if  followed  by  a  or  r  =  i 
in  hats;  th  =  i\^  tot. 


S  always  with  the  sound  of 
you ;  »,  see  Note  2. 


as  in  rule  or  full. 


when  short,  as  in  cut ;   when 
long,  as  in  rule  ;  uu  as  00 


like  a  short  German  k,  see 
Note  2  :  uu  or  ue,  the  same 
prolonged ;  see  ui. 


s  00  in  moon  or  foot ;  ii 
(sometimes  spelled  ue),  see 
Note  2. 


K  as  in  pull ;  a  as  in  rule :  ii 
=  French  u  ;  u  or  u  the 
same  prolonged. 

as  in  rule ;  a  as  in  full. 
as  in  rule. 


as  in  rule ;   preceded  by  /  it 
is  the  French  u. 


as  in  rule;  u,  see  Note  5. 


as  m  due,  or  as  00  in  moon  ; 
except  in  words  of  French 
or  German  origin,  then  as 

'     French  u. 

as  in  rule,  when  long  ;  when 
short,  as   in   full ;   ti  as   in 
,     rule  or  full ;    ue  —  lua   in 
wait. 


as  in  nile ;  or  in  full. 


in  revive. 


at  the  beginning,  as 
in  vote  at  the 
end,  asyin  off. 


like/  in  fife. 


as  m  revive. 


as  in  revive. 


as  in  revive ;   kv  ■■ 
qu  in  quart. 


as  in  revive. 


asy"  in  far  or  ( 


as  in  revive. 


as  in  revive. 


"■    a  little  broader  than  z  in  this ;    sounded   like 

&■=■  ee'xa  seen.  moon. 


w 

as  in  will. 


as  in  will ;  iv  v. 
silent  before  i 
and  another  con 
sonant,  as  wzd. 


only      in 
words. 


foreign 


1  foreign  words 
only,  and  sounded 
like  V  in  vote ; 
•wh  sounded  as  w 
in  was. 


like  V  in  revive,  but 
with  a  soft  trace 
also  of  the  w  in 
was. 


as  V  in  revive. 


asy  in  far  or  off. 


;  V  m  revive. 


as  in  fix  or  exile ; 
silent  when  final ; 
becoming  2  in  lia- 
ison. 


as   in    fix,    even   at 

the   beginning  of 
a  syllable. 


as  in  fix. 
as  in  fix. 


after  e,  as  in  vex : 
otherwise  as  sh  in 
show. 


as  in  fix  ;  even  at 
the  beginning; 
in  some  proper 
names  as  h  in 
hate. 


Y 

as  in  yoke. 


in  why. 


as  i  m  pin;  /  as  i 
chine. 


liS 


as  in  why. 


like  /  in  machine;  son 
times  nasal  like  Fren 
hi,  see  Note  i ;  see  ai. 

when  alone  or  when  a  co 
sonant  precedes  or  follo^ 
it,  as  e  in  bean.  When 
lies  between  two  vowels 
may  be  said  to  be  dividi 
into  two  sounds.  Afters 
a  ox  e  it  is  sounded  like 
in  pet  followed  by  y  i 
yoke  (thus  rayon  becom< 
re-yon)  ;  with  an  0 
sounds  like  wd  in  was  fo 
lowed  by  y,  as  in  yok 
(thus  joyeux  become 
zhwa-yu) ;  with  u  it  b( 
comes  e  —  y  (thus  appuy 
ant  becomes  ap-pwe-yanj 

as  e  in  bean,  sometimes  hki 
«  /  see  Note  2. 


;  g,  I,  n  and  /. 


like  French  u. 
yj  —  em  bean. 

as  /  in  machine, 
same  as  Russian  /. 

as  /  in  machine. 

like  French  »  /  see  Note  ; 


as  u  in  turn  ;  at  the  end  of  a 
syllable  as  in  pretty. 


I 


honetic  meaning 
of  the  letters 
and  symbols 
AS  USED  IN 
TfflS  BOOK. 


£ABIAN  : 


as  in  zone  and  buzz. 


only  in  foreign  words, 
then  like  s  in  sis. 


as  in  zone ;  often  used 
interchangeable  with 


like  is  in  hats,  even  at 
the   beginning  of  a 

syllable. 


as  in  zone;  zs,  seed. 


z  as  ts  in  hats  ;  zz  as  ds 
in  Windsor. 


like  is  in  hats. 


as  in  zone  ;  z  =  s  m 
measure  ;  zg  =^  g 
preceded  by  a  buzz. 

as  in  zone  ;  but  at  the 
end  of  syllables  like 
s  in  this. 

as  German  z=  ts  ;  or 
as  French  z  =  ^  in 
menagerie. 


like    a:    both   in    sail 
and  in  said. 


ame  as  aa  =  a  pro- 
longed ;  aei  or  aty 
=  a/ prolonged. 


only  another  spelling 
of  a.     See  Note  2. 


in  vowel  combinations 
the  vowels  are  al- 
ways separately 
pronounced  in  Ital- 


Al 


aai  combines  a  in 
father  with  a 
quicks  in  meet, 
almost  like  J  in 
why. 

ai  and  ay  as  ai  in 
said  ;  aei  or  izt'_y 
the  same  pro- 
longed. 


aU 


EUA 


as  01U  m  cow. 


combines  a  in  fat 
with  (30  in  moon; 
sharper  than  ozu 
in  cow. 


as  0  m  zone. 


bite      (actually 
ak—e). 


like  o  in  note. 


as  0  in  zone. 


diphthongs. 


El 

EU 

IE 

OE 

01 

as  in  noise. 

ou  : 

same  as  German  short  d, 
see    Note   2  ;    ecu  = 
a    in    fate,    with    a 
whispered  v  after  it. 

same  as  French  eu  ;  eeu 
the  same  prolonged. 

like  e  in   father  when 
short ;     when     long, 
the  same  sound  pro- 
longed ;    it    lies    be- 
tween e  in  pet  and  « 
in  cut,  and  resembles 
German  d.    See  Note 

almost  like  /    in     bite 
with  a  hint  of  oi  in 
noise. 

see  i;  ieu  =  a  in 
fate,  with  a  soft 
w  after  it. 

same  as  00  in  moon ; 
oei  =  00  followed 
by  a  short  t. 

as    00     in     moon; 
sometimes      a 
simple   prolonged 
0 ;  or  like  iva  in 
was  ;  oei  or  oey  = 
we. 

oe  =  wa    in    was ; 
oeu  like  eu. 

only  another  spelling 
of  0.    See  Note  2. 

combines  0  in  i 
with  u  in  ru, 
softer  than,  1 
often  confus 
with,  au. 

with  /  in  pin  ;  in 
the   suffix    heid 
=  a  in  fate. 

as  e  in  pet. 
Bite  fin  bite. 

oi  or  oy  =  iva  in 
was ;    oin  =  w 
followed  by  the 
nasal   in.      See 
Note  I. 

ou  =  00  in  bo( 
ouin  =  oin  ;  < 
oi  and  Note  i 

as  in  believe. 

Uke  a  in  sale. 

. 

same 

as 

the 

German 

diph- 

thongs. 

donetic  meaning 
of  the  letters 
and  symbols 
AS  USED  IN 
TfflS  BOOK. 


JIABIAN: 
(OHEMIAN  : 
)AinSH: 


FLEMISH 


' ' FRENCH : 


HUNGARIAN  : 


NORWEGIAN  : 


PORTUGUESE ; 


UE 


Ul 


same    as    a    pro- 
longed a. 


only  another  spell- 
ing of  ii.  See 
Note  2. 


almost  y  in  why  ; 
but  verging  on 
the  French  eu. 


u!    and    uy    like 
German  eu. 


CH  SCH 

as  in  church  ;  German  c/i 
is  represented  by  k/:,  see 
Note  3. 


like  German  c/i. 


s    ^,   except    in    foreign 
words. 


like  German  c/(,  but 


of  foreign  words  ;  as  s/. 
in  show. 


like  German  cA.    .See  Note 
3- 


as  s/t  before  a  vowel ;  be- 
fore a  consonant  as  k. 


see  Note  3. 


like  German  cA,  see  Note  3. 


ike  German  c/i,  see  Note 


beginning  a  syl- 
lable, as  sic/i  ; 
at  the  end,  as 
simple  s  in  this. 


like  sh  in  show. 


as  sk  in  skip. 


SP 


like  shp 
pan. 


ST 


as  in  stone. 


like  sht  in 
washtub. 


as  in  stone. 


TH 

as  in  thing;  the 
th  in  those  is 
represented  by 
dh. 


NOTES 


No.  I. — The  French  nasal  sounds  are  easily  obtained: 

(i)  Though  spelled  with  an  w  or  «  (and  indicated  in  this  book  by  an  it)  they  havi 
really  no  «  sound  in  them,  much  less  the  ng  sound  that  some  foreigners  give  them 
Though  variously  spelled  they  are  reducible  to  four  vowel  sounds  pronounced  as  wi 
say,  "  through  the  nose,"  though  actually  with  closed  nasal  passages.  If  one  wil 
pronounce  or  rather  snort  the  word  "wrong"  without  producing  the  final  g  at  all 
one  will  have  exactly  the  French  on  (i);  the  word  "  thank"  similarly  sounded  with 
opt  the /i- will  give  the  French  in  (2);  the  word  "trunk''  without  the /^  gives  th< 
French  un  (3);  the  word  "donkey"  (not  pronounced  like  monkey)  contains  thf 
French  ^«  (4).  These  four  are  indicated  in  this  book  by  (i)  bit;  (2)  aii ;  (3)  fiii , 
(4)  ««• 

The  French  nasals  may  be  grouped  as  follows  :  Those  pronounced  like  (i)  are  07n. 
on,  and  eon  after  g  ;  like  (2),  ir;«,  in,  aim,  ain,  ein  and  also  eji  as  an  ending ;  like  (3)  ^n 
un  and  evn  ;   like  (4)  am,  an,  ean,  aen,  aon  and  en  at  the  beginning  of  words. 

These  letters  m  and  «,  however,  lose  their  nasal  quality  when  doubled  or  wher 
preceding  a  vowel ;  onne  is  pronounced  as  one  in  done,  otne  or  otnme  as  in  come, 
as  in  em  m  them,  etc. 

No.  2.— French  u  (which  is  the  same  as  the  German  w  when  long)  is  easily  pronounced 
if  one  will  pucker  his  lips  to  say  00,  as  in  moon  ;  and  keeping  them  strongly  puckered, 
say  e  as  in  bean.  Those  who  have  eaten  green  persimmons,  or  had  their  lips  dis 
tended  with  peach  fuzz,  have  the  correct  position  for  this  e  sound.  'I'here  is  really  nc 
00  sound  in  the  French  u  at  all,  and  if  one  cannot  say  the  u  correctly  he  will  come 
much  nearer  the  truth  if  he  uses  a  plain  English  long  e,  as  in  bean,  rather  than  the 
sound  of  u,  as  the  spelling  might  suggest. 

The  German  «  when  short  is  formed  by  keeping  the  lips  puckered  and  saying  i  as 
in  fit,  instead  of  e  in  serene. 

The  other  German  modified  (or  umlauted)  vowels  are  (2)  d,  pronounced,  when  long, 
almost  like  a  in  sale,  but  verging  on  a  in  care  (it  is  marked  here  simply  as  a) ;  when 
short  much'  like  e  in  pet ;  (3)  o  when  long  can  be  secured  by  puckering  the  lips  for  a 
round,  full  o,  as  in  note  and  then  saying  a  as  in  sale  (it  is  marked  in  this  book  simply 
as  a  to  avoid  the  danger  of  saying  a  plain  o) ;  when  it  is  short  the  lips  should  be  puck- 
ered for  the  round  o,  and  a  short  e  as  in  pet  then  pronounced.  The  caution  must  be 
emphasised  that  in  the  experiments  the  lips  must  be  firmly  kept  in  the  first,  or  puck- 
ered position,  in  spite  of  the  temptation  to  alter  it. 

No.  J. — German  ch  is  not  difficult,  once  caught.  Our  sound  th  as  in  think  will  be 
found  if  prolonged  to  be  produced  by  the  simple  device  of  holding  the  tip  of  the 
tongue  lightly  between  the  teeth  and  then  breathing.  The  German  ch  results  from 
pressing  the  two  sides  of  the  tongue  firmly  against  the  bicuspid  teeth  (the  two  upper 
teeth  on  each  side  back  of  the  canine  or  eye  teeth)  and  leaving  the  tip  of  the  tongue 
free,  then  breathing  the  necessary  vowel  as  in  ach,  ich,  etc.  German  g  is  much  the 
same  but  even  softer.     Both  are  indicated  in  this  book  by  kh. 

No.  4. — Certain  Bohemian  letters  and  combinations  insert  the  sound  j  closely  allied 
to  a  consonant,  as  in  the  French  diable  and  tieti,  or  the  English  "  How  d'ye  do  ?  "  01 
"  I've  caugh/j^."  Bohemian  d,  n  and  t  are  given  this  d''y  and  t' y  sound  when 
followed  by  e  or  /or  by  an  apostrophe  as  d' ,  n  or  /'. 

Many  Bohemian  combinations  of  consonants  seem  unspeakable  because  they  are 
spelt  with  no  vowels  between.  They  are  no  harder  to  say,  however,  than  such  words 
of  ours  as  "  twelfths."  Among  such  consonant  chains  are  dm,  kb,  kd,  krl,  prst, 
skrz,  sr,  ivl  and  zr.     They  must  be  run  together  as  smoothly  as  possible. 

No.  5. — Portuguese  diphthongs  are  of  three  sorts;  the  first  two  cannot  be  distin- 
guished here,  they  are  simply  combinations  of  vowels  (sometimes  of  three  vowels  or 
triphthongs)  in  which  each  vowel  is  sounded  independently ;  in  the  first  clasf 
the  first  vowel  takes  the  accent,  in  the  second  class_  the  second  vowel  is  accented. 
The  third  class  contains  a  nasal  vowel  marked  a,  o  or  u,  and  pronounced  with  a  strong 
nasal  twang. 

No.  6. — In  vowel  combinations  other  than  those  specially  mentioned  here,  the 
vowels  are  pronounced  separately,  each  in  its  own  way. 

No.  7.— Combinations  of  consonants  other  than  those  mentioned  here  will  be  found 
under  their  first  letter. 

No.  8. — As  Greek  and  Latin  pronunciations  are  matters  of  controversy  and  personal 
taste,  no  system  is  attempted  here.  Chinese,  Japanese,  Hebrew,  Hindu,  and  various 
other  languages  are  usually  spelled  phonetically,  but  on  such  different  national  or 
personal  standards  that  they  can  hardly  be  generalised. 


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